February was a crazy month with bad winter weather all around the Northern hemisphere. In Washington State where I live, we reached record low temperatures and had lots of snow, rain, wind and general weather chaos. In fact, my family and I went out to the Washington State coastline for a few days in late February and it snowed for most of the time. My kids somehow deviously lured me into the swimming pool at the resort where we were staying and I turned into a popsicle! Snow was falling from the sky and the wind was blowing about 30 mph but my kids had a ball leaping into the pool time and time again. Thanks to Facebook, everyone got to see how much ‘fun’ we were having.

I brought my camera along on this trip as I always do and I envisioned taking incredible images of vast seascapes with frothing waves. Unfortunately, the reality was that I only snapped a few pics since I couldn’t operate the controls with my frozen my hands.

I was shivering and uncomfortable, but at least I was taking pictures, right? I mean, it was fun to be that cold! I was feeling proud of myself for braving the weather, when I looked off to the side and saw my children playing in the icy Pacific Ocean waves in their rubber boots. They were smiling and giggling having a wonderful time. They seemed to have absolutely no concept that it was bitter cold and that they were getting all wet. I guess I have a lot to learn about redefining ‘winter fun.’

My hope is that you will have more fun reading this month’s newsletter than I did trying to capture those photographs at the ocean last month. This month’s newsletter has quite a wide variety of articles ranging from a book review, to triptychs, to shooting a community theater play, to color adjustments in your camera and software. Most of the topics in this month’s newsletter are taken directly from questions that readers have asked via email, phone, Facebook, Flickr or Twitter. I also have a bunch of business and workshop updates at the end of the newsletter.

Enjoy the articles and I hope you learn something you’ll be able to apply to your photography right away.

Book Review: Exploring North American Landscapes by Marc Muench

There is something uniquely compelling about landscape photography and many photographers find great joy in the simple act of visually exploring the wilderness. The simplicity of hiking through nature’s grand landscapes inspires countless photographers to hike into the backcountry in the hopes of bringing home stunning images of their adventure.

As most of you know, desiring stunning images and actually creating stunning images are two very different things. Capturing a print-worthy landscape photograph can be as frustrating as it is fun. Every once in a while we photograph a scene where everything comes together, but more often than not, we are left disappointed in our efforts.

The good news is that there are a few photographers who have truly mastered the craft of landscape photography and are willing to share their secrets. Marc Muench is one of them. Marc’s new book, Exploring North American Landscapes, Visions and Lessons in Digital Photography, is his personal treatise on the skills it takes to create great landscape photographs.

Let me cut to the chase and say from the get go that Marc’s book is truly excellent. He has filled his book with so many expert methods and techniques that from the moment I began reading, I didn’t want to put it down. I was taking notes and writing newly inspired ideas that I gathered from his book beginning from the first chapter. Marc describes very well, and in great detail what it takes to consistently produce incredible landscape images.

Marc Muench is an amazing photographer and is one of this planet’s most respected landscape artists. He shares a photographic heritage with his family that goes back three generations, including his father David Muench and grandfather Josef Muench. Marc’s incredible eye and sound photographic techniques are laid bare in this book for the rest of us to read and learn from. The photos are printed superbly and images pop off the page. The methods and techniques he shares are equally inspiring.

One of the best aspects of the book is how Marc describes his overall approach to photography. He seamlessly leads the reader through the process of assessing the landscape scene, to the detailed techniques required to take the image, and finally to enhancing the image in software back at the office. He truly takes you on a journey from what inspires him visually to the technical process of creating the final image.

Marc includes step-by-step illustrated lessons to show his process for using software to create his masterpieces. Even though his methods are somewhat advanced, they aren’t rocket science, and most photographers with a bit of knowledge and dedication will be able to use his techniques right away. I’ve already changed some of my digital workflow techniques based on Marc’s recommended methods.

Like most things in photography, if you want your photos to be excellent, you have to take manual control of the entire process. Marc’s bias is to use Photoshop layers and masks for complex tasks such as HDR imaging (High Dynamic Range imaging) and panorama stitching. His process is time intensive, but produces stunning results. If these methods are too much for you, then he also clearly lays out when it makes most sense to use more automated tools like Photomatix Pro and panorama stitching software.

Exploring North American Landscapes is broken down into two main Parts. Part I is titled Explorations and Visions while Part II is titled The Lessons. In Part I, Muench discusses the philosophy of his photography, working with light and techniques/methods he uses in the field. One of my favorite techniques that Marc describes is something he calls Still Time Lapses. The technique involves shooting the same scene with two different sets of exposure settings. For example, shooting it at f16 and 2 seconds with a neutral density filters and then again at f16 and 1/15 second without neutral density filters. Once the two shots are created, he demonstrates how to create a composite image that shows both motion and stillness in the same photo. Truly, a still time lapse.

Part II goes into the detail of how Marc works on his images in software. I really like his workflow approach and enjoyed reading the chapter describing the tools he uses for regional adjustments. Marc also talks extensively about how most photos don’t represent reality, but rather they represent our interpretation of reality. Our interpretation has to be believable however, so he has an entire chapter called Real Color where he shows his approach to properly rendering the colors of a scene.

Marc focuses the majority of his examples on Photoshop, Bridge and Adobe Camera Raw (ACR). If you don’t use these software tools in your workflow, that’s ok since the concepts can be applied any many other software tools as well. For example, Marc talks extensively about how to enhance a photo through a method he calls Regional Dynamics. He shows in detail how he analyzes a RAW file, and then determines what areas to enhance through layer masking and selections in Photoshop.

If you don’t have any desire how to learn layer masks, then don’t worry about it. A similar approach can be used in tools like Nikon Capture NX 2 or Apple Aperture. In fact, Marc is clear to state in the book that he feels photographers should always feel the freedom to use different software packages to achieve the end result.

I guarantee that if you use the methods Marc details in his book, you’ll become a better landscape photographer. I’ve been shooting as a professional photographer since 1998 and still consider myself to be a neophyte in so many areas. I am grateful for master photographers like Marc Muench who openly share their knowledge for the rest of the world to learn. Learning new techniques and methods are essential to growing as a photographer and I can’t wait to use the methods Marc shares in this book.

Exploring North American Landscapes is 220 pages, printed in full color and published by Rocky Nook ( The oversized pages provide a perfect platform for displaying Marc’s impressive photography. Even though the title is ‘Exploring North American Landscapes,’ his methods and techniques apply to landscapes anywhere on the planet.

See more of Marc’s work here:

You can buy Exploring North American Landscapes here.

Buy the book. You won’t regret it!

February GOAL Assignment: The Defining Characteristic

February’s GOAL Assignment was a difficult challenge for a lot of people. The assignment was to think about what defines your subject, and then photograph that aspect. As photographers, it is very easy to simply point your camera at a subject and snap a pic. It’s a lot harder to think about the defining characteristic of a subject and then create photographs that capture its essence.

The neat thing about our craft is that we can choose to become fully involved with our subject or we can choose to stay at arms length. Both are fun and both can lead to good images. However, truly great images are created by photographers who have taken the time to understand the defining characteristic of their subjects.

Take for example Ansel Adams ( To this day, his photographs of Yosemite Valley define our conscious understanding of the National Park. Why? Because he spent years and years of his life exploring the park, trying to understand the nuances of weather and light on the landscape. In his mind, he fully grasped what defined Yosemite and then took photos of exactly that. He studied the granite face of El Capitan and the powerful light that occurs after a passing storm. He understood that these were the elements that defined Yosemite Valley.

How about Edward Weston’s photographs of bell peppers? ( On the surface, photographing vegetables isn’t a very exciting photographic pursuit. However, you can see through his work that he truly spent a long time studying and understanding the shapes of these vegetables. Only then was he able to create truly stunning images of bell peppers.

Steve McCurry is another photographer who has done incredible work photographing the defining characteristics of people. ( He is most famous for his National Geographic photograph titled Afghan Girl, but if you take some time to review his work, you will see an uncanny ability to capture the soul and the essence of a person. McCurry has spent years of his life in foreign lands such as Afghanistan, Eastern Europe and Asia. He has studied the human condition and understands how to quickly determine the defining characteristics of a person.

Determining the defining characteristic of a subject isn’t always an easy task. However, taking the time to think about the subject before you snap your first photograph will go a long ways towards improving the quality of your pictures. So, pragmatically, how do you determine the defining characteristic of a subject?

Here are some tips:


Spend time with the subject. Then, spend more time with the subject. It is difficult to understand something or someone after 30 seconds. If you are passionate about capturing great images of your subject, then block out some time in your calendar that you can dedicate to studying your subject.


Observe behaviors at different times of the day and different times of the year. Landscapes look different in January than they do in June. People behave differently in the morning than they do in the evening. The color of light changes dramatically throughout the day. Sometimes the true character of a subject is revealed only at a certain time.


If the subject is a person, have a conversation before you start taking photographs. Drink coffee together. Go on a walk. Do they laugh? Do they smoke? What colors do they like?


If the subject is a location then get out of your car and walk the area on foot. What does it smell like? Where does the light come from? What is the predominate color? Is it loud? Quiet?


Read as much as you can about the subject. When I travel to new places, I spent a lot of time reading about the area. I try to understand what it is about the area that draws people there. If the subject is a person, spend some time reading their website or Facebook page for some good insight into their character.

Once you’ve determined what defines a subject, write it down. Your goal now is to photograph ‘that.’ For example, when my daughter was younger, the color pink defined her. Pink shoes. Pink tiaras. Pink dresses. Pink soccer balls. Pink pajamas. Pink wall paint. Pink cupcakes. Pink boots. Pink pink pink pink pink. The photos of those years that best defined her were ones that showed her in complete pink. I look back at those pics and now a big smile comes to my face because I remember how intensely her life was focused on pink. It was her defining characteristic and I took lots of opportunities to capture her in the color pink.

On Safari in the Serengeti, photographers are often overwhelmed by the sheer quantity of animals and the beautiful landscapes. The defining characteristic of the Serengeti can be many things to different people. For me the defining characteristic of the Serengeti plains is the lone acacia tree. I’m impressed with this tree and how it thrives in such a harsh environment, so I always look for ways to capture it in context with wildlife. On a recent safari, I spotted a group of giraffe walking along the horizon and repositioned our Land Cruiser so that I could line up the giraffe with a lone acacia tree. The searing sun and austere landscape add to the overall feel of the hard way of life. This is a good example of thinking through the defining characteristic of a location and then working to create a photo of that characteristic.

I took my final example just a few days ago I was at Long Beach, Washington ( on the Pacific Coast. At 23 miles long, this beach is one of the longest uninterrupted beaches in the world. On the day I was there, a big Pacific storm was blowing in from the ocean and the clouds were dramatically reflecting off the wet sandy beach. At that moment in time, the approaching storm was the defining characteristic of the scene. I then set about working to photograph this characteristic. I composed the photograph so the foreground included the reflection of the clouds on the sandy beach. I also knew that the clouds would need to be dark and ominous to adequately show the impending tempest. This photo represents the conditions much better than a photo of a sand dollar or of a family walking their dog along the beach.

How about you? Have you put any thought into the defining characteristic of your photographic subject? I encourage you to spend some time before-hand thinking about the defining characteristic. Your photos will be better because you did!

March GOAL Assignment: Triptychs

This month’s GOAL Assignment (Get Out And Learn Assignment) is to create triptychs. A triptych is a work of art that is divided into three independent sections or three panels. Generally, all three photos in the triptych are similar in theme and work together to enhance the viewer’s understanding of the subject.

This month I want you to take your photographs with the idea of a triptych in mind. The three images in your triptych can be similar in content, like the airliners (shown left) or they can be completely different in content, like the triptych of architectural details (shown left).

By the way, I want to see some amazing work, so please, post your images to the Flickr group we’ve set up for our monthly GOAL Assignment participants here:

Photo Techniques: Photographing a Theater Play

I receive a lot of requests from people to help them out with photo emergencies and I’ve had a few funny requests over the years. For example, one guy called me from Yellowstone while in the act of photographing a bull moose from a close distance. My phone rang and this is what I heard:

‘MIKE! I’m in Yellowstone. Moose. Close.’

‘MIKE! How do I activate my spot meter on my camera?’


‘The moose’s brown fur is blowing out in my pictures. THE MOOSE IS BLOWING OUT!’

Another photographer called me from South America while standing on top of a mountain. The phone rang and all I heard was howling wind. I thought it was a crank call at first. I said, ‘Who IS this?’ The caller said, ‘MIKE, MIKE!’ Heavy breathing. Gasp. ‘Mike, are you there? Is that you?’

I answered, ‘Yes. Who is this? What do you want?’

He responded, ‘This is Joe, I’m standing on the summit of the mountain here in South America and the sun is going to rise in five minutes. My Nikon D3 won’t autofocus. HELP!’

I’m always happy to help people in their photo emergencies because I’ve been in similar situations and it is a relief to have someone else there to help out. I want to share a recent photo emergency from a mother who was photographing her son in a stage production of Fiddler on the Roof. She was having a difficult time getting quality photos and was desperate to solve the problem. Here’s her emergency email (her name in the email has been changed to protect the innocent):

Hello Mike,

I desperately need your help as I am about to shoot some photos of my son in his school play of “Fiddler on the Roof” this week as this is his last year in his high school. They have a dress rehearsal for 3 days, starting tonight and I would be shooting those nights.

I took some test photos yesterday during one of their practices. But mine came out with Nikon D700 nothing like yours of Missoula Children’s Theater of Snow White and the Seven Dwarves with your Nikon D7000 ( Your photos were absolutely great; sharp and colorful.

Let me tell you what equipment and settings I was using. Nikon D700 camera (aperture priority, 2.8f, ISO 8000, fluorescent white balance, AF-CH). The stage is very dark with little light.

Nikon 70-200mm 2.8f Nikkor VR Af-S lens (I was hand holding it. I’ll use a mono-pod for next 3-days).

I was going to rent a Nikon 24-70mmmm f28G ED AF-S lens and experiment to see if I could get a better photos and perhaps more wide angle photos as well.

Could you recommend what settings will be the best and how and with what I could edit the photos better?

I desperately need your help. Like I said this is my son’s last year of high school and he has not done a play since he was in his 2nd grade. I don’t do very well with low lights and indoor shootings. I know I am using a better camera than you did, but yours came out so much better. However, I also know that you are a pro and I am not. So if you help me with anything suggestions or points I would be so grateful.

June Cleaver

Many of you who have children or grandchildren in school share Mrs. Cleaver’s frustrations. The truth is that photographing a play at a local high school can be extremely difficult, even under the best circumstances. Generally speaking, flash photography isn’t allowed and you are required to shoot from the cheap seats behind that really tall guy sitting in front of you. Additionally, tripods aren’t practical and the lighting for the stage can be dismal.

Here are the tips I gave Mrs. Cleaver to recover from her photo emergency.


Nail your exposure. The lighting from one side of the stage to the other is going to be quite different because of different levels of stage lighting. Sometimes an actor will be well illuminated from a bank of lights; sometimes they will be dark. Therefore, the way you meter the scene needs to take both of these situations into account. If a spotlight is lighting the actor, then you’ll need to use spot meter on his body. If the subject and the background are being equally lit, then you can use matrix metering.

Also, remember that the background will play a big role in the final exposure. If the background is a dark curtain, then the camera will tend to overexpose the actors. Therefore, you’ll need to dial in about -2/3 exposure compensation.


Keep your shutter speed as high as possible. You can accomplish this by shooting your lens wide open at f2.8 while also setting your ISO very high. For an indoor play, I typically use an ISO between ISO 1600 and ISO 6400. Generally, I’m trying to get a shutter speed of something between 1/100 sec and 1/400 sec. The shutter speed I use depends on what kind of action is on stage. If actors are standing or sitting then you can get away with 1/80 sec to 1/125 sec. If people are moving around or dancing, then you’ll need 1/250 sec to 1/500 sec.

At the high ISO values, you should expect noise in your image, but you can always fix the noise in software. You can’t fix a blurry photograph, so keep the ISO settings high.


Shoot in rapid bursts. Even with the higher ISOs and big aperture (f2.8), only about one in five shots will come out really sharp. The amount of movement when someone is just talking is actually quite significant. Therefore, shoot your images in rapid bursts. I set my cameras for ‘Continuous High’ frame rate and then try to anticipate the peak of action. Generally, there will be a brief moment when everything is still and you’ll get a single tack-sharp image.


Use your monopod. Most venues won’t allow you to bring a tripod into the theater. However, monopods are rarely rejected and can be set up in-between your legs while sitting down. If you can’t bring your monopod, then at least steady your camera by resting your elbows on the armrests of your chair. When you take your photographs, make sure to gently squeeze the shutter release button so that the camera remains as steady as possible during the shot.


Set your white balance for the types of lighting used on the stage. Since most theater productions typically use incandescent (tungsten) stage lights, it makes sense to set your white balance for incandescent as well. The great thing about using incandescent WB rather than Auto WB is that the colors will remain consistent for the entire show. If you use Auto WB, then the camera will modify the colors depending on the background or on the different colored spotlights. Keeping WB fixed allows the existing colors in the stage production to render accurately.

Make sure that you don’t fall prey to the common mistake of setting your white balance for the lights above the seating area in the audience. It is common for theaters to use fluorescent lighting where the audience sits, but use incandescent lighting for the stage.


One final important aspect to shooting in low light is using a lens with a big aperture. Lots of people try to photography a stage production with their camera’s kit lens such as the 18-105mm f3.5 ‘ f5.6. The upside of these lenses is that they are inexpensive and sharp. The downside is they don’t allow much light into the camera, so you need longer shutter speeds to capture the scene. The longer shutter speed leads to motion blur and disappointing photos.

My strong recommendation is to use f2.8 lenses for these types of shows. If you can’t afford an f2.8 zoom lens, then consider buying something like a 50mm f1.8 or a 85mm f1.8. These fixed focal length lenses can be purchased very inexpensively and allow for shooting in very low light. Also, you might consider buying one of these from Sigma, Tamron or Tokina to save even more cash.

So, that’s it! Creating great images of a stage production can be done by anyone. I promise. The keys are to nail your exposure, use a high ISO, use a big aperture (f2.8), hold still, and get the correct white balance.

Digital Tidbits: Getting the Red Out

A common issue with photographers is making sure the colors in their photographs are accurate. For portraiture, accurately rendering the colors of a person’s face is just as important as the exposure and focus. A few weeks ago, a reader of my book Nikon Capture NX 2, After the Shoot ( wrote me with a question about his images. He wanted to know why the people in his photos often turned out too red.


Hello Mr. Hagen,

I am a novice photographer and have purchased your book “After the Shoot” about a year ago. I read your book religiously in attempt to improve on my Capture NX2 editing skills. My skill set recently hit a brick wall when faced with the challenge of editing out redness in various people’s faces. My question is, how can I reduce, or even get rid of, rosy cheeks using Capture NX2. Secondly, how can I prevent, or lesson the redness the next time I take a picture? I use a Nikon D300 with built-in flash. I have searched the internet fairly extensively, and, aside from the plethora of Photoshop solutions, I have not found any that are Capture NX2 based. I do not want to jump over to Photoshop as I am comfortable with the Nikon product.

Robert Ontario


Hi Robert –

Thanks for writing. There are a number of things that influence the colors in your photographs that should be set first in the camera menus. In general, our goal should be to get the photo as close to “finished” as possible when we take the photograph on location. Ideally then, we won’t have to do much post processing in Photoshop or Capture NX 2.

The two main items in your camera that impact colors are Picture Controls and White Balance.

Picture Controls (Nikon) and Picture Styles (Canon) are menu settings that are used to change the amount of saturation and contrast in a photo. Some Picture Controls/Styles like Landscape or Vivid are really saturated and tend to make people look overly warm or red. I’ve made the mistake of photographing people using these picture controls and the results aren’t pretty!

Make sure you photograph people using the Neutral or Portrait settings. This will always result in a much more pleasing color pallet.

Using the proper white balance is also critical to capturing accurate colors. Make sure to set your white balance for the lighting in the scene. For example, if you are shooting on a cloudy day, then use Cloudy WB. If you are shooting under tungsten lighting, then shoot Incandescent WB. If it is imperative that the colors are absolutely perfect, then do a custom white balance (called Preset WB Nikon cameras).

Now that your colors are accurate on your camera, the next step is to make sure your computer system is accurate. It is very common for the colors to look good on your camera’s LCD screen, but to look too red (or blue or green or yellow) on your computer monitor. The reason for this is that your computer monitor is out of calibration. Anybody who is serious about consistent colors should be calibrating their monitor on a regular basis.

Monitor calibration tools are relatively inexpensive to buy, but make a huge impact on your image editing. I recommend calibration tools from X-Rite or Data Color and they can be purchased as inexpensively as $100 to $150.

Assuming that all the items above are set properly and you have to reduce a red cast from the person’s face in Capture NX2, then there are a number of methods that are very easy to use.

The first and easiest way is to use a Color Control Point and then move the RGB sliders until you are happy with the hue. If you find that the reds in the face are too intense, you can simply move the ‘R’ slider, which stands for Red, until you are happy with the colors. (See photos to left).

Also, you can use the Color Control Point and click on the Color Picker and then on the Swatches. This brings you to a section where you can pick skin tones from a color swatch. It great for finding the appropriate skin tone for a subject and I’ve used this numerous times in the past to improve skin color.

If you don’t own Nikon Capture NX 2, then there still many ways to reduce the amount of red in a scene. One of my favorite methods is to use a curve and then make adjustments in the Red Channel (see figure to left). In this way, you are modifying only the red data and can reduce the color cast. Keep in mind that when you are adjusting the curve, you are affecting all pixels. Therefore, you might need to use a layer mask or a brush to ‘paint’ the changes into the areas you want (i.e. the face).

Thanks for the question Robert and I wish you good shooting!

Workshop and Business Updates


The November 2011 Safari to Tanzania Africa now only has three seats remaining. Our group of intrepid adventurers will be traveling throughout the Serengeti, Ngorongoro Crater, Lake Manyara and Tarangire NP in our specially modified Land Cruisers. It is the trip of a lifetime and a wonderful opportunity to check another item off of your bucket list! Here’s the link for more information about the Tanzania, Africa photo safari: Tanzania, Africa Photo Safari

These trips are so popular that I’ve added two more for 2012. The first one will be in May 2012 and the second in November 2012. May 2012 will include the Wildebeest rut during the Great Migration. November 2012 will include the Mara River crossing in Northern Tanzania. You can find more information on these adventures here: 2012 Safaris

Los Angeles

I’ve added some classroom workshops for Los Angeles shooters who want to learn the Nikon D300/D300s, Nikon iTTL Wireless Flash system and the Nikon D700/D3/D3s/D3x cameras. I’ll be holding the workshops at Samy’s camera ( in North Hollywood, CA from 4/14/2011 to 4/17/2011. You can find these workshops posted at the Nikonians Academy website ( We’ll be posting more workshops for 2011 soon. Look for news to be posted at the blog and on Facebook, and on Twitter.


We just added a brand new trip to Chobe, Botswana planned for July 29th ‘ August 5th, 2011. It is a very unique and fascinating trip that will be partially operated from a river boat and partially operated on land. The outfitters we’ll be using own two boats, each mounted with an array of Nikon 500mm and 600mm lenses. Since this is our first time working in Chobe, Botswana, we are offering a one-time special price for the trip that should make it enticing to travelers looking for new experiences. You can see photos of the unique arrangement here:

You can sign up for the Chobe, Botswana trip here:

Photoshop Workshop in Seattle, WA

That’s right, we’re bringing back Photoshop workshops to the Seattle, WA area this June 24th and June 25th. We’ll have two days of Photoshop for Photographers. You should bring your own computer loaded with Photoshop CS3, CS4, CS5 or Photoshop Elements. The skills I teach will be transferrable to any of these software versions. Here’s the link to sign up:

Portrait Photography Workshop in Seattle, WA

July 15th to 16th. We’ll be using strobes, continuous lighting, natural lighting and live human models. You’ll learn about posing, composition, controlling light, metering and exposure.


Our Galapagos trip will be posted as soon as I work out final details with the tour operators. We are now planning for September 2012 for our journey. Feel free to write me directly ([email protected]) if you have questions or want to sign up.

You can stay current with our new workshop by watching for news to be posted at the blog ( and on Facebook (, and on Twitter ( Custom Group Trips
If you have a group and want to arrange a custom photo safari or photo trip, contact us and we’ll put together an incredible itinerary just for you. Simply email or call and we’ll give you all the details for how to go about creating the trip of your dreams.

Private Tutoring

Every single month I run private workshops for people who want to learn in a one-on-one environment. These are great for folks who want to focus on specific topics related directly to their interests. Topics have included product photography, learning your camera, Lightroom, Capture NX2, wedding photography, Photoshop, color management, nature photography, digital workflow, macro photography, location portraiture and many others. I also regularly consult with businesses, schools, organizations and museums to assist with their photographic and digital workflow needs.

Call (253) 851-9054 or email ([email protected]) if you have questions about private tutoring or consulting.


Ok, that’s it for this month’s newsletter. I hope you take at least one or two key points from the articles and put them into practice right away. Now get out there and take some pictures! If you need more photo encouragement during the month, be sure to check out for regular updates, news, tips and commentary.

Best regards,
Mike Hagen

Out There Images, Inc. – “Get Out And Learn!”
PO Box 1966
Gig Harbor, WA 98335

email: [email protected]

office: 253-851-9054
mobile: 360-750-1103
fax: 206-984-1817

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