Fotobug Guide to Time Lapse Photography

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DSLR Time-Lapse

Wispy clouds gently fly past the viewer, thousands of stars rotate in the night sky overhead, and the sun rapidly falls below the horizon revealing the stars in the dusky sky. Einstein wrote that time is relative and we have come to expect events to occur at specified rates. However, through the magic of time-lapse photography, flowers flowers can  bloom and die in mere seconds, shadows can race across ac ross mountainous landscapes, and city traffic streaks through city highways. Surely you have seen amazing time-lapse sequences in nature films, on YouTube and Vimeo and even in commercial films. films. Speeding up the rate at which some some events occur  will often reveal details that would not be obvious when seen at their normal rate. Manipulation of time to see events that are not apparent to the unaided eye include highspeed video to slow down rapidly occurring events and time-lapse photography to speed up events which can occur over minutes, minutes, hours, or even days and weeks! High-speed video requires specialized equipment that is rather expensive. Remarkably, time-lapse  photography doesn’t d oesn’t require requ ire a lot of o f expensive equipment and most digital cameras ca meras are capable of creating these images. images. Since the images images are composed of separate still still images, video capability isn’t necessary. In fact, the very minimum requirements are a digital camera, a steady tripod and lots and lots of patience! patience! Also recommended is a trigger trigger release although you can just press the shutter button repeatedly. repeatedly. Just bear in mind mind that your final video will be determined by your ability to sit and repeatedly trip the shutter! More advanced users will want to use automated intervalometers and perhaps even automated camera sliders or motorized heads. Many of these these items can be fairly inexpensive and will ensure that you don’t end up going crazy or develop some form of  repetitive strain injuries by pressing a camera trigger every few seconds for hours at a time! History

Motion pictures and video normally are projected at a rate between 24 and 30 frames per  second (films are 24, video is 30 fps in the USA and 25 fps in many European countries). Let’s use 24 frames frames per second to illustrate. That means for every second second of screen time, there are 24 individual frames that are sequentially displayed to produce the illusion of  motion. The frames per second are the same for for capture and playback so the motion appears normal to us. However, imagine if you took a frame every minute for 24 minutes and then projected them back at the normal rate of 24 fps. Those 24 minutes minutes would flash by in in a second of 

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One of the first photographers to use time lapse was Eadweard Muybridge back in 1872 to help settle a bet on whether a horse has all four feet off the ground at one time. Muybridge was hired by the Governor of California, Leland Stanford to try to settle a bet. It took Muybridge a few years to come up with a system to record such an event and  began by firing 24 large glass plate cameras ca meras using threads to trip the t he cameras ca meras and then ultimately using a clockwork timing device (the precursor to an intervalometer). In 1877 he was finally successful in capturing the iconic galloping image on a single negative and proved that a horse indeed has all feet off the ground at one point in a gallop.

Realizing that if these images were projected rapidly, one after the other, this would give the appearance of motion and so the motion picture was born! In 1898, a German botanist by the name of Wilhelm Pfeffer, the director of the Leipzig Botanical Garden, created the first time-lapse sequence by photographing a tulip over  many hours and projecting the images back at regular film speeds to reveal the tulips  blooming and dancing on the screen!

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Basics

We have it much easier easier today than Herr Pfeffer and Mr. Muybridge. Muybridge. Our digital digital cameras  produce image sequences that can be quickly and a nd easily e asily made into video v ideo sequences. There are also some additional devices that will make the work and capture even easier! First of all you need to decide what time base you are going to use for final playback so that you can calculate the number of frames you will need, the period of time to cover  and how long will it take to capture these frames. Yeah, I know. Math sucks. sucks. But the math isn’t isn’t complicated! complicated! To keep everything easy and to help avoid confusion, I’m going to use a time-base of 30 frames per second for for the remainder of this guide in order to simplify simplify the concepts. Once you understand the underlying principals, it is easy to adjust the time-base to 24 fps or 25 fps or whatever you you want. I’m using 30 fps fps because that is the standard standard video playback  speed in the United United States and many western countries. Besides, it is is better to capture too many frames and speed the sequence up later in your video editor, rather than try to slow it down! Better to drop frames than try to artificially artificially create in-between frames with your  video editing software! For purposes of illustration, let’s say you want to capture a 2-hour event to be played  back in 10 seconds. 10 seconds of screen time t ime at 30 fps would require requ ire 300 frames. That’s 10 seconds x 30fps = 300 frames. So, we want to capture 300 frames frames over a 2hour period. Two hours contains contains 120 minutes minutes or 7200 seconds. 7200 seconds divided divided by 300 frames gives us 24, so we need to capture a frame every 24 seconds for a two-hour   period and that t hat would give us u s the t he 300 frames we need for our 10-second sequence. So you see, the math is rather simple (ugh!). You just need to to determine how much screen time you want and how long a period you want to compress into that screen time. It just takes some simple math to set up and begin capturing! Also be aware that if your time between frames is rather short and your exposure time is relatively long, you have to account for the exposure time as well in your calculation. For  example, let’s say that you want to record a frame every 5 seconds and will be exposing the frame for for 2 seconds. A 2 second exposure every 5 seconds is a total of 7 seconds. 7 seconds times 300 frames is 2100 seconds and divided by 60 seconds means that it will take 35 minutes to record the 300 frames! frames! If your exposure time time is short (like (like 1/30 second or faster), then you likely don’t have to include the exposure time in your  calculation, as it isn’t really significant. There are some rough guidelines to follow depending upon what you are capturing. capturing. For  moving traffic or fast moving clouds, clouds, 1 frame per second works best. For sunsets or 

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So, let us assume you want to record a sunset and still want 10 seconds of screen time. That’s our same 300 frames that are required. required. You decide to record a frame frame every 2 seconds, so 2 (seconds) x 300 (frames) = 600 seconds or 10 minutes! That means you you need to trip the shutter every two seconds for 10 minutes to capture the 300 frames that you need for for your final final sequence. Simple! The amount of frames to capture (generally you want at least 10 seconds of screen time) and length of time between frames is a skill that you will quickly acquire a feeling for. Just keep the rough guidelines in mind that I previously discussed. The time base you you choose choo se is only important at this stage stage for doing your calculations. calculations. You can always change your mind when you you render your still frames frames into a video sequence. If  you choose 24fps and it is too slow, just render it with a time-base of 30fps and vice versa! However, who really wants to sit and press a camera shutter every two seconds for 10 minutes, much less every 24 seconds for two hours? Not me, and I’ll bet bet you don’t either. Fortunately, there are some some clever gadgets that you can buy that will perform that task for you! Equipment - intervalometers

 Naturally you are going to t o need a digital camera, and you will w ill need one that will allow you to trigger the camera remotely. This may limit your your choices for point and shoot cameras, but most DSLRs should should allow allow remote triggering. There is a possibility possibility that your  camera may have an intervalometer built in. Many Nikon cameras have this capability and the new D800 can even combine the frames frames in camera into an MOV file. file. If it it does, then you may not need a remote trigger, although remote triggers are likely to be more flexible. You will also also need a good solid tripod and head. Since you are going to be recording recording a sequence over an extended time period, you want to be sure that the camera will not move or shake during the capture. If it does, the final sequence will shutter shutter and shake and will look look extremely amateurish. Avoid using the middle middle riser on tripods tripods and you may also be able to hang some weight on the middle extension in order to prevent the tripod from moving moving in the wind. For the head, a good ball head head or even a video head should work fine. Older, heavy aluminum tripods can often be found used and are ideal ideal for this purpose. There are lots of options for  intervalometers . An intervalometer intervalometer is a device that you you attach to your remote shutter port on your camera and can be programmed to capture frames over a period period (interval!) of time. An intervalometer intervalometer will automate your capture and allow you to take a break while it does all the work!

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However there are a number of third parties that make timers that may look identical to the name brand timers timers for a lot less money. money. I have a unit from from Linkdelight (www.linkdelight.com www.linkdelight.com)) for my Canon (they make them for other cameras too) that is only $25 and looks and works exactly like the Canon TC-80N3. If you do a search on Amazon.com, you will find several third party intervalometers, such as the Satechi, which which sells for around $50. Also, Also, Poloroid has a battery grip for for the Canon line of cameras that has a built-in intervalometer.

Canon TC-80N3 and Nikon MC-36 Intervalometers

On the higher end, Promote control (www.promotesystems.com www.promotesystems.com)) has a unit that sells for  about $300 and also can be programmed to do HDR time-lapse. Time-lapse+ (www.timelapseplus.com www.timelapseplus.com)) has a universal unit for Canon, Nikon, Olympus, Sony, and Pentax. It also offers offers bulb ramping, which is a special technique to gradually increase or  decrease exposure time for sunsets and sunrises. Another high-end intervalometer is the www.bmumford.com/), ), which sells for about $325 and has advanced Time Machine (www.bmumford.com/ capabilities. The Promote control was originally funded by Kickstarter.com as was the TriggerTrap  by Haje Ha je Jan Kamps. The Triggertrap V1 can be found at www.triggertrap.com and comes in three flavors: a pre-built model for $199, a shield only (build it yourself model) for $49, and finally, an iPad, iPod Touch, iPhone mobile version which is only $9.99 plus $19.99 for a dedicated camera cable and dongle. The Triggertrap has a lot of additional capabilities to fire a camera based upon certain events (sound, movement, etc.) and I would highly recommend looking into the mobile version. Enlight Photo also has a mobile intervalometer cable and app available, IOShutter – the

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a kit form (you will also also need a $30 Arduino chip) or o r $225 for a pre-built pre-built version. I will discuss the MX2 in more detail under camera sliders.

Trigger Trap V1

In addition to the mobile phone devices mentioned above, there are also computer-based applications which require require you to tether your camera to your computer or laptop. laptop. These aren’t as convenient or portable but there are a number of free and commercial options available. In addition, there are more more and more apps being released for for both Android and IOS devices. Equipment – ND filters

Finally, there are a few few other extra items that you you may wish to consider. consider. In a moment I’m going to discuss “ideal” shutter times, which in some instances can be somewhat long. For reasons yet to be discussed, ND (neutral density) density) filters may be necessary. necessary. You may want a range of filters or may even want to consider a more expensive variable density filter.  ND filters c

in two different classifications: either

filter filter factor or

filter filter density.

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Equipment - lenses

Although nearly any advanced digital camera should be able to be used to time-lapse  photography (and (a nd maybe even eve n some point and shoots!), sho ots!), you will need to consider your  choice of lenses. If you are going going to be capturing landscape time-lapse sequences, sequences, then a wide-angle lens is likely likely your best choice. Keep in mind your your camera sensor size needs to be considered when determining the focal length that you will need. A 20mm lens on a crop sensor DSLR (such as the 1.6 crop on a Canon 7D or the 1.5 crop on Nikons) would give the same angle of view as a 30mm lens on a full frame sensor camera, or a 35mm film camera. If you are planning to do star trails or night and low light time-lapse sequences, then you will want as fast a lens as you you can get (smaller f-stops). Unfortunately, these faster faster lenses are also more expensive! Equipment – tripod

You don’t need anything fancy for for a tripod, but it should should be heavy and secure! It is amazing how much a strong, steady wind can cause a tripod to move slightly. slightly. Some tripods have a center hook, from which you can hang additional weight to make sure it remains steady. The tripod head also doesn’t doesn’t need to be anything special. It just needs to hold the camera steady during the time you will be recording exposures. Of course, if your sequence is going to cover hours (or days or even weeks and beyond) you must take that into consideration as well. Equipment – extras

Since your camera is going to be taking many images for an extended period of time (or  even long exposures), you will need need as much battery power as you you can get. External  battery packs and battery grips gr ips (with extra batteries) can be extremely helpful.

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The aperture and shutters on still cameras can be very accurate and reliable, however, they weren’t intended for the kind of exposure accuracy that is required for time-lapse sequences. Consider the lens lens aperture. It is a mechanical device that must move move metal (plastic?) (plastic?)  blades to reduce the t he amount a mount of light passing through the t he lens and then move back into their resting place again. They must do this very quickly for still images – incredibly quickly! Imagine if you take an exposure of 1/5000 second, the aperture must must close and and open in less than 1/5000 of a second! Since the aperture is a mechanical device there will always be tiny variations in the amount it closes. Normally this won’t show up and isn’t isn’t a problem for regular still still images as the amount is quite small. However, for converting our sequence of still images into a video, the tiny variations could cause the final sequence to flicker like an old time movie (yes, I know old movies didn’t flicker when they were new!). Don’t despair. There are ways ways to work around around this problem! problem! The first way is is to always shoot with with the lens wide open. Setting the aperture wide wide open will mean it doesn’t have to close down and therefore cannot cause tiny exposure fluctuations. There are two disadvantages disadvantages to this method: depth of field field and daylight exposure. Since the lens is wide wide open, the lens is at the shallowest shallowest depth of field. field. As you reduce the aperture, the depth of field field increases. If you are using using a wide-angle lens (which (which already has a greater depth of field), field), this may not not be a problem. It depends if you you have something in the foreground that needs to remain in focus along with the horizon. The second problem is exposure. When the lens is is wide open we will need need a lower ISO combined with a faster faster shutter speed, especially in daylight. daylight. As I will will point out in a moment, the best-captured motion for time-lapse has a bit of blur so we actually want to drag the shutter (use a slower slower shutter speed). It is possible that you may may not be able to reduce the ISO to a low enough setting for the lens to be wide open and  to use a slow shutter speed. This is where ND filters filters come in handy! Simply add the necessary necessary ND

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The second technique involves involves using an older lens. Canon cameras will accept adaptors to allow you to use other manufacturer’s lenses (I personally still have my Olympus Zuiko lenses from my OM2 and OM4Ti days!). There is no automatic coupling between the camera and these lenses, so you need to focus and set the aperture manually, but for  time-lapse; this is is exactly what you want! For Nikon, you can purchase purchase older Nikon mount lenses, which should should also fit, but will also have no auto aperture or focus. The glass on these older lenses should still be excellent and you can often pick them up from auction sites very inexpensively! Shutters are also also mechanical and can vary slightly. If the shutter shutter varies by a mere mere .1%, it will hardly be noticed at 1/30 sec, but could have an impact at 1/5000 of a second! Fortunately, we want to use slower shutter speeds, so we really don’t need to be too concerned about a slight variance in the mechanical shutter. The reason we want slower  slower  shutter speeds is to capture a bit of motion blur in order for the final sequence to look  nice and smooth when played back. The amount of blur that is desirable for any give capture can be easily calculated. Let us return, for for a moment, to our motion picture picture capture of 24 fps. This is the standard standard capture and playback speed of modern modern motion picture film. Since the film is is passing through the camera at 24 frames every second, the slowest shutter exposure we can  possibly get is 1/24th second. However, due to the transport of each frame into the gate, we actually can’t capture at 1/24th of a second, as we need to close the shutter momentarily in order to allow the camera mechanism to pull the next frame into place and register it before it is exposed. Motion picture cameras have a disk shutter with a section cut out (usually around 180 to 190 degrees or so). When the cut out portion of the disk is in front of the film, film, light can  pass through. throug h. When the opaque part of the d isk spins into place, the mechanism can safely pull another frame into place, which is then exposed when the open portion rotates into place again. This allows allows the camera to pull 24 frames into into the camera gate to be exposed for each second. (Many modern modern motion picture cameras will allow allow the amount of cutout of the disk to be varied, but that isn’t important to this discussion!).

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 be around aro und 1.5 1. 5 seconds – or approximately half of the gap between each captured frame. For clouds and slow moving objects, this will likely be too long and you may have to experiment to find a capture speed that works for each subject. In some cases, such as HDR time-lapse, that may not be practical and the extra movement may impact the ability ability to line up the exposures! The total amount amount of capturing multiple frames may exceed the 3 seconds between frames, and I will cover some of  these considerations in the advanced section. In addition, you don’t want too much much blur, or some moving objects objects may disappear entirely! Consider the amount of movement in the frame; little movement will require longer exposure times and rapid movement, shorter times! Technique

In the previous section I discussed some potential issues with the camera shutter and aperture. However, there are other settings settings on our digital digital cameras that we don’t want to change from frame frame to frame as well! I recommend using using manual for for everything! Don’t let the camera automatically adjust any setting or you may end up with strange artifacts, color shifts, or other issues such as the nasty flicker problem. ISO

Choose an ISO setting that is appropriate for the light (considering shutter speed and aperture, of course!). Also consider consider how much much noise you are willing to tolerate. For  low-light time-lapse sequences, you may wish to use higher ISO settings, but consider the amount of noise your particular camera produces at higher ISO settings. Manufacturers are managing to reduce noise levels and permit usable higher ISO settings for each generation camera that comes on the market. Currently, Currently, on my Canon, I would likely limit the upper ISO to no more than 3200. However, I recommend recommend you avoid using Auto ISO, as this setting will be more than likely to create flicker in your final sequence. White balance

The same logic applies to your white balance setting. Set it with with custom white balance,

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you are doing low light captures using the intervalometer to control the shutter speed, then you will likely likely need to set the camera on Bulb setting. setting. Bulb will keep the shutter  open as long as the camera shutter button (or cable release) is pressed. Before we continue, here is a little trivia about the origin of the “bulb” setting. setting. In the early days of photography (back in the mid 1800s), glass and metal plates needed a lot of  light to expose them. So, the photographers would would trigger the cameras with with a squeeze  bulb and a nd hold ho ld it for the time required requ ired for the exposure and then t hen let go, or set off flash  powder. That is why the t he time exposure shutter control c ontrol today tod ay is still called “bulb”. File Format

Your choice of which which file format to use is largely largely a personal one. If you want the maximum amount of control over each frame, then you will want to use the RAW format. However, RAW images are going to take up more storage space and will require more  postproduction work. Some cameras ca meras do have smaller RAW image sizes, which will help to save on storage room. Full high definition frames are 1920 pixels x 1080 pixels which is the same as a 2 mega  pixel file. Even at the smallest s mallest JPG settings, settings, your camera is capturing a larger image than this. Therefore, you will be capturing capturing more than enough resolution that will will even allow allow you to add “pan and scan” movements movements to your final sequence, if you you wish. This will allow some additional movement in the frame if you don’t want to resort to more expensive camera sliders or other mechanical movement devices.

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File formats compared to HD video

One last tip – if your camera allows you to create folders on the memory card, I like to create a new folder for each sequence, which helps me organize and process my image sequences.

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If you do an Internet search for camera sliders, you will find many versions such as the Igus (www.igus.com - also available on Amazon.com) and Glidetrack  (www.glidetrack.com www.glidetrack.com). ). However, you need need more than just just a track – you you need some method to move the camera on the track during or before each frame. If you are interested in moving the camera, then I highly recommend you check out the open source project from Dynamic Perception (www.dynamicperception.com www.dynamicperception.com). ). They have a track system available for about $900-$1000, but if you don’t mind a little effort, you can save some money by doing it yourself. The heart of the Dynamic Perception system is the MX2 motion controller. You can  buy this pre-made for $225, $225 , or you can buy a kit for $55 and build it yourself (you ( you will w ill also need an Arduino microcontroller microcontroller board for about $20). The MX2 features free open source software, which will allow you to control up to two motors (such as one for  the slider and one for a motorized pan head!) and also acts as a full-featured intervalometer!

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In addition to moving the camera along a vertical or horizontal structure, some systems also allow allow you to add pan and or tilt options to to the camera. All of these these moves can really enhance your finished video, if done correctly and with a purpose, but it also complicates the setup and capture. I’ve also read some articles on the Internet about time-lapse photographers who have used motorized Meade Telescope heads modified modified to accept a camera. These heads allow allow you to pan and or tilt the camera and could create really interesting moves if combined with a camera slider. Time-lapse HDR 

HDR still photography can produce some amazing images. Imagine taking the HDR  technique and apply it to a time-lapse time-lapse video sequence. Well, many of the intervalometers will allow allow you to capture multiple frames for for HDR capture. Naturally, Naturally, this complicates your setup. First of all, you want to capture a scene that suits suits HDR (high (high contrast scenes). You also need to consider consider the extra storage for the multiple multiple frames as well as the  post processing work. Finally, there will be additional time t ime required to capture all three frames and that time needs to be taken into account, especially if you are doing low-light  photography. For post processing the HDR captures, you will need software that can batch process your HDR frames. Imagine individually individually processing hundreds of images manually! manually! Most HDR software packages allow you to adjust the first set of captured images, and then

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The software program GBTimeLapse (http://www.granitebaysoftware.com/ http://www.granitebaysoftware.com/)) only runs on Windows systems but will also allow you to program in ramping to increase or  decrease exposure during the sequence capture. GBTimeLapse has a lot of other  capabilities as well, but does require you to take your laptop into the field with you! A technique, which I haven’t tried yet, but should work, is to set your camera to take  bracketed exposures, just like HDR. However, instead of taking an a n under-exposed image, correct exposure and over-exposed image, set the bracket to take an image one stop over (or more), and another two stops over (or more for sunsets – do the opposite for  sunrises). When you go to process your images, select the first first range of frames until the exposure on the last frame is too underexposed, then select the next sequence and do the same for the third third sequence. You will need need a program such as LRTimeLapse to smooth out the exposures, but this would allow you to record up to 4 stops difference and even more if your camera allows more than three bracketed exposures (such as many Nikons and high end Canons). Star trails

Star trails don’t have to be video sequences of the Milky Way rotating in the sky, but can also be a still image with the movement of the stars creating a streak and circling around the North Star. As I already indicated, avoid aiming the camera toward the east or west and in the northern hemisphere it is best to aim in a northerly direction and in a southerly direction

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So, if you have an APS-C cropped sensor (1.6x) and a 10mm lens – the 35mm equivalent focal length is is 10mm x 1.6 or 16mm. Divide 600 by 16 and you will get 37.5. So, 37.5 seconds should be the maximum shutter exposure to avoid blurring the stars. However, I wouldn’t be too concerned about streaks for a video sequence and if you want a star trail still image then you you want the streaks anyway! For the above example, I wouldn’t hesitate to use a 1-minute exposure, or perhaps even a bit longer. You may be wondering why I’m discussing a star trail still photo in this section when this guide is about time-lapse sequences. sequences. Glad you asked! If you you want a long star streak, that would require leaving the camera shutter open for 30 to 40 minutes, minimum, to several hours! This causes a few problems. One is the fact the battery(s) battery(s) must be be capable of   providing enough enoug h power po wer to keep the t he shutter open. The other ot her problem is noise. The longer the shutter remains open, the more heat the sensor generates and the more noise that is produced. So, a better method method would be to shoot a number of still still images of 

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Another interesting option is LRTimeLapse (www.lrtimelapse.com www.lrtimelapse.com). ). LRTimeLapse works with Lightroom from Adobe and not only allows you to export your still frames as a video sequence, but also has some interesting techniques that will allow you to reduce, or eliminate any flicker that may occur, and can be used to ramp exposures gradually for the ”Holy Grail” of sunrises and sunsets! www.lwks.com)) is another program available for multiple platforms and is Lightworks (www.lwks.com a professional professional based editing software that has a free version version as well as an inexpensive  paid version. Lightworks has been used to edit some well-known Hollywood motion  pictures and is worth checking out! o ut! If you are attempting an HDR time-lapse sequence, you will have to batch process all your HDR frames with your favorite HDR software before you can import them into your  video software and create a video video sequence. If your HDR software software changes the name of  the final output file, you can always use GBResequence to rename them!

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Recap

Here is a summary list of the steps required to capture a time-lapse sequence: 1. Determine your time-base, that is the frame rate that you will be playing back  your final sequence (usually 24 or 30 fps). 2. Determine the length of time time of the sequence you you want to capture. This is is optional, but you will likely likely want at least a 10 second sequence. sequence. By using your  your  time-base, you can calculate how long it will take to capture the necessary frames for the sequence length. 3. Decide on the rate that you you want to capture. That is, is, 1 frame frame every 3 seconds, 1 frame every 30 seconds, etc. 4. Figure out the ISO, shutter shutter speed and and aperture for for the lighting lighting conditions. Remember that you may wish to drag your shutter a bit in order to introduce some

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Formulas Number of frames required: Total video length (seconds) x frame rate (fps) = number of frames required. Example: 12 seconds of finished video x 24fps = 288 frames Total shooting time: Total number of frames x (interval between frames + exposure time in seconds) = Total shooting time required. (Note: exposure time can be ignored if it is relatively short!). Divide by 60 to get number of minutes. Example: 300 frames frames x 5 seconds = 1500 second. 1500 seconds/60 = 25 minutes minutes “Ideal” shutter speed (for motion blur): Just under 50% of the frame interval. So, if you are capturing capturing a frame every three seconds, you will likely have the best results with an exposure that is around 1 to 1.5

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Resources Hardware – 

Amazon – www.amazon.com – www.amazon.com - intervalometers, ND filters, books, etc. Link Delight – www.linkdelight.com – www.linkdelight.com - intervalometers, ND filters, etc

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W e

hope you enjoyed this free guide and hopefully it will help you get started creating your own time-lapse time-lapse videos. If you have any questions, don’t hesitate to contact us and  please continue co ntinue to tune in to our bi-weekly podcasts at www.thefotobug.com - or better  yet, via one of the major major podcast feeds such as iTunes, iTunes, Zune, or Miro! You can also