Coming up on this episode of Photography Online,
we explain everything you need to know about lenses, we show you how to take family portraits
and we make something out of a plastic bowl. Welcome to part two of this month's Photography
Online which is sponsored by Surfshark VPN. If you don't know what a VPN is then stick around
as we'll be telling you how they can benefit you a little later on. In addition to everything
you just saw coming up, we'll also be looking at tripod and gimbal heads to show you how
they can benefit your long lens photography and we'll be showing how to choose the right
type of camera bag for your needs. That's all coming up in the next 30 minutes of action-packed
photography goodness. Once again we're bringing this show to you from Armadale Castle and I'll
be showing you around a little more later but to kick things off in style we thought it was time to
make a guide for everything you need to know about lenses. We receive a lot of questions and
see a lot of confusion about lenses and their various parameters so hopefully everything
is about to become clear. We also address one of the most common myths in photography
so eyes forward and make yourselves comfy. Of all the things you can learn
and know about photography there are a couple which seemed to cause more
confusion than all the others put together. The first of these is with aperture scale which
causes a lot of photographers to start scratching their heads as they try to work out why the bigger
f numbers equate to smaller physical apertures. And the second is to do with our focal range which
a lot of people over complicate because they think it does a lot more than it actually does. Over
the next few minutes I'm going to clear the mist, dispel the myths and basically make everything
as easy to understand as it really is. Let's start with the aperture scale. Each lens
has a maximum and a minimum aperture value and the difference between these two figures is called
the aperture range. The largest aperture is always stated in the title of the lens, eg 70-200 f/4.
But the smallest aperture on many digital lenses is not stated so the best way to find this out
is to put the lens onto your camera and adjust the aperture control until the value stops
moving. Some lenses will go as wide as f/1 whereas other lenses will go as small as f/90 but
the most common range we're likely to encounter is f/1.4 through to about f/32. Written as a
scale it looks like this. Now at first glance this may seem like a fairly random scale
but there is a pattern to the numbers. Basically every other number is a doubling
in value so even if we had never seen this scale before, we could make a good guess
to continue the numbers on either side. So what do these numbers refer to and why do
the bigger numbers equate to smaller aperture openings? This is because they're fractions,
hence why they're written as f over four or f over eight for example. F over four is simply
one quarter and f over eight is simply one-eighth. As we all know an eighth is half the size of a
quarter so this is why f/8 represents an opening exactly half the diameter of f/4. The “f” by
the way, stands for focal length, so f/4 is one quarter of the focal length. For example, if
we're using a hundred millimetre lens and we set the aperture to f/4, if we measure the diameter of
the aperture it will be 25 millimetres because 25 is one quarter of 100 millimetres. So f/4 on a
20 millimetre lens equates to a 5 millimetre hole which is a totally different size opening than
f/4 on a 400 millimetre lens which would be a 100 millimetre hole, but both will let the
same amount of light through to the sensor. So this hopefully explains why you don't
get things like a 500 millimetre f/2 lens because to get that you need an aperture of 250
millimetres which is that wide and that's not going to fit in your bag. All the aperture does in
terms of how it influences the image is firstly, the bigger the opening the more light it lets
through and secondly, the bigger the opening the shallower the depth of field - the area which
appears sharp. That's it. Apertures don't really do anything else. So now on to our second set
of numbers which can cause confusion. The focal range. This is really easy to understand but a lot
of people over complicate it because they assume it does a lot more than it really does. Basically,
focal range just determines our magnification. It doesn't do anything else. That's it. Shorter
focal lengths are referred to as wide angle, medium focal lengths are known as standard
and longer focal lengths are called telephoto. Focal length is measured in millimetres and the
bigger the number the more magnification you get. There's two different types of lenses
which we're likely to encounter. First of all we have the fixed focal length lens,
otherwise known as a prime lens. Now this here is a 35 millimetre lens. There's no zoom so I can't
adjust the focal length. It is what it is. Then we have the zoom lens which allows us to choose any
focal length within the range of the zoom so this here is a 70 to 200 millimetre lens allowing me to
choose any focal length between those two values. Zoom lenses offer us the luxury of having several
focal lengths all in one lens therefore saving us both weight and space in our bags, but they
do come at a cost. Generally speaking prime lenses offer much wider apertures so this one
here will go to f/1.4 whereas this one here will only go to f/4. Having a constant aperture
zoom lens like this, f/4 all the way through, is easier to work in manual shooting mode as the
exposure doesn't change as you zoom in and out. In just a moment I'm going to be dispelling
one of the greatest myths there's ever been in photography but before that here's my colleague
Harry to explain why Surfshark VPN can be useful for you. As photographers who work and travel
all over the world, we have a leave no footprints policy. It's the same when we're working online.
Surfshark VPN ensures our location is private and our data is protected at all times. You can stay
safe from being tracked online by changing your IP address which hides your true location even when
you're using public WiFi. With a single Surfshark membership covering multiple devices and servers
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clean web feature blocking those annoying pop-up ads, what's not to love. Surfshark VPN offers
great value and 24/7 support when you need it. If you want to get the same benefits we do then
use the code “Photography” to get 83% off and three months for free. With a 30-day money-back
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the links in the description below. One of the greatest myths, maybe
even the greatest myth in photography is that focal length influences perspective, i.e
the compression and expansion of a scene. Now you'll even read this in textbooks or hear it from
experienced pros but it's simply not true. Now I'm going to prove this to you now because I can
already hear some of you shouting at me. The most common misconception is that longer focal lengths
compress a scene making the background appear closer to the foreground and shorter focal lengths
do the opposite by stretching the scene, pushing the background further away. Have you ever heard
a photographer say something along the lines of, I use the telephoto lens to compress the scene.
Well this is all nonsense and if you're going to master composition then you need to understand
what's truly going on because if you think that changing your focal length is going to change
the perspective of the scene then you're going to struggle. So let me explain our experiment we're
going to do here. We've got our subject in the background which in this case is a church or what
used to be a church and then we've got our subject in the foreground. Where did she go? Oh, there
you are. And you're you've got to stay still, okay? You mustn't move. You see this heather
that you're standing on? You mustn’t move from where you're standing, okay? Because I need you
to stay a fixed distance from the church. Okay, so what I'm going to do is we've got a variety
of different focal lengths, the widest being 12 millimetres, the longest being 200 millimetres.
So what I'm going to do is I'm going to take a series of shots and I'm going to double my focal
length each time. So I'm going to start at 12 and then we're going to go: 24, 50, 100, 200. And
each time I'm going to also double my distance from my beautiful foreground subject here and
then we'll see what that effect has on how big and small the church becomes. So first one I'm
going to go two meters from my foreground subject which is about here and I'm going to shoot at
12 millimetres. So let me do this one here. Can I smile? You can smile if you
want to, I mean it's up to you. I'm going to come even closer actually.
I'm going to go to one metre because that's just the way I roll. So do you
think that's one metre away? No. What d’you mean? Right you've got to stay still
remember. Okay so what I'm going to do is I'm going to take a picture of you here at
one metre. You gonna smile? Strike a pose. The things to notice here are firstly how
much of the vertical frame Xiana is taking up which I would say is around 75%. Also notice how
far away the church appears to be in this shot. Now what I'm going to do is I'm going to
double my distance. What's double one metre? Two metres. Two meters, and I'm gonna double
my focal length. What does that say there? What's double 12? 24. Okay so we're
gonna go to 24. So double my distance which is there. I doubled the focal length.
Okay can you strike that pose again? Doubling my distance from Xiana will make her
half the size in frame but doubling my focal length will double her size in frame so the
net result is that she stays the same size, still 75% of the vertical frame. But the church
has become twice the size so appears to be closer than it was in the first shot. So that's
my one at two meters and at 24 millimetres, so now I'm going to double that again. So
what's double two metres? Three metres! What school are you going to? What's double
two metres? Four metres. Thank you. Right. Anyway, right we've doubled, this is four metres
here so strike your pose again, go. As you can see Xiana is the same size in the frame but the church
has doubled in size and appears to be getting closer, but I can assure you it is not. So now I
need to double it again, so what's double four? Eight. And what's double 50? 100. Okay so you're
gonna go to eight metres which is about here somewhere. Yeah looks good. Give me that pose.
Once again the church has doubled in size but by doubling both my distance to the foreground and my
focal length Xiana is the same size in the frame. So now we're gonna do one more. So I'm
gonna go to 16 metres, doubling it again, and I'm going to double my focal length from
100 to 200. Just bear with me for a moment. So this must be about 16 metres here. I'm at 200. Now the church looks like it's right behind
Xiana. This is one of the most useful tools in composition. Controlling the weight
of the foreground and the background to get the optimum relationship. So
here's the important part. Just to prove that it's my distance that's changing
the perspective and not the focal length, I'm now going to change back to the 12 millimetre
and take it from this point here. Bear with me. Don't worry, we're nearly there. So, I'm back to
12 millimetres. This is where I took the same shot at 200 millimetres so I'm just going to replicate
that again. Give me one more. So here's the proof that focal length does nothing to influence
perspective as the perspective in this shot taken at 12 millimetres is exactly the same as the
one taken at 200 millimetres. The size of Xiana compared to the church in both shots is identical.
The only difference being that both look far smaller in the 12 millimetre version because
that's what focal length does, it controls the magnification. If we crop into the 12 millimetre
version and compare it to the 200 millimetre version we can see that the two perspectives are
indeed the same. So as you can hopefully see, it's the distance from the subject which
compresses the scene not the focal length. If we now compare all the photos, rather than state
the focal length which is what you would typically see in a textbook, we should really state the
distance, as this is the force at play here. So the myth that longer focal lengths compress a
scene and shorter focal length exaggerator scene is totally false but I understand where
the theory comes from. And it's because we tend to photograph things that are a long way
away with telephoto lenses and things that are very close to us with wide angle lenses but it's
important to remember that it's our distance to the subject which is changing perspective not
the focal length so don't wrongly assume that focal length can squash or stretch a scene. A
lens can't bend the laws of physics. It just focuses the light onto the sensor. Focal length
does nothing but magnify that image. That's it. Let me wipe this lens a minute. Welcome to the Scottish summer. So hopefully that's cleared up a few
misunderstandings when it comes to lenses and what all the numbers mean. If you have
any questions then do please feel free to drop them in the comments section down below.
One area which can be a little confusing when it comes to focal lengths is how they appear to
act differently with different sized sensors. What might be wide angle on one camera suddenly
isn't so wide on another camera but this too is really not that difficult to understand so we'll
be tackling this topic in next month's show. Now as I mentioned earlier we hope to attempt
to inspire you to take more family portraits in the hope that you don't regret not taking more
photos of your loved ones further down the road. Ah, family photos. We laugh, we cry, we cringe
and we reminisce. And whether we're cracking open the albums or swiping through our phones
we all too often come across a lot of slightly "could be better" pictures which often
serve as our main memories of loved ones. But what about if we could just make it a little
bit better by ensuring the quality and light are both as good as they can be? Instead of
a hastily caught snapshot why not a well thought out photograph or at least a skillfully
captured moment. As photographers we've got no excuse not to have some great portraits of family
and friends to serve as memories of times gone by or even people who are no longer with us. So
even if landscapes are your first love or if you're more at home capturing your local bird life
you'll never regret having pictures of your loved ones that you can look at with great affection and
fondness in the future. So if shooting portraits aren't your usual form of photography then it
can seem quite daunting which is probably why so many of us don't take many of them but we're
not talking about shooting strangers here, we're talking about shooting family, like my brother, so
the usual excuse of fearing rejection is just not applicable here. In some ways it is more difficult
to take a photo or indeed pose for a photo when the person on the other side of the camera
is so familiar to us. Just crouch down again, Dad. However with a few simple tips you
should be armed with all the technique to getting great results that will hopefully become
treasured memories for generations in the future. So do you know who this is? Daddy. Whose Daddy?
You. My Daddy? No, you. It's me? Your Daddy? And who's this? Granny. Yeah, have you ever
seen Granny, have you ever met her? No. Why not? Because she died before I was born. Yeah,
she would have very much liked to have met you. Yeah. So here's some other photos. This is a
photo of Granny fishing. This wasn't typical Granny. I think that's probably the only time
she ever went fishing or ever stood in a river. She's never gone fishing when she was little?
I don't think so, it wasn't really her scene. She was more of a shopper than a fisher. This is a
very old photo. This was taken in, would have been mid to late 70s so Daddy would have been born by
then but he would have been much younger than you. And this one this is the only photo that Daddy has
with Granny when Daddy was a grown-up. So that was the last photo you took with Granny? It was the
last photo, yeah, because I didn't take any since and there was a reason. I can't remember what the
reason was but there was a reason for taking this. Somebody wanted a photo of us two together, so we
took it and then sent it to them. So thankfully that reason existed otherwise I wouldn't even have
that photo. There are a number of different styles of portraits that you can aim to achieve, such
as candid images, studio shots or environmental portraits, both indoors and outdoors. The approach
to each one can be vastly different but if we're after creating a memory then by far the easiest to
attempt and execute is the environmental portrait. Some people say they're camera shy and don't like
having their photographs taken and let's face it, when you've got a big lens and camera appointed
in your face and you're not feeling confident then we're never going to get a fantastic shot so we
have to learn to think a little bit differently. Everyone's got their own habits and personality
traits and if we can capture those that we can capture something a bit special and we're not
just taking an image, we're telling a story. I remember my mother as doing one of two things
she would either be outdoors on a nice day doing the gardening or indoors doing a crossword.
Now if I could go back to the time when she was still around, I would love to take a really
nice portrait of her sitting in her chair trying to solve a crossword because that's still
the mental image I often have of her now and it'd be really nice to have a physical
copy to maybe frame and put on the wall. Now my Mother wasn't particularly camera shy
but even if she was I don't think it would have been too much to ask if I just told her to
sit in her chair and try solving 18 down while I took a couple of nice environmental portraits
of her, maybe deep in thought pondering the answer or filling in the letters. It really
wouldn't have been that difficult, would it? Lighting is often one of the biggest
challenges but with a little know-how this can easily be mastered. Assuming that we're
taking an indoor portrait then there is something which can really help us out, something that we
all have access to - a window. Windows act as huge soft boxes if used correctly so here's
a few tips on how to make the most of them. Avoid direct sunlight coming in through the window
as this is likely to provide too much contrast. Either choose a window on a shaded side of
the building or wait for overcast conditions. A large window will let in more light
and create softer shadows which can be useful for full body portraits. A small
window will be fine for a head shot but you will need to position your subject quite
close to the window to get the best effect. When it comes to lenses you want to use a medium
or standard focal length and set your lens to its widest aperture. If you've got a fixed focal
length lens such as a 50 millimetre f/1.8 or 1.4 then this will be ideal but anything
between 35 mil and 85 mil will also be good. A reflector can be useful if you do have
direct sun coming through a window as this can then be used to bounce light back into the
shadow areas thus reducing the contrast. If like Marcus just described, you're aiming to catch
your subjects doing something they usually do then using a tripod may be useful as you can then set
up the composition, focus and then wait to capture those moments you want to freeze forever. If you
need to hand hold the camera to your eye for long periods of time your composition may wander
or your subject will be more self-conscious. The key to good portraits is to have
good communication between yourself and your subject. This is to put them at ease. This
shouldn't be such an issue with someone you know, but it is important to build anyone's confidence
to get the most natural posture and expressions, something that will make or break a portrait
photo. Try and avoid long silences as this will simply add to people's self-awareness. Engage
them in conversation to get their mind off of the task of having their photo taken. As
you can see there are lots of things to consider when it comes to taking portraits
but don't use this as an excuse not to do it. Time does pass quickly and kids grow up,
adults change and even disappear and once this happens we no longer have the opportunity to
record things as we wish to remember them. I hope that does inspire you to try to take photos
which mean something to you and will grow in value as time goes on. Like we said, as photographers
we really have few excuses not to do this and now you know how to do it that's one less excuse.
So as I mentioned, this is Armadale Castle which I explained about in part one of this month's show
but I wanted to show you around a little bit more. This is the award-winning museum, which takes
you through 1500 years of island history and is included in the admission price of just nine
pounds, so it's well worth putting aside a few hours to come here next time you visit Skye.
It is great for photography and gives a nice contrast in terms of subject matter to the wilder
landscapes you'll find elsewhere on the island. Now we often get asked to do a feature about
shooting video and we've been working on a series all about this so you won't have
to wait too long. In the meantime however, Harry has been out filming the dawn
chorus of birds and wanted to show us a DIY trick he's been trying to help him
get the best results for recording sound. Spring has finally reached the Highlands of
Scotland and though there may still be snow on the hills the birds are in full breeding
mode. I've been out photographing but also filming snippets of dawn chorus each morning.
Filming wildlife can be even more rewarding than photographing it as it enables us to capture
whole sequences of behaviour more fluidly. An integral part of any wildlife footage is the
sound. A little-known secret for you: sound in wildlife films or documentaries is usually added
in after capture. But what if you want to record sound at the same time though? Well that's what
I'm going to try today with a little bit of fun DIY, by building a basic parabolic microphone
on the cheap to try and rival this ,which is going to cost you at least 300 pounds. You can buy
all the materials you need for about five pounds so that's a serious saving. A parabolic mic is
essentially like a satellite dish. It collects all the sound and reflects it to a
microphone strapped across the middle. All you really need then in essence, is a large
round disc shaped object and a way to attach a microphone across the middle. You could use your
phone but I'm going to use a simple lav mic. Once you've got your
appropriately disc shaped object, we first need a way to strap a microphone across
the centre to help reflect all the sound. So I've got some bamboo cane which I've cut
to size just using a pair of garden snips and we can just lay that across the centre of our
dish. Now you want to make sure it's roughly in the centre as much as you can because that's going
to give you better sound and then we'll be able to strap our microphone across the top. Here
i've got a lav mic as I say, but you could use anything. You could use your phone or any other
basic microphone as long as you can strap it and point it in to the middle of the microphone just
like so, sorry into the middle of the dish, and again I'm just gonna duck tape that on, nothing
too fancy. The only other thing I need to do is I have a basic hot shoe mount so I can attach
this to the top of my camera so that when I'm pointing at any wildlife I'm filming, it's going
to capture the sound of whatever that is. So all I'm going to do drill a hole through the
middle there and uh and screw that on. Well it might not look like much but it's
for use behind the camera and I seriously doubt the wildlife is going to judge me. Now
there's been some cuckoos and some warblers calling next to my house for the last few
days so the plan is to set up and film them and try and record sound at the same time with
my DIY sound studio. A parabolic mic will capture sound that you point it directly at. That's why
I've chosen to mount mine on top of the camera so that when I point towards a bird to film I know
i'll also be capturing whatever sound it makes. Haven't had my luck with the cuckoos
yet this morning but what I do have is a load of willow warblers which are
probably my favourite spring migrant. Now I've found through some testing this morning
that I need to be within a couple of hundred metres to get the best sound. The further you are
away from the source of sound, the harder it is to capture. But through my headphones I can hear it
sounds pretty good. Let me unplug this parabolic mic. You'll be able to hear the difference
with and without. Pretty obvious I think. Well for 20 minutes of cobbling together and
a bit of spare change I'm really quite pleased with the results. I made one small addition
which is actually a milk bottle cap strapped to the back of the microphone to absorb a bit
of reflective sound but for something so cheap and easy to do it's been a fantastic way of
recording wildlife right in my own backyard. So give this a go if you're into a bit of wildlife
filming. Now the head that I've been using to film is known as a fluid head but this is not any use
for obtaining still images. There's one specific type of head which my colleague James is going
to explain for us as we head south to Devon. Now whilst wildlife photography isn't just about
using big heavy telephoto lenses, they do however have their place and obvious uses and do,
if used correctly, deliver amazingly sharp imagery. The downside is their weight. Trying
to hold a big camera steady with a big lens like this attached can be tricky and in low light,
with slow exposure times it can be impossible. Enter the gimbal. A tripod head designed to
support heavy or long lenses whilst giving you total ease and flexibility, moving the camera
around quickly to keep up with moving objects. As you can see a gimbal head allows the lens to
hang from a suspension arm rather than sitting on top as would be the case with most other types
of head. If I were to use this setup on my usual tripod head I wouldn't be able to loosen the
tension without risking everything falling over. The key advantage of a gimbal head over other
tripod heads is that once you position the lens correctly and the weight is perfectly balanced,
this means you can then tilt the camera up and down, swivel it left and right, slowly or indeed
rapidly, without worrying about correcting for the weight of the lens as it moves around. The gimbal
head only has two axis of movement: up and down and left and right. It lacks the tilt movement but
this is not needed when using a long lens as the tilt is controlled by using the lens collar. For
this reason you cannot use a gimbal head with a lens which doesn't have a tripod collar, so don't
think you can simply buy one of these to replace your existing head as it won't work. Or at least
it won't work efficiently. As with all tripod heads there are a wide variety of gimbals on the
market but they all essentially do the same thing. I've used a fair few in my time but this one here
is probably the best in my view. It's made from carbon fibre so it's incredibly lightweight
which is tremendously important to me but it is also really smooth in operation, not unlike
myself of course, but it makes it a joy to use. Gimbal heads not only save your arms from aching,
they also keep your expensive gear safe from falling and ensure you're more likely to get the
shot as you're always ready to capture the action and can relax behind the camera. If you do
want to lock the camera into a set position then you simply tighten all the knobs but as
you can see this really isn't overly necessary, as once balanced the lens will
stay exactly where you leave it, yet it is ready to be moved in an instant. Gimbal
heads are an essential piece of wildlife kit so if you have a long lens with a tripod
collar but you don't have a gimbal head, then you really should put one of
these at the top of your wish list. If you're interested in the gimbal model James
was using there it's one of the items that we sell in our online shop so there's a link
in the description below. There's also an alloy version of the same head which
although slightly heavier is even cheaper, so there's a couple of options for you if you're
looking for the ultimate support for a long lens. Also available in the shop are things like our
Essential Camera Skills book and Photography Online t-shirts and hats, so check those out as
all sales of merchandise help to support the show. And on the subject of supporting the show,
a big thank you to the hundreds of official Photography Online supporters who enable us to
keep the show running and allow us to not have to disrupt the flow with endless commercials. All
of our Super Duper and VIP supporters also get to join us for free on our monthly webinar Mc2 LIVE
which airs on the third Sunday of every month, but you can also purchase a one-off entry for
this if you'd like to join us and see what we get up to. Now we have been on a travel theme
this month with our top tips on how to take great holiday photos and how to pack your bag
so this next feature will fit nicely into place as we look at how to choose the right kind
of bag to give you the maximum convenience. I'm a self-confessed bagaholic so I need no
excuse to indulge. With options for travel finally becoming a reality for some of us, I thought I'd
take a look at three different styles of bag, each suiting a different type of travel
and photographer. Whilst all these bags in particular are ThinkTank, I'm not going to talk
specifically about bag models and brands but want to show the main advantages and disadvantages
of particular bag styles. Now there are many different options when it comes to photography
bag style so I simply can't cover all the options. Instead I've chosen three broad categories which I
think are going to be the most useful for people. We've got rolling luggage bags, messenger shoulder
bags, but first up and probably the most common, the photo backpack. There are literally hundreds
of configurations of the photo backpack. Some are small, some are big, some open at the back, some
at the front, pouches, pockets, straps, I could go on. Most however, will feature a nice padded
interior with different compartments to arrange for your equipment. The single biggest
advantage of a photo backpack however, well, it's on your back. Leaving your hands free
to use walking poles, carry a tripod and use your camera on the go. A camera backpack is the go-to
for many photographers, but what if you don't want a big bag strapped to your back? Lugging a large
rucksack might be great for an environment like this but if you only plan to carry one camera and
lens, maybe some extra batteries, then something smaller like a shoulder or messenger bag is going
to be much more up your street. These are less conspicuous than obvious backpacks and much more
suited to wandering the streets of Venice or Rome without attracting attention. I use this type of
bag on my trips to Africa as it's perfect to chuck by your feet whilst on safari, with some water,
wide angle lens and spare memory cards. Plus, they make you look more stylish! Now we can't talk
about travel without the dreaded thought of taking your equipment onto planes and into airports,
especially the seemingly 1000 miles it takes to get from security to your gate at London Heathrow.
But that's where a rolling camera bag like this one can really come into its own. Sturdy wheels
and a tough exterior make this ideal for flights and many are designed specifically to fit into
overhead luggage spaces, so you don't have to check your precious cargo into the hold. You can
fit a surprising amount of equipment into these and literally take the weight from your shoulders.
While perfect for strolling through a nice smooth airport, a rolling bag is not much good if
you've got slightly more challenging terrain to negotiate. Equally if you know you're going
to be shooting a wide range of subjects and need quite a bit of equipment a messenger bag is not
going to cut the mustard. Having the right tool for the job is just as important when it comes
to photography bags as it is for choosing the right lens for your subject. What's your favourite
style of bag? Let us know in the comments below. Most of the Photography Online team use ThinkTank
and MindShift bags and we've put a link to their website so you can check out their entire range
next time you're shopping around for a suitable camera bag. Sadly though, that brings us to the
end of this month's show from Armadale Castle and Museum but there's also a link to find out more
information if you want to visit and see all of this amazing scenery for yourself. Next time on
Photography Online, we'll be showing you something which has never been filmed before and will be
in the company of a true master of his trade, so I urge you not to miss that. If you enjoyed
this show please give us a thumbs up and help spread the word by telling your friends all
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ways that you can do that, such as becoming a Photography Online supporter or purchasing some
of our merchandise. Links to both of these are in the usual place. If you're already a supporter or
you're the proud owner of one of our t-shirts or hats then thank you so much. It's because of you
that we can continue to make these shows. Okay so my time is up, I need to go so until next time,
take good care but most of all take good photos.
