How to photograph lone trees and golden eagles

coming up on this episode of photography  online we kickstart the subject project   and invite you to get involved we photograph  one of the world's most iconic birds in our   new regular feature wild diaries we take  a look at some of the photos you've sent   in for critique and we give you a tour  of a few easily accessible locations   it's all coming up in our new format show  so sit back and make yourself comfortable welcome to part one of our january episode of  photography online i'll be telling you what you   can expect from part two a little bit later on  in the show but first let's get right into the   action with one of our brand new features for 2021  the subject project this is where we take a look   at a popular photography subject talk you through  the process of how to shoot it and then invite you   to give it a go and send us your results we've  got a long list of subjects to include over the   coming months but what better place to start  than with that landscape classic the lone tree when it comes to focal points in the landscape  is there anything more appealing than a lone tree   when they work well there's nothing better to act  as an anchor point for the eye to settle on but   it's not as easy as just plonking it onto the rule  of thirds the first thing we need to do is find   a suitable tree not only does this mean a tree on  its own but one which has an attractive form to it   there are no rules here except to say  that when you see one it will be obvious   i first discovered this tree when i  was driving along the road over there   and although i couldn't stop that time because i  was on my way to the airport i made a mental note   to return here another time and explore the area  for further potential the most important aspect of   maximizing the potential impact of a loan tree is  getting your viewpoint right by viewpoint i mean   the exact position of the camera when the photo  is taken changes to the viewpoint will make a huge   difference to the end result this is something  which cannot be changed at the post-processing   stage which is why it's so important to get  it right before you press the shutter button   the first thing we need to do is work  out which angle our tree works best from   now some trees will afford you the luxury of being  able to walk all the way around them 360 degrees   whereas other trees will limit you to just a few  degrees if your tree is in the foreground then as   you move around it two things will change firstly  the form of the tree itself obviously looking at   it from different angles will give different  shapes to that tree and one angle might be   particularly appealing whereas another angle you  might get branches overlapping in an undesirable   way the second thing that will change is the  background as you move around the tree obviously   the background is going to change for example  here i've got power lines to one side so i've   discounted looking at the tree from the opposite  side because i don't want power lines in the   background so sometimes it's pretty obvious which  angle is going to work the best but ultimately   you're trying to find the best balance between  the best shape of the tree and the best background   once we found our best angle the next thing  we need to do is find our best distance   do we go close up to the tree and shoot it with  a wide angle lens or do we come further back and   shoot it with a longer telephoto lens those two  options will give a very very different result   watch what happens as i move closer to the  tree the background stays the same size   but the tree becomes much bigger in the frame this  allows us full control to balance the ratio of our   subject with our background a much underused  element of composition in this scenario here   i've decided to shoot the tree from quite  a long way back because i want the top of   the mountains to go way over the tree when the  trees backlit the leaves will catch the light   but the background will still be in shadow and  that's the contrast that i'm looking for here now that we've identified the best angle and  the best distance we can now be confident we're   standing in the perfect position but there's one  final dimension to consider height so do we get   down low and shoot from this kind of height or do  we work from higher up now the two will be quite   important and generally speaking you'll find that  if you're using a wide angle lens getting down   low here will be beneficial because you'll bring  the foreground right into the front of the photo   in the situation we're using a longer lens  this is a 300 millimeter lens here then   you'll find that height actually doesn't make  that much difference because you're probably   not including any foreground anyway i can't  stress the importance of viewpoint enough and   you should invest as much time as possible into  making sure you have this as perfect as it can be   sometimes just moving the camera a few  centimeters can make or break a photo   for example if you need to perfectly line up  foreground elements with background elements   now that we've found our best viewpoint it's  simply a case of going through the usual checklist   of composition depth of field exposure  etc the same as you would with any other photo one thing we need to pay attention to  is whether the tree itself is moving   now if it's windy the branches are going to be  swaying in the breeze and our exposure time either   needs to be fast enough to freeze that movement or  long enough to intentionally blur it attractively   only you can decide which one's best for you now  on today there's no breeze at all so my tree's not   moving so i don't have to consider this but on a  breezy day it's just something else that you have   to think about two other considerations are the  sky and the light there are no hard and fast rules   when it comes to the sky you may want to totally  clear sky if your tree is large in the frame and   protrudes above the horizon but if you have large  areas of empty sky then you'll probably want some   texture in the form of clouds only you can decide  what will be best in your scene but the most   important aspect is that you consider this  don't just accept what you have at the time   as waiting a while or returning on another  occasion may result in far better conditions   when it comes to light assuming your tree  works well in direct light you need to decide   which angle of light will give the best result  trees can work well side lit or backlit as they   often make great silhouettes the one place you  probably don't want the sun is right behind you   as you will then be seeing the tree from the same  angle it's being lit from which provides a very   flat light the only exception to this is if you  have a rainbow over your tree in which case the   sun has to be directly behind you so keep a  lookout for suitable lone trees that you can   use as a focal point in your landscape images  and they don't have to be massive in the frame   they can be quite small and subtle just acting as  an anchor point for the viewer's eye to settle on   by far the most difficult part is identifying  a suitable tree in the first place   once you've done that then invest as much  time into finding the best viewpoint of the   tree because that's really important once you've  got those two things sorted it's just a case of   patience waiting for the right light to really  show off the tree to its best you may have to   wait a while or even return several times before  you get the tree looking perfect good luck and   send us in your lone tree photos we'll feature a  selection of our favorites in next month's show   winter it can be a great season to shoot lawn  trees but they do work all year round so there's   no excuse not to get out and give this a go do  let us know how you get on and as marcus just   explained send us your results and we'll show  our favorites on next month's show details of   how to send them in are in the links section down  below now before i go any further i really wanted   to say a huge thank you to everybody that has  become a photography online supporter recently   in last month's show we gave you a brief look  behind the scenes so that you could see what's   involved in the making of the shows and many of  you have welcomed that opportunity to support us   as we strive to improve our content going forward  so thank you so so much it really makes a huge   difference to us if you enjoy and appreciate  the work that we do here and want to find out   about becoming a photography online supporter  simply click the join button which will be   down here somewhere if you're watching on  a computer that is or if you're watching   on another device you can simply go to the  relevant link in the video description all   right well it's time for another new feature for  2021 wild diaries this is going to be a monthly   segment all about how to photograph wildlife both  in your local area and further our field as well   we'll be covering two primary locations within  the uk but will occasionally be venturing   to other areas as well in order to bring  you special episodes we've got a long list   of subjects and thought we'd start with one of  the more ambitious among them the golden eagle it's the middle of winter and we've got a  brief reprieve of the high winds we can often   get here on sky and i'm venturing uphill  to lead a wildlife photography workshop   in search of one of my favorite  animals in the world the golden eagle if there's only one thing i could watch for the  rest of my life then the golden eagle would surely   be it found right across the northern hemisphere  i've watched them from the canadian rockies to the   italian alps but for me they're a quintessential  icon of scotland and the irish sky is one of the   best places to see and photograph them my approach  to photographing eagles is fairly unique and as   far as i know there's no one else offering  days out to capture golden eagles like this   the aim to get up into the eagles world the  typical view of an eagle is from down below   looking up inevitably giving you a silhouette  which is no good for photographs golden eagles   get their name from the incredible markings over  their head and shoulders and you only get to see   these once your eye level with them or up above  them although it takes more effort to like a   telephoto lens uphill when you get amazing views  of an eagle it makes the effort totally worth it it must be along those rocks somewhere  just there that i would expect to   see one flying around eagles have regular  flight paths so waiting next to places   where they're likely to fly close to a hill  or ridgeline is the best method of getting   the perfect picture on this occasion it wasn't  long before we saw a pair off in the distance   see the edge of the rock from the sheep  yeah go directly left from the sheep   until you hit the edge of the ridge and it's  basically sitting there on a mound of grass   but if i bring up on the back of the  screen here we can both look at it   one is there see it oh yes and the other  there's the other one it's just taking off it's coming straight towards  us right along the top there   told you it's exactly what it was going to do oh everyone's taking off  now going towards the sheep   oh no it's landed again it's  unbelievable it's looking straight ass   just keep an eye on that because that might  if it flies that will come straight towards us   and you will actually get a be able to get a  shot there you see it's doing this uh it's like   drooping its wings and that's called mantling and  it's protecting a kill but it's pecking something   a rabbit or something they must have must have  something you want to see with the binoculars oh there's the other birds just flying back  over there finding eagles is just half the   battle getting a decent image of them can be  incredibly challenging nice shot with it with the   hebrides in the background there that's  beautiful it's lovely with the sea behind it   i don't know where to look one day and one  there what's the other one is the other one   still doing its uh mantling no not actively it's  off now trying to keep up with the fast eagle   even in level flapping flight like that they can  reach 120 miles an hour so and if they get a glide   going and if he gets the wind behind him which he  will get behind him in a second yeah he'll be plus   150 miles an hour in the glide and if they  decide to stoop that's why they're the   second fastest bird in the world trying  to focus on something moving that quick   is not easy i try to keep things as simple as  possible shooting wise putting all concentration   on focusing and tracking my subject a fast  shutter speed is essential for freezing the action   and compensating for any of our own movement as  we swing a telephoto lens around if we walk up   to near where it was perched one because i want  to see if i can find if it had any prey up there   but we'll walk along and if we wait up there  that's the best way if we just sit and wait as we reached the ridge it  wasn't long before one of   the eagles reappeared and treated  us to a close encounter look why   bloody hell we can't run closer than that oh not bothered in the slightest so it doesn't really matter what shooting mode  we're in to be honest whether it's automatic   or manual or aperture priority all we're concerned  about is getting a sharp image we can deal with   any small exposure problems it's slightly too dark  or slightly too bright we can fix that but we need   a sharp shot so we want a nice fast shutter speed  and we've already set that i think so we're on two   thousandth of a second we also want to make sure  we've got a nice selection of autofocus points so   if you're confident select just one point but to  give yourself a better chance i would select maybe   a grouping of nine in the middle and that's  easier if the eagle is slightly further away   wildlife can never be guaranteed and this is  one of the appeals of photographing animals   the unknown the jeopardy the tension over the  coming months on wild diaries we'll be taking you   along on a number of different adventures keeping  you up to date with ongoing stories as we follow   various species across the seasons next month i'll  be going in search of a local otter family to see   how they're getting on now of course we don't  all have golden eagles and otters accessible   on our doorstep and with this in mind we'll  be looking at what might be more achievable   in your local area my colleague james mccormick  is known for his ambitious shots of birds and   wildlife which he finds in his local area so  he'll be making regular appearances to keep us   up to date with what he's up to let's find out  what we can expect from him thanks harry and   welcome viewer welcome all down here to devon  and cornwall and to my new local patch now i'm   actually yet to set foot in this two acres or so  of old abandoned scrub land that lies all around   me here but it seems to have so much potential it  seems to be a complete oasis for nature now there   are unlikely to be eagles down here and big game  is almost certainly off the agenda but there will   be plenty of other things to keep me occupied  and distract me from that pesky day-to-day   paperwork of that i'm sure now everybody  has something that's local to them be it a   park yard nature reserve patch of scrubs such  as this and with some patience perseverance and   most importantly of all observation it's amazing  what can be found and easily and readily enjoyed   and that is the essence of a local patch  this is all really exciting for me so i'm   off to have a good poke about and see what's  what and maybe even take a picture or two   i'm really looking forward to keeping up to date  with what the guys are fine to photograph over the   coming months and as wild diaries is sponsored by  kite optics who make some of the best binoculars   on the market we'll be giving away top spec prizes  in future episodes as well so you definitely don't   want to miss that now last month was the first  anniversary of photography online and no party   can be called a party without gifts i had this  box of 10 prizes to give away and all you had to   do to begin with the chance of winning one was to  keep a lookout for this box somewhere in the show   it actually appeared twice every time you saw  the photography online office which was around   25 minutes and 30 seconds and then again at 38  minutes and 40 seconds but we accepted anything   within 10 seconds either side of those times as a  correct answer over 2 000 people got it right and   we've picked out 10 winners and we're now going to  randomly assign each of them a prize so i have got   this patterson developing tank with the 10 names  in it incidentally you can actually win this as   part of this prize so here we go let's grab the  names first up is going to be this item here   which is the monopod and our lucky winner for the  monopod is john cusick i think it's your surname   john cusick congratulations uh the monopod is  yours let me just pop that down there next prize   we have got is the bamboo tripod and  the lucky winner of the bamboo tripod is   callum rankin callum congratulations to you you  have got the tripod i need to just delve into   the box and get the rest of them apologies there  it goes it's sturdy it's fine right next up inside   the prize box we have got this case 150 millimeter  holder system and the lucky winner of this   is chris sydney chris congratulations  to you that is yours next up we have got   delcon devices memory card and this goes to  martin reed martin congrats to you that is yours   next up we have got a  cleaning kit and this goes to   terry jones terry congratulations that is  yours and we're getting there we have got   a tripod head very nice one this is going to scott  love scott congratulations to you that is yours   keeping all these safe out of the mud down  here hopefully uh we have got our set of case   mobile phone uh lens attachments i'm not gonna  bring them all out but there are three in there   so these are going to uh that is johnny bakken  congratulations johnny uh those are going to you   finally i believe is um another memory card this  is going to stephen davies congratulations stephen   to you two more names what am i missing oh the  box in front of me this developing kit is going to   jason heaven congratulations jason that is yours  and finally it's what i'm sitting on it is the   wok stool actually you're not getting this one  you're getting a brand new one so don't worry   goes to peter butler peter congratulations  to you so there we go ten prizes   uh that should keep our postman busy for a little  while and we'll have many more great prizes to   give away in future shows we now release two shows  every month on the second and the final sunday so   if you're not already subscribed make sure to  check our channel regularly for new releases   now many of you have been sending in  your images for critiques so next up   to give them a thorough examination  is dr nick in the photography online surgery got a full waiting room so let's bring  frank goodall into the examination room this is   a raf atlas 400 coming into aberdeen airport now  it's quite a nice image has got potential but the   main thing for me and which is very distracting  is this tree bottom left hand of the frame   so there's a couple of things which frank could  have done here um i believe they shot this at   about 483 mil on a 150 to 600 millimeter lens so  he could have zoomed in to 600 millimeter and you   know excluded the tree or basically just wait for  the aircraft to get closer to him if he had waited   for it to come a little bit further down and then  the aircraft would have been nicely framed top and   bottom with by the the dark cloud at the top and  the dark cloud at the bottom you know just been in   this bright area maybe just somewhere around  about here and i've just been in frame nicer   one other thing i do really like is the  vortices or vortexes coming out of the   the rear of the aircraft just adding a you  know just a little bit extra to the image   now the next question we have i think they wanted  a bit of anonymity in the surgery this month and   because there's no name details in the email  and the email address can give away a name so   um really nice image of the the prince of  wales bridge or the second seven crossing as   it's better known as i so much promise this  image so i'll start off with the positives   first up we've got the leading lines coming in  from the left and the right and going into the   middle of the frame the beautiful light you  know created by what i believe will be the   setting sun if we're looking over to the the  west just hitting the the ripples in the sand   in the foreground here just that really nice  bit of light there and also the textures you   know with with the ripples and the wet sand the  minor thing for me is just this is where planning   can really make a big difference to your  image and now what i mean by that is   the level of the tide so just coinciding it with  the you know the water filling this area here   and this area here so these areas  would have been filled with the water   and it would have just you know created in my  opinion a much stronger image you know at that   point it would have been an image that i would  have felt more comfortable hanging on my wall   and next up we have this rubber fly by colin  cook now colin has focus stacked this image so   what that means is he has taken multiple images  it could be 5 10 20 and merge them together in   photoshop now that gives you an image which has  got incredible depth of field which is what we see   here but the question is has the image actually  benefited from using the focus stacking technique   or would it have been better to use the  traditional macro shallow depth of field technique   now my personal opinion it's a difficult one  because i can appreciate the time and effort that   has actually gone into creating this image um but  yeah i would probably go back to the traditional   macro shadow depth of field where only you know  the eye portion of the subject would be in sharp   focus but the execution in this particular  instance you know colin has done a really   good job here so next up we have jens from denmark  with these greyhounds on the track very powerful   dynamic image the focusing is spot on the the  choice of exposure time is great in my opinion   you know you've got the heads of the first two  dogs um spot on crisp you know fully sharp whereas   you've still got the dynamism of the legs you know  just a little bit of blurriness in the legs which   you know really helps to to show how fast these  animals are going my only minor point for for this   image is how tight it is you know you've got the  you've got the tail of the dog on the left here   just going out of frame so it's only a minor  thing you know just how tight it is but if you   know if there's just a little bit more breathing  space around the image you know it would have just   you know tipped over from a nine to a ten maybe  so moving on to this image by philippe from   switzerland uh this was taken on a beach near  vic in iceland a couple of things here one is   the light the direction of the sun and it looks  like it's coming from slightly over the left-hand   shoulder so the shadows are kind of in the wrong  place not very long shadows it's probably taken   close to midday i'm guessing because the shadow's  not very long and also the the timing of the tide   you know you really you want water kind of  coming almost all around this sea stack i   would have waited for you know the sunrise or the  sunset i said just in the lower sun to coincide   with a higher tide so that the you know the sea  stack was surrounded by the water or even just   splashing up against the sea stack that would just  you know help to make this image so much stronger   and finally into the examination in this month  we have this image by john cuthbert of knapslock   absolutely beautiful images out of all the images  this month this is one that i would hang on my   wall so much atmosphere to it and created by the  the low sun probably the i'm guessing sunrise just   breaking through the thin veil of mist you  know creating this atmosphere in the image   three-dimensional created by this fence coming  in from the bottom left hand of the frame   you know pointing in towards this bank of trees  at the back the three boats you know overall it's   just a really nice image i mean i can't really  find too much fault with it maybe if there was   just a wee bit more of a gap particularly the  the first bolt and the second but maybe just   a wee gap between i'm just giving separation but  i say overall you know this is such a good image   so you know if you'd like to see  yourself in the examination room   in a future episode find out all  the details in the description below   thanks nick now in a couple of months time  we're going to be dedicating a whole month   to panoramic photography we'll be looking at how  to find suitable subjects how to compose in the   letterbox format how you can go about taking  panoramic shots as well as looking at some   of the iconic panoramic cameras and looking  to the future of the format as well as part   of these special episodes we'll be conducting a  panoramic surgery so if you have any panoramic   images and by that i mean around three times wider  than they are tall then send them in for admission   there's a link in the description below with  details on how to do this and if you don't   have any panoramic photos but want to give it a go  then make sure that you watch our dedicated shows   coming up as we'll talk you through the entire  process now all throughout last year we counted   down the top 10 views here on the isle of skye  which is where photography online is based all   these features are now available to watch in  a single show which you'll find on our channel   many of the locations that we featured were  quite demanding to get to and some of you   did comment that we should do a feature on  locations which are more easily accessible   and so to prove that we do listen to what you  have to say here's marcus to do exactly that   out of the top 10 views on sky which we featured  last year a couple of them can be shot right from   the roadside so if you're limited with your  mobility then don't discount lock fada which   appeared in our january show an algol which  featured in our july show there's also a lot   kilchrist which you'll pass on the way to elgol  to add a few more locations to those i'm going   to take a drive around the island to show you what  else you can shoot from the roadside and to prove   just how accessible these locations are i'm going  to set myself one rule i'm not allowed out the car   we'll start with our trek point on the west coast  simply park in the designated bay on the side of   the a863 halfway between sliggercon and dunbegan  if you have a high vehicle that will allow you   to see over the top of the fence if you're in a  normal car and you probably won't get a clean shot   so you might have to get out and stand up but for  me it's not allowed rules are rules now from here   you get a great view out to the west which means  especially in the winter time the setting sun   is perfectly in the middle of the gap there  that you can see out between the two headlands   but even in the summer if you arrive about  four or five o'clock in the afternoon   even though the sun's really high you get  a beautiful shimmer on the water and this   works really well especially if you've got a  focal point such as a yacht to put in the scene another 20 minutes up the road from archery point  is dunbegan castle and grounds this is well worth   exploring on its own and it's where we shot our  ballerinas for our fuji xt4 review in our october   show if you just want to photograph the castle in  its surroundings then drive past the entrance onto   the single track road after a few hundred meters  basically at the top of the small hill turn around   and you'll then see the castle nestled into the  trees ahead of you from here you get a great view   of dunbagen castle it's probably my favorite view  but it is quite a distant view so you are going to   need a long lens in order to make the castle quite  big in frame and also it doesn't really stand out   against the background because of the trees behind  it but one way to solve that problem is to wait   until the end of the day probably after about  four o'clock especially in the summer and then   the sun will illuminate the castle perfectly  and just help it stand out from the background   the next roadside location is right up in the  north of the island in the harbour town of ueek   as you come down the long hill into the bay  assuming you're approaching from the south   take the single track road on  the right signposted to shirder   now don't tell anybody but this is  actually the road to the fairy glen   just the locals don't put that information on  the sign because they want to keep it a secret   so a new car park is being built to handle the  huge amount of visitors this place now gets   if you drive a little further than the car park  you'll find yourself here by this lock which in   the right conditions can provide a great photo  opportunity so you really want to get here ideally   when there's no wind and you get a nice reflection  on the water of castle ewen which is the big rock   in the background there it's not actually a castle  it's just called castle ewen because it looks like   a castle ruin now in the morning you could be  shooting into the light because the sun rises   over there and if you get mist just rising off  the water that can work really really well and   then in the evening the sun's over there so it's  lighting the castle perfectly but as you can see   you can shoot this right from the roadside then  you have to get out the car however this is a busy   road so you don't really want to stay here for too  long otherwise you're going to block the traffic only drive to this point if you're not mobile  enough to walk the extra 200 meters along the   flat path from the car park once you've taken  the shot continue around the corner where there's   enough room to turn around on your way back to  ouig just as you start going down the steep hill   there's a view on the right overlooking  the bay with a church in the foreground   now this can be an amazing location which as  you can see can be shot literally from the car   we've got the church in the foreground  behind it we've got oog bay and if you   time your visit between october and march then  the setting sun will be in the perfect position the next roadside view is probably one of  the best known so we're not about to unveil   any secrets here right in the center of sky is  an area known as sliggercon you have to pass this   point whenever you're going from south to north  or vice versa so don't just drive past unaware   the attraction in this area is pretty obvious as  it's the main gateway into the mountains now most   photographers will stand on the new bridge and  take a picture of the old bridge in the foreground   with the mountains in the background i can't do  that today because it would mean leaving the car   if you're unable to leave the car then you  can park in this car park here and you get   a great view of the mountains and as a bonus  there's a new statue that's just been erected   now although you can see this from the car  park you don't get the best view so again if   you're able to leave the car and just walk 30  or 40 meters you can get a great angle on this   new statue for our final roadside view we're now  going to head to the south of the island to show   you a great location worthy of a drive-by shooting  this is the lighthouse at i alonso getting to the   lighthouse itself is actually quite difficult but  luckily it works well from a distance especially   if the background mountains are snow-capped which  they often are between december and april from the   town of broadford take the a851 towards armadale  and after 10 minutes you'll pass this sign for   ayalonsay turn left here and then turn right  when you reach the junction with the phone box   drive a couple of hundred meters up this road  and turn around on your way back to the phone   box people look out on the right for a  view through the trees of the lighthouse   it's only a very brief view so it's easy  to miss but you can shoot it from the road   just make sure you keep an eye out for other  traffic as you'll be blocking the way if you   are able to get out of the car and walk just a  short distance then going around the back of this   old boat here gives an unobstructed view all the  way through to the lighthouse there are many other   roadside locations around sky and many of these  are covered in the photographer's guide to sky   which has a table of all the locations according  to ease of access if you're only able to walk a   very short distance then you're basically  looking at anything in the green section   or the top half of the list you might not get the  elevated views you get from hiking in the cooling   or walking along the trotinis ridge but as you've  seen one of the appeals of sky is that you can get   some fantastic views without having to venture too  far from the road can i get out the car now please   so i do hope that was useful to you if you're  limited with your mobility but still want to   take some amazing landscape shots on sky in  future episodes we'll be exploring locations   from all over the world so that's just another  reason to subscribe to our channel so that you   never miss an episode that's it though for  part one of our january show but you don't   have to wait long for your next photography  online fix i'll be back in just two weeks time   with part two we will be making the most of the  early nights by doing some painting with light   we'll be pitching three 100 to 400 millimeter  telephoto zoom lenses against each other to   see which one comes out as champion plus we'll  be taking to the skies with our introduction   to drone photography where we'll be explaining  the new regulations there's all that plus much   more so i hope that you can join me until then  take good care but most of all take good photos you

Channel: Photography Online

Views: 46,316

Keywords: photography, isle of skye, camera tips, photography trips, landscape photography, photography show, photography online, highlands, scotland, photography tutorials, wildlife photography, digital photography, learn photography, how to take better photos, photography skills, camera skills, photography programme, Golden eagles, Lone trees, Marcus McAdam, Kite Optics, Binoculars, Walkstool

Id: XBBuBM6Y08w

Length: 37min 0sec (2220 seconds)

Published: Sun Dec 27 2020