Latest Wex Roadshow Locations and Something That Stuck With Me

The last few days took me out on the road for the next two dates of the Wex Photo Video Roadshow, first at Milton Keynes and then up to Nottingham. Two very different days, and both of them a lot of fun.

Milton Keynes was the testing one. It's a relatively small store, so there was no space indoors to set up for my bit showing how I take portraits with minimal kit in a small space, which meant being out the front of the store, under a gazebo, in 34 degrees.

Working under a gazebo in the sun

It was hot, and on top of that we had the sun shifting round through the day and bright light coming in under the edge of the gazebo.

So the light was never quite the same for very long.

I had good company out there though, with my friend Carly from BenQ UK and my friend Dominic from Epson both under the gazebo with me.

I actually really enjoyed it; it kept me on my toes and it kept making me adapt, and more than that, it showed something I think is worth showing; whatever the environment, you can still make a good portrait … you just work with what you've got in front of you.

It was good to be able to talk people through the technical side of that, but also the other half of it, which is how I zone in on somebody so that all their focus is on me; voice, mannerisms, the way I talk to someone while I’m working. That's what helps them relax.

The people who sat in front of the camera

I wasn't photographing models over the two days, II was photographing whoever had come along and wanted to know more about what I do, which for me, is always the better way to do it.

My friend Mick Hampson came along at Milton Keynes and I got a portrait of him that he’s really happy with. There was also a lady called Deborah, a photographer herself, who hates having her picture taken, but she's seen her portrait since getting home and she's really pleased with it, which is just wonderful to hear.

Mick with one of the other portraits I took of him

Then after Milton Keynes I had a lovely dinner with good friends Mick and Ian Munro before setting off up the road to Nottingham.

Nottingham, and the luxury of air conditioning

Nottingham is a much bigger store, so this time I was actually inside, with air conditioning, which after the day before, that felt like a proper treat.

Great day again, and lots of pictures taken, including one of a member of staff called Sam.

I distinctly remember a lovely guy by the name of Kevin, who came along and told me straight out that he doesn't think he's very photogenic. We got a black and white portrait of him looking away from the camera, a bit moodier, a bit more contemplative, which he's now seen and he's really happy with it, and he said in an email reply that it's encouraged him to want to get back into taking portraits himself.

That sort of thing is why I do these days.

The bit that stayed with me

There was a chap at Nottingham who'd clearly been doing photography a long time. We got talking, and I invited him to take a seat so I could photograph him. His wife sat down instead, which was lovely.

While we were there, a friend of his came over and said to him, “oh, I'm surprised you're here, you already know how to do all this”, and he meant the setup, the lighting, all the technical side of it.

That stuck with me, because that's not what portrait photography is about.

Yes, it's important to have nice light on someone, light that complements them or creates the mood you're after, but the most important thing of all is the person in front of the camera.

Somewhere along the line, that chap's priorities had turned a hundred and eighty degrees, and the kit and the setup had ended up mattering more than the person sat in the chair.

It's the point I made over both days, and it's the one I'd want anyone to take away from this:

“If someone looks uncomfortable on camera, they will look uncomfortable in good light and in bad light. It makes no difference. So helping them become comfortable is the most important thing of all.”

Portrait, retouch, print, all in one go

The thing I enjoyed most over the two days was being able to show the whole process end to end, and that came down to teaming up with BenQ and Epson.

At Milton Keynes it worked like this…

I'd take a portrait, then bring everyone round the laptop, which was hooked up to the BenQ SW272U, the same monitor I use day to day at home. I'd talk through the edit as I was doing it, with people stood there watching it happen. Then I'd hand it over to Dominic, who printed it out on a matt fine art paper.

We did the same at Nottingham, although Carly wasn't there for that one, so I was editing on my MacBook Pro screen and then passing the files to Dominic to print.

Somebody could sit for a portrait, watch it being retouched, and then hold a print of themselves in their hands, all within a few minutes. People really loved seeing that hands-on, and clearly something people want more of.

The kit

Nothing complicated, and all of it small enough to go in the car for two locations:

• Fujifilm X-T5 and GFX 100S II

• Westcott FJ100 strobe

• Westcott Rapid Box Switch, the medium Octa

• Westcott X-Drop Pro background

That's the lot, and portability was the whole point of it.

The new FJ100 Storebe from Westcott perfromed flawlessly … and didn’t need a signle charge. In fact I doubt I’ll be charging it for the remaining tour dates.

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where I'm off to next

Both teams at Milton Keynes and Nottingham were incredibly engaging and so welcoming, and there was a real buzz about both days, so a HUGE thank you to them.

Norwich is next, later this week; quite a drive for me but I’m really looking forward to it, so if you’re in the area … I’ll see you there ( LINK )

I am Lyme - Group Portrait on Victoria Pier

If you're ever in Lyme Regis and you happen to be on the Cobb at 7.35 in the morning, you'll meet these gentlemen. Seven days a week, come rain or shine, they're there.

Each of them is very well known in Lyme. I've lost count of the number of times I've heard people talk about this group, how good they are for one another and how good they are for the town. More than once someone has said to me that if you ever needed help, these would be the first men stepping forward.

If you walk past them, all you'll hear is laughter. That morning walk is their own little bit of therapy, their own bit of escape, their own way of putting the world to rights. Whenever they stop and speak to somebody it's as if they've known them for years, and you always come away feeling better for it.

I'd wanted to photograph these men as a group for a good while to include in my "I am Lyme" project, because to me they really do represent Lyme Regis.

I was out with my great friend on Saturday morning and we happened to be on the Cobb, and sure enough, there they were. I stopped and explained about the project and they were more than keen, making jokes amongst themselves about getting their hair done and sorting out the makeup.

The following morning I went back, without telling them I'd be there.

I'd arranged to photograph Jason first ( LINK ) , so once that was done I carried my kit down to the far end of the Cobb, right by Victoria Pier. If you ever visit and go out on a sea fishing trip, that's the bit where you get on the boat.

The kit was simple. Flash on a stand with my 3ft by 4ft softbox, and I had the softbox positioned horizontally because I knew I wanted to spread the light right across the group rather than have it drop off at either end. My back was to the sun, and so was the back of the softbox. Then I sat down next to it all and waited.

At 7.35, they turned up.

I walked over to one of the guys, John, who happens to be the brother of Harry May, who I photographed a few weeks back for the project. I said, "John, I said I'd be here. How do you fancy doing the group portrait now?"

Two test shots, four frames, done. It took a couple of minutes at most, because the last thing I wanted was to hold up their walk.

As we were shooting, the wind picked up a bit and the stand needed some support, so I grabbed a volunteer from the group of people waiting to go out on a fishing trip. I never got his name, but he did a sterling job of holding everything steady.

I packed up and was about to head off to Town Mill for some breakfast, and I turned back to the guys and said, "Have a great day, and I'll see you soon with a print" , and each of them called out "Thank you Glyn" ,"Cheerio Glyn" , "See you soon Glyn"

I'd said my name once and each of them remembered it. I walked away with a beaming smile on my face.

This coming Tuesday I'm heading down to The Cobb nice and early to sit at the end of the Cobb by Victoria Pier with a coffee, and just wait for these great guys to turn up so I can hand them each their own print.

I cannot wait.

Photographing "Beach House Café Jason" for I am Lyme

I was up and out at 4.30 last Sunday morning to take an early morning sunrise photograph of a chap called Jason down on the seafront for my "I Am Lyme" project.

Jason runs The Beach House Cafe right on the front, and he's down there every single morning setting out the tables and chairs.

I've seen him loads of times, always a “Good morning”, and the odd bit of chat, nothing much more than that, but I've wanted to photograph him for a good while.

Turns out somebody else I'm shooting for the project soon had already mentioned it to him. So on the Saturday, when I was out with my friend Steve Healy and we happened to see him, we got chatting about the project and I asked him there and then. He was more than happy to be involved, and it was Jason who suggested six o'clock the following morning. So that's what we did.

Sitting down before picking the camera up

I got down there good and early and was set up by 5.30am, and before I even picked the camera up we sat and chatted, talking about all sorts.

That's when he told me he isn't originally from Lyme Regis; he's from Southampton, and a few years ago he was cycling round the world, all over India and Thailand, and he was making his way round the UK when he stopped off here and never left. He got the job at the cafe pretty much the next day and has run it ever since for the elderly couple who own it.

At one point in the conversation he also opened up about some fairly serious medical problems he's had to deal with in the not too distant past. It's not my story to tell so I'll leave it there, but it really struck me … you just never know what somebody has been through.

Taking the portraits

Once he'd finished setting up, that's when we started taking some portrait shots; all very slow paced with no rush at all, which was lovely.

It was genuinely a completely relaxing experience and that's exactly what I'm loving about the "I Am Lyme" project, much the same as I did with the veterans work. By sitting and chatting with people you get to know them a bit, you understand them a bit more, and I genuinely believe that comes through when you take their portrait.

The thing that really got me though was how many people said good morning to him while we were stood there. I honestly lost count. Everybody knows Jason.

The kit I used

Nothing complicated, and nothing I haven't used a hundred times before:

• Fujifilm X-T5

• Fujifilm XF 33mm f/1.4 R LM WR

• Westcott FJ800

• Westcott Rapid Box Switch Octa, 3ft x 4ft

• Westcott XT-1M remote trigger

• Tethered into Capture One Mobile on the iPad

Settings were ISO 100, f/4.0 and 1/125 sec.

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TTL to manual, and why I keep banging on about it

The flash side of it is the bit worth explaining, because it's the thing that makes a shoot like this so much calmer than it sounds.

It works like this.

I set the flash to TTL and take a frame, and the flash works out for itself what it reckons is the perfect exposure. All I have to do then is nudge it up or down on the dial on the remote until it's where I want it, and use the TTL to Manual function to lock that power in.

That's it. Pretty much one shot and the flash exposure is bang on and we're good to go.

From then on the flash fires at exactly the same power every single frame, so nothing is quietly drifting about while I'm working, and that's really the whole point of it for me. It keeps the technical side of the photography simple and quick, so as a portrait photographer my time gets spent engaging with the person in front of my camera instead of being distracted by the tech.

For anyone who's been put off by the idea of manual flash, it's a lovely way in as well, because you're letting the flash do the maths and then simply keeping the answer.

The ambient was the interesting part that morning.

The rising sun was over to camera right and it kept appearing and then going back behind the clouds, so the light was changing every couple of minutes. Rather than chase it, I set my camera for the ambient with the sun behind cloud and then only took photographs when it was behind cloud. Wait, shoot, wait again.

It sounds like a faff but it isn't. It meant the ambient light was consistent, and because the flash power was locked in manual, that was consistent too. Same background, same light on his face, frame after frame.

The print

I'll be getting Jason's print to him in the next few days, which is the bit of this project I look forward to most. Handing somebody a print of themselves in person is a very different thing to sending them a file, and it's become the part of "I Am Lyme" that I wouldn't skip for anything.

I’ll make sure to grab a picture of Jason with his print and share it.

I Am Lyme: Nicola of Kathrens Rare Knitwear, Lyme Regis

Last week I was out shooting another portrait for my I Am Lyme project, this time with the wonderful Nicola Kathren, who owns Kathrens Rare Knitwear on Coombe Street in Lyme Regis.

I'd known of Nicola for ages but we'd never actually met, until Sarah from the Town Mill Bakery introduced us a week or so ago while I was there grabbing some breakfast. We hit it off straight away, got a shoot organised, and on the day my mate Anthony Crothers drove over from South Wales to lend a hand.

The idea

Nicola has this big desk where she sits with her sewing machine and all her day-to-day bits around her, so it made sense to photograph her right there seeing as I Am Lyme is about the people who make this town what it is; an environmental portrait of her in her own space, doing what she does, felt exactly right.

The setup

Nicola’s desk sits right by the shop's big front window, which looks straight out onto the narrow road outside. When the light comes through that window it's fantastic, but at the time we were shooting there just wasn't enough of it. It's a narrow street with tall buildings opposite, so they block a fair bit of the natural light, and at midday the position of the sun meant the shop front was sitting in shadow for much of the time.

The first challenge was actually the window display; we had to carefully reposition the mannequins so as not to disturb it, while still leaving enough of a gap for the light to come through.

Keeping things simple, I went with one light, but this time I put it outside, pressed against the window, essentially to create my own window light. The direction of that natural window light and what it did was absolutely stunning; I just needed more of it.

So I set up the Westcott Rapid Box 4x3 softbox and the Westcott FJ800 on the pavement, firing in, to enhance the direction that was already there rather than fight it, so it still read as natural, even though it was being lit.

Nicola's camera-right side needed a little lift, so Anthony stood just out of frame holding up a white reflector to bounce a touch more of that softbox light back onto her. I tried the silver side first, but it was too much … it flattened everything out and almost removed the shadows completely. The white gave just the gentle lift I was after.

The shoot

It only took a few minutes to get everything up and running, so Nicola sat at her sewing machine and we just chatted. It felt like a conversation with the odd frame grabbed along the way, rather than a "shoot."

Then, in a lull, she rested her head against her hand and looked completely relaxed. That was the moment, and it came about naturally rather than being posed.

I was aiming the camera at Nicola through a gap in the big overhanging fern because I really wanted to add some layers to the image and show exactly the creative environment she works in.

Shot on the 33mm on my Fuji X-T5 (50mm equivalent), on a tripod, tethered into Capture One Mobile so I could see everything coming through as we went. Start to finish, about 45 minutes.

A brilliant shoot with a wonderful person.

What's next?

Keep ‘em peeld because very soon the I Am Lyme website will GO LIVE with the dates organised for the exhibiton in Summer 2027, to be held in the Town Mill Gallery.

Onwards and upwards 😃

🚨 Check out Kathrens Rare Knitwear, Lyme Regis ( LINK )

Photographing World War 2 Veteran Philip Truelove - Bomb Disposal

Last week I drove to Bath, Somerset to meet and photograph Philip Truelove, a Second World War veteran who served in 215 Platoon, No. 10 Bomb Disposal Company, Royal Engineers.

I'd been contacted by his son Jez, a keen photographer himself, after he received the Fotospeed newsletter announcing my new partnership as one of their Ambassadors. He clicked through to my website, saw mention of the 39-45 Portraits Project, and got in touch. We exchanged a few emails and agreed a date for me to visit Philip at his home and take his portrait.

I'd been looking forward to this for weeks. I'm no longer actively touring the UK photographing WW2 veterans, but if I'm contacted about doing so, I'll always make the effort to get it done. Meeting Philip today was such a treat.

A warm welcome

As planned, I arrived at midday and left my kit in the car for now. Jez met me at the door.

"My dad is very excited about this," he said, and then led me into the living room, where I was greeted with a beaming smile and Philip making the effort to get up from his chair to greet me.

"Well, hello Sir" was all that was needed, and away we went. The conversation flowed easily as Philip recounted stories of joining up and memories of friends, and at times he became a little teary.

I asked him what made him want to join Bomb Disposal.

"I didn't want to have to kill anyone," he told me.

At one point he spoke about a time he was guiding a group of German soldiers who had surrendered, moving them to a new location. Philip was clearing the way ahead, making sure it was safe, when one of the soldiers stepped over the white safety line he'd put in place to go to the toilet in a bush. Moments later there was an explosion. The soldier had stepped on a mine.

"That was my saddest day of the whole war," Philip said.

Taking the portrait

We chatted over a cup of tea, and then, with Jez's help, I brought my kit in from the car and set up. Philip was a natural in front of the camera and clearly enjoyed the experience.

Space in the room was very tight, so tight that I couldn't use a tripod as I normally would. Instead I had to lean back against the patio doors and hold the camera about six inches from my chin, just to maintain eye contact with him through the lens.

By 1.02pm I was packed up and heading out the door. It wasn't a long visit, but it was more than enough quality time together. It was also a very hot day, and I was mindful that Philip was wearing his suit jacket and medals for the occasion. Despite my concerns, he was determined we should do this today, and I'm so glad we did.

KIT USED

• Fuji X-T5

• Fuji 33mm f/1.4 WR

• Westcott FJ400 Strobe

• Westcott 4’ x 3’ Rapid Box Switch Softbox

• Westcott X-Drop Pro Background Support

• Westcott Vintage Grey by Glyn Dewis (Background Material)

• Westcott Silver / White Collapsible Reflector

🚨 Check out my full Kit List ( CLICK HERE )

What comes next

I'll be heading back in just under two weeks to hand deliver Philip's portrait, mounted and presented thanks to my friend Trevor at West Street Picture Framing in Axminster. First, though, I'll be editing the portrait later today.

Philip turns 100 years old on the 21st December this year, and in a couple of weeks the street he lives on will be holding a party to celebrate his birthday early. That alone tells you the kind of man he is, when an entire street wants to celebrate his birthday.

I can't wait to head back and see him again. In the meantime, I'll be reading his self-published book, The Chronicles of a Sapper, which recounts his memories from when he joined up in January 1945.

I Am Lyme: Beach Yoga at Sunrise

There's something about photographing people doing what they love, in the place they love doing it, that never gets old.

That's exactly what happened a coyuple of weeks back, early morning when I met up with Pip, a local yoga teacher in Lyme Regis, for the latest instalment of my I Am Lyme project.

An Early Start on the Beach

Pip teaches beach yoga here in Lyme Regis, and there's no better way to capture that than actually being on the beach while the light is do`ing something special. So we met early, before the town had properly woken up, while the tide and the light were both in our favour.

The plan was simple. Get set up before Pip's students arrived, grab the shots, and get out of the way so she could get on with teaching her class. In reality, that gave us a matter of minutes. Her students were already turning up on the beach as we were shooting, which meant no second chances and no faffing about. Everything had to be right first time.

This is one of the things I love about the I Am Lyme project. It's not about staged studio perfection, it's about real people, in real moments, in and around the town. Pip fitting me in around her actual class, rather than a separate posed session, is exactly the kind of authenticity the project is built on.

The Lighting Setup

Shooting on a beach at sunrise sounds romantic, and it is, but it's also a technical puzzle. You've got a huge, ever-changing light source (the sky) and you need your flash to work with it, not fight it.

Here's what I used:

Camera right: A Westcott FJ800 fired into a Rapid Box Switch 4' x 3' softbox.

This was doing the heavy lifting as my main light on Pip.

Camera left, rear of Pip: A Westcott FJ400 II into a 1' x 4' Rapid Box Switch softbox.

This one was there purely to fake a bit of rim and separation, mimicking natural sunlight catching Pip from behind.

To get the aperture I wanted (f/2.8) at native sync speed, I dropped in a 4 stop NiSi ND filter.

Without it, shooting that wide open at sunrise would have blown out completely, even with the softer early morning light.

Both flashes were run in TTL, with the rear FJ400 dialled up to +1 stop compensation. That extra push made sure the rim light actually read as light, rather than getting lost against the brightness of the beach and sky.

Why It Worked

With only a few minutes to play with, having the lighting pre-set and tested before Pip even arrived (5.30am) made all the difference. There was no time to chase settings once she was in position, ready to switch straight into teaching mode. Everything from stands to softboxes to flash power was locked in beforehand, so once Pip stepped onto her mark, it was simply a case of composing, shooting, and trusting the setup.

It's a good reminder that a "quick" shoot still needs proper preparation behind it. The speed on the day only works because of the planning that happens before anyone presses a shutter button.

Part of Something Bigger

This shoot with Pip adds another face and another story to I Am Lyme, my ongoing project documenting the people connected to this town. Different job, different backdrop, same idea: real Lyme Regis people, captured as they are.

More shoots to come soon.

Photographing Harry the Potter for I am Lyme

Such a gentleman.

The delightful Harry Anderson (@harrytownmillpottery on instagram) of Town Mill Pottery, Lyme Regis, photographed for the I am Lyme project.

Harry Anderson - Town Mill Pottery, Lyme Regis

💡 The lighting

I kept things simple here, one light only.

I positioned it so the feathered edge lit Harry, giving soft light with shape through highlight and shadow.

This also avoided flooding the area with light and flattening the picture.

The position also matched the direction of the lamp light bouncing off the wall behind him, visible in the shot.

Town Mill Pottery has such a calming feel to it, and talking with Harry is the same. I wanted the lighting to reflect that, soft and subtle, hence the 4' x 3' softbox.

❓Why the tripod

As always, the camera was on a tripod; not for sharpness, but so I could keep eye contact with Harry throughout. Hiding behind the viewfinder would have brought on that "I'm about to be photographed" feeling, and I wanted to avoid that.

I haven't looked through a viewfinder in years. I trust the kit to nail focus, and I can check it on the iPad anyway.

📷 Kit

• Westcott FJ250 Strobe

• Westcott 4' x 3' Rapid Box Switch Softbox

• TTL, -1 flash compensation

• Fuji X-T5 with 33mm f/2.8 (roughly 50mm equivalent) at f/2.8

• Tethered into Capture One Mobile on my iPad Pro

Big thanks to my mate Steve Healy for the Behind the Scenes pictures.

Photographing a Lyme Regis Legend - Harry May

Tuesday morning I was out early to meet up with someone that can only be described as a Legend when it comes to Lyme Regis ... Harry May.

Just as with the Scallop Divers, for one reason or another, including Harry having knee replacement surgery, it had taken almost 2 years to get him in front of my camera, but it was so worth the wait.

What a super nice guy!

Honestly ... despite it being the first time we'd met and spoken in person, it felt like I'd known him for years. In fact, when Harry arrived, it was easily a good 20 minutes if not more that we chatted, before I started taking photographs. Sorry for keeping you waiting, Steve 😃

Keeping It Simple, Keeping It Classic

The brief for this one, set by me, for me, was simple: keep it classic.

It was a glorious sunny morning with just enough cloud cover to give beautifully soft natural light. To match that softness, I used my 4x3ft Westcott Softbox, positioned about one and a half arm's lengths from Harry.

I shot at f/4.0 to soften the background slightly. Rather than using High Speed Sync (HSS) to let me shoot at a wide aperture in bright light, I opted for a 4-stop Neutral Density filter instead. The light was consistent and I'd had everything dialled in well before Harry arrived, so there was no rush and no need for the extra flexibility HSS gives you; it's simply a different way of solving the same problem: too much ambient light for the aperture you want.

• Did you see my High Speed Sync versus Neutral Density Filters Infographic ? ( LINK )

My Westcott FJ800 strobe handled it perfectly, run in TTL with +1 stop of compensation added.

Natural Direction

If you've ever been to Lyme Regis, there's a good chance you've spotted Harry leaning on the railing further down by his Fishing Trips board. So, having him lean the same way where we were shooting felt completely natural to him. Direction was barely needed, just "lean yourself on there and get comfy."

That's really the whole trick with portraits like this: find the pose someone already does in real life, and let them do it.

The Stunt Double

Before Harry arrived, my mate Steve Healy stepped in as stunt double, so I could get the lighting and exposure dialled in properly. That meant when Harry turned up, we were ready to go straight away rather than running test shots on the actual subject.

Three Shoots, Five Days

I'm on a high right now. This was my third shoot for my "I am Lyme" project in the last five days, and the best part is word is starting to spread. More people are hearing about the project and wanting to be part of it.

About "I am Lyme"

"I am Lyme" is a community-focused portrait series centred on the coastal town of Lyme Regis. The idea is simple: capture and celebrate the local faces that give the town its character, from fishermen and restaurateurs to B&B hosts, cafe owners and more…

The Fisherman's Tale 🐟 New Compositing Workflow

Yesterday morning I popped out for breakfast and to meet up with a friend, Steve.

After a great bite to eat at one of my favourite haunts, Town Mill Bakery (Lyme Regis) I sprung it on him that I had an idea for a picture I wanted to put together and that I needed him to be the subject.

The idea was to create a portrait of a Fisherman and to do this with a combination of Photography, Lightroom, Photoshop and AI, to test out a new workflow.

So, here’s the resulting image, and below is a breakdown of the steps involved using Lightroom, Photoshop, Google Gemini AI and Magnific (Upscaler)

The Process

• Taking the portrait of Steve with the desired background

• Initial Edits in Lightroom

• Export into Google Gemini AI and add Stock Photographs of Fisherman’s clothing onto Steve. Create image in 4K and then Upscale 2x

• Create aging, weathering on the Overalls and Hat using Gemini AI and then selectively paint this onto Steve using Masks in Photoshop

• In Gemini AI generate the fish and Steve’s new arm position, then mask this into the main image in Photoshop

Extend Background in Photoshop and add finishing touches in Lightroom including Colour Grading, Adjusting Lighting, Lens Blur, Adding Grain etc …

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No Limits Creativity and Visual Storytelling with Kirk Nelson aka The Pixel Pro

Watch the recording of this LIVE Broadcast from when I chatted with Photographer and Photoshop Artist Kirk Nelson aka The Pixel Pro and discovered how we creates his Fantasy Art Composites and creates Special Effects in his Images …

links mentioned in the video:

• Kirk’s Website: the pixelpro.com

50% OFF Courses, Overlays ans Bruashes in Kirk’s Store using code: friendsofglyn

• Kirk’s Store: thepixelpro.com/shop

Kirk’s link for a FREE PASS at the Photoshop Creativity Virtual Summit:
https://bit.ly/pixelpro-creative

• Eric Pare ( Light Painting ): https://www.youtube.com/@Ericpare

• Eric Pare Store: https://lightpainting.store/