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| where can i found free photography ebook?? |
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Bayuharsa
13 posts
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Message posted at 09/06/2007, 10:05:48 AM by Bayuharsa |
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Dear all my DT friends..
i want to know where can i found free photography ebook and can be downloaded for free too...
i want to learn and get improved for photographic skills.
let me know where the sites that i can get the source...
Thanx ..
Sincerely urs,.
Bayu Harsa |
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Nikon D70s,
Nikon Coolpix 3700,
Nikkor Lens DX ED AF...
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Uploaded files: 133 | Total Sales: 17
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Maigi
1158 posts
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Message posted at 09/11/2007, 16:50:58 PM by Maigi |
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What is ebook?
You seam to be a great photographer already and I'm not sure, what are you looking for, but I like luminous-landscape.com website. There's lot to learn.
You need to more specific about what you want to improve.
Photography is like a borderless ocean, you can fish wherever you want. But if you know what kind of fish you want to catch, then an experienced fisherman can show you the spot.
I mean, when you say, what you want to learn - stockphotography, composition, specific styles, postprocessing - then I'm sure there are many people on DT, who can help you. You just need to be more specific.
There's so much FREE information about photography in the Internet. The place, where I usually like to start is Google.com |
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Canon 400D (since ID 2509071), Canon EF 50mm 1.8 I...
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Uploaded files: 1343 | Total Sales: 4511
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Bayuharsa
13 posts
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Message edited at 09/19/2007, 12:15:10 PM by Bayuharsa |
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HI maigi...
thanx for ur advice...
the site is cool and usefull...
btw,..ebook is electronic book--its usually submitted in PDF format, but we can download it and read it by using Acrobat Reader Software--its free--just download from its site if u don`t have.
nice to get u here...
:))
Bayu Harsa |
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Nikon D70s,
Nikon Coolpix 3700,
Nikkor Lens DX ED AF...
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Uploaded files: 133 | Total Sales: 17
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Kenny123
147 posts
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Message posted at 09/19/2007, 16:19:37 PM by Kenny123 |
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Hi For what it's worth, here is My take on the basics:
My take on the Basics of Digital Stock Photography by Ken Caleno
(Just to get you Started) Getting it right in the camera; and basic Photoshop skills.)
Intro- What to Photograph?
An appropriate stock photograph evokes in the end user’s eye and mind, desire, or awareness: An image that helps to sell a product or service; or to bring a social problem to the public eye. A few categories are:
- Food and drink
- People
- Products
- Communications
- Technology
- Transportation
- People with Disabilities
- Emotions
- Industry
- Active seniors
- People, in a corporate setting, or family group
- Casino, poker, dice, card games
- Fire extinguishers, firemen/police at work, fire engines
- People in a cultural/diversity setting
- concepts (like: trust, happiness, sadness, loneliness
- wealth, health, balance, success, fear, pride, joy,
- sexuality, surprise, addiction, stress, commerce, etc.,)
- Seasonal pictures
- Christmas, Easter, Valentines, hallowe’en etc.,
- Healthcare and nursing
- Medical
- Fitness and sports
Qualities Required
Your image must:
- Be Bright
- Be Colourful
- Be Sharp
-Tell a story or fit a theme
- Be free of irrelevant detail
- Be Virtually “Noise-free”
- Create awareness
- Sell a product or service
1. Good Capture: This is about getting it right in the camera
Optimum camera Settings: (Nikon)
a) Shooting Menu:
-Image quality -Fine
-Image size -Large
-ISO Lowest
-White Balance Varies with light temperature (See White balance)
-Sharpening -0
-Color mode-111a(max)
-Saturation-(max)
b) Custom Menu:
-Auto focus -AF-A
-AF Area mode- central
-Flash Level - 0 -0
-AF Area- Auto
-ISO Auto - Off
-EV Step 1/3
-Bracket set-Off
-AE-L/AF-L -L
-AE Lock- Off
-Flash mode - TTL
-Self-timer - 2 Seconds
- The more you get right in the camera-the less post-processing required. During the hundred or so years of film photography. there was a “Trinity”- Composition, Focus, And Exposure, which once learned and practised, became second nature, for creating the “Perfect” image- We now have a fourth element- “White-Balance”, Our “Trinity”, has become a “Quartet”. Let’s take these four elements, one at a time and analyse each one.
Composition
Composition is all about the arrangement of elements within the viewfinder’s frame, to evoke emotion from the viewer of the final image. What attracts us to great photographic images?
- They make us
- wrinkle our brow -
- smile -
- feel happy -
- feel sad -
- feel peaceful -
- feel disturbed -
- feel angry -
- feel like laughing -
- feel shocked.
If a photograph can evoke any of these emotions, it can be said to have Impact. The basis of impact in a photographic image is placement and possibly enhancement of that subject, within the viewfinder frame of the camera.
Composition refers to the arrangement of line, shape and contrast within the frame of the photographic Image. Effective composition arranges the elements, ( objects, colours, horizons, patterns, etc.,) that show the viewer your personal world view of the subject. It is a matter of knowing what to leave out of the image. The greatest influence on our reaction to a photograph is the position of the main centre of interest. This should almost never be placed at dead-centre in the frame, as any sense of implied movement dissolves. The result is usually static and boring.
Guidelines for composition are questions that you answer:
1. What is the main subject of my image?
- The most prominent object, theme or topic
2. How do I emphasise the main subject?
- Isolate the subject
- Use motion blur (slow shutter speed)
- Use fast shutter speed to freeze motion
- Use selective focusing
- Subject placement within frame
- Get close and fill frame with subject
3. What do I leave out of my image?
- All things that are irrelevant to the main subject
- All things that detract from the main subject
- Look out for cluttered foregrounds and backgrounds
- Watch for distractions: trees growing out of people’s heads;
- rivers and fences running through ears, etc.,
Very specific to stock photography are the Rule of thirds, and allowing for copy-space (leaving room for text)
The rule of thirds comes into its own when using subject placement within the frame-
Imagine your camera viewfinder with a nine-segment grid ( like a tic-tac-toe, (Noughts and crosses)) grid
The most aesthetically pleasing position to site your subject will be on one of the four intersections of this imaginary grid, which also gives you two horizontal guides, and two vertical guides. There are many ways of using this imaginary grid:
- Horizontal lines are used to place horizons- 1/3 down from top for earthy renditions, and 1/3 up from bottom for more dreamy effects.
- You can use vertical lines for positioning trees, poles, vertical subjects
- When filling the frame with, for instance, a head-shot, eyes should be placed 1/3 of the way down from the top
- For landscapes, you can use this imaginary grid-by focusing on the 1/3 up from bottom gridline, you will be correctly focusing 1/3 into your distance, as you should be for landscapes
There are many elements to consider when composing your images, such as:
Position of horizon
Framing
Line
Perspective
Depth
Balance
Colour
Contrast
Shape
Pattern
Tone
Viewpoint
Brightness
Scale
Shock
The photographic image’s frame doesn’t just come from the edges of your viewfinder. Be careful that framing the things surrounding the main subject doesn’t trap the subject, or detract from it. Don’t use if the image doesn’t require it. Lines, in the image have a certain effect on how the viewer’s eye travels through the photograph:
Implied lines, always straight, between interacting objects, or between an object and whatever is ahead of it.
Upright lines give feelings of strength and balance throughout the image.
Curved lines convey peaceful movement, but the steeper the curve, the more tension and force.
Diagonal lines give feelings of action and dynamism.
Perspective lines show dynamic movement in the direction of the lines
Jagged lines convey unhurried and peaceful movement.
It’s the control of composition that determines the “WOW” factor in photography, and it is very important, if you are going to take worthwhile photographs, to master that control. Where Lighting and Exposure, are pure technique, or the science of photography, Composition is the art of photography.
Creativity is the understanding and manipulation of composition elements within the frame of the camera’s viewfinder.
On Seeing Creatively:
Developing a creative eye is about seeing things in a different way. A personal visual focus rather than obvious point of view. When we first use a camera we take pictures of all the obvious things around us, landmarks, people we know, family pets, etc., and after some while taking these mundane, overdone subjects, boredom starts to take effect (hopefully) and If we get bored enough, we, (well, some of us anyway) tend to look further than the obvious for our photographic endeavours, hopefully encouraging us to present our personal view of the World. Remember back when you were a kid?, where anything could be whatever you imagined it to be?. We, as adults have set-in-concrete ideas of how something should look, and that’s where the problem lies. How about, (photographically, anyway,) Going back in your imagination to that child-like innocence, and start looking at things the way you decide how they should appear? What would a worm see- if it looked up? Or a bird-looking down- I recall reading somewhere a woman and her 3-year old were out shopping, in a department store, at Christmas-time, and the child was crying. “what’s up with you?” the mother asked,” We are here in this beautiful shop, and we are going to buy some nice things to take home with us-look at all the lovely things they have here”. She looked down and noticed the child’s shoelace was undone. In bending down to re-tie the child’s shoelace, she understood why the crying- all the child could see from his height, was a forest of grown-up’s legs-he couldn’t see all the beautiful Christmas decorations or gifts-he wasn’t tall enough to see above the counters. Here’s a challenge: Spend a day taking photos of everyday things from a height of 600mm to 800mm, how a small child would view them. isolate part of an overall scene, using the camera’s viewfinder -Show things how they are not normally viewed. Use light creatively, to show texture, give mood or to produce silhouetted shapes. Use telephoto lenses for landscapes-wide angle lenses for portraits - take photos into the sun - take pictures while jumping in the air -
Place horizons where you want them to be. After a while creative vision becomes as natural as breathing, and when this occurs, you can concentrate on capturing the moment : The peak of action -a fleeting glance- certain lighting conditions. Learn all the “Rules” of composition-then see how many you can break, while still communicating powerful images. Try not focusing on the point of interest, instead focus on shape, or form. Decide what you want to emphasise-what message you want to convey to the viewer. Look for pictures within pictures. try looking at a scene through a 28mm wide-angle lens, change to a 200mm telephoto lens, and see how many different pictures you can isolate within that scene.
Working the subject
Instead of just taking the one picture from the angle you first saw it, try “Working the subject”, that is, cover the subject from as many angles as you can, to get the best from each photo opportunity. Here’s a checklist:
-From the front
-From behind
-From the left
-From the right
-From up close
-From far away
-From above
-From below
-Capture detail
-Unusual angles
-Into the light
-Include foreground
Focus
Is the measure of the degree of sharpness in our images.
All modern cameras have Auto-focusing, which works very well, but there are times when you need to focus manually. For auto-focus to work properly it requires a certain amount of contrast, if the contrast isn’t adequate you will need to focus manually. It will pay you to manually focus most of the time, for full control of the situation. For instance, if an unnoticed reed encroaches into your image, when your are shooting a swan at the lake, for instance, your lens may auto-focus on that reed, rendering your actual subject out of focus. To ensure you are in focus, there, in the viewfinder, is the electronic rangefinder icon, that comes on when you are in focus. NOTE: Each lens has its “sweet-spot”, that is when the aperture and zoom length combine to give optimum sharpness- 17-55 mm zooms usually have this “sweet-spot” at the 35mm distance setting and 2 stops back from wide open. On a 70-300mm zoome the “sweet-spot” would be around 185-200mm aperture 2 stops back from widest.
Auto focus is good for situations where you cannot focus fast enough, manually, such as sports and wildlife photography.
Depth of field appears to be the most confusing of focus elements. Depth of field is a range of acceptable sharpness in an image, from near to far. Three factors control Depth of field: Aperture: The wider the aperture, the shallower the depth of field. Focal length of lens, The longer the focal length of the lens, the shallower the depth of field will be. and Distance from subject, Landscape images have great depth of field, whereas Macro (extreme close-up) images have very shallow depth of field. Concerning depth of field, Hyperfocal distance seems to be even more confusing -Hyperfocal distance is a point of focus where at a certain aperture, Half the distance from that point to as far as you can see, will be in acceptable focus, The best lenses for hyperfocal distance are 80mm or wider, telephoto lenses, because of their relative short depth of field, are rarely used. (Prime lenses have a scale on them for this, zooms do not) Using a 18mm setting on your zoom lens at f16, Hyperfocal distance is somewhere around 5 ½ feet (1600mm), so depth of field at this aperture would be from 2 ¾ feet to infinity, .(As far as you can see) when focused at 5 1/ 2 feet. A good guideline for great depth of field for landscapes is to use the bottom focusing marker in your DSLR viewfinder, (either horizontal, or vertical) as this will focus 1/3 of the way into the distance, (It is on the lower third imaginary “Rule of Thirds” gridline!) ,as is usually recommended. When shooting landscapes, it pays to know exactly where the sun will be at any certain time of the day, so you know where to be when the light is right for good 3-dimensional images. If you wear an analogue watch- point the twelve o'clock marker towards the sun-, now each 5 minute marker equals 2 hours of time (360 degrees to a circle, divided by 24 hours = 15 degrees to an hour, so each 5 minute marker =30 degrees = 2 hours) Using this, and knowing which direction the Earth is travelling, you can figure where the sun will be at any time of day.
To avoid camera-shake, always use a sturdy tripod. (Your images will improve 100%!) If, for some reason you cannot use a tripod, use your self as one-
Feet at “T-Stance”, left hand supporting camera, elbow against ribs
Camera pressed against nose and brow
Right hand also elbow against ribs, index finger on shutter button
Set shooting mode to continuous, and “Roll” index finger on shutter button
- First couple of shots will probably be blurred, but somewhere between 3-4 and 5 you should have a shake-free shot of the scene. ( When using zoom lenses longer than 200mm-I usually set ISO to 400, when hand-holding)
Exposure
Thanks to digital cameras, exposure has never been so easy and simple to achieve, for general outdoor photography. (Studio work still requires a hand-held meter and grey card for its more exacting demands on the photographer) Most of the time matrix (evaluative) metering, will do a great job. For portraiture, centre-weighted is preferred, and where high contrast separates dark from light, spot metering comes into its own. Considering stock photography, we need to also keep in mind the element of noise, the biggest reason for rejection in our business- noise can be reduced in post-processing, to an extent, but if we can avoid excessive noise when making our images, the better our chances of approval, and less time at the computer. Correct exposure is how to control noise at the making/taking stage- and correct exposure is simple-By studying the histogram on the camera’s monitor screen, we can adjust our exposure compensation to ensure that the bulk of the graph is just to the right of centre, and each end is just touching bottom corners.- If left-hand side of graph climbs left screen edge, the shot will be over-exposed, with no detail in the shadow areas: If the same thing happens to the right-hand side, highlights will be blown, rendering the shot totally useless. For a second opinion, we can use the highlight flashes, also on the monitor screen, which flash black and white when highlights are blown. NOTE: If you can, get hold of a hand-held exposure meter, and you will be amazed at the difference it will make to your images
Sometimes you will find a scene will be beyond the camera’s 5-stop dynamic range, so if you meter using ,Matrix (Evaluative) or Centre-weighted, you will lose some detail in either highlights or shadows. A split-graduated neutral density filter (ND Grad) is recommended, But if you don’t have one: Try Dynamic Range Increase: With camera on tripod: meter for highlight, take a shot-then meter for shadows, take another shot. In Photoshop, add lighter image to darker as a new layer, then: Select> Color Range-click highlights ,check “invert”, click “OK”. Add layer mask. Filter> Blur> Gaussian Blur 250 pixels. Flatten and save. You will get detail in highlights and shadows
White balance
Where, with film you either shot print film in daylight or with flash indoors, and with slide film, you used daylight or tungsten film, or used compensating filters with these. White balance is Digital’s version-you select a white balance based on the condition of the light you are using, so the camera’s meter allows for white to photograph as white
Auto white balance does a reasonable job most of the time, but it cannot cope in some situations-especially when subject is in deep shadow. You need to know when to use the white balance settings for all situations, and this table will help you understand: ( degrees Kelvin is a means of determining colour temperature)
Sunrise/sunset 2400-3000 Kelvin……………………Use Auto white balance
Tungsten lighting 3200-3500 Kelvin ……………………Use tungsten/Incandescent white balance
Fluorescent lighting 4000 Kelvin …………… Use fluorescent White balance
Early morning/afternoon sun 4000 Kelvin…….Use auto white balance/ --fluorescent white balance
(Magenta filter) to counter greenish cast on skin from foliage if under trees or on really green grass
Noon sun/Sun overhead…5000-6500 Kelvin…………………….use Cloudy White balance
Flash photography in daylight 5500 Kelvin ………………………Use Flash White balance
Deep shade………………….6500 Kelvin…………………………Use cloudy/shade white balance
Shade in daylight 7500 Kelvin ………………………………......Use shade white balance
Heavy overcast, very dark shade 8000 to 10000 Kelvin………Use shade white balance plus 81a-85c glass filter
Light
- without which, we would have no photography. We need to understand its Magnitude, Direction and Intensity, so that we may manipulate, and control its power.
Direct sunlight and On-camera flash/strobes are Directional light sources, their shadows are sharply defined, and distinct. For many photographers, the sun is the main source of illumination. There is nothing wrong with relying solely on sunlight, but you do have to appreciate the different qualities of light available. Time of day and angle of light are the two essential considerations to be made about using sunlight as the main source of light. Photographers talk about late afternoon ( golden) light. Things do seem to photograph more beautifully when the sun is low on the horizon, that is, at dusk. You can get a similar feeling early in the morning although morning light tends to be more pink ( Cooler) while afternoon light is redder (Warmer).While shooting photographs between 10am and 4pm is not generally recommended, sometimes certain subjects will work fine, especially when you want a high degree of contrast between highlight and shadow. ( Architectural details come to mind)
Non-directional lighting has light reaching the subject from all sorts of angles; from left, from right, and all angles in between, and shadows thus formed are very soft, sometimes hard to discern-Cloud cover on an overcast day is one example of non-directional light, while light reflected from the sky (skylight) is another. Concerning portraits, It is better to use a non-directional (Diffused) light source, due to the gradual gradation of its shadow, which doesn’t mar the portrait. If you’re shooting outdoors, for the best modelling you will want the light to strike the model’s face from the side, at 45 degrees vertical and horizontal. First get out of the direct sunlight, either in the shade of a building, or under the shelter of a tree. This will result in your model being lit by a diffused, non-directional light source, skylight or reflected light from surroundings. If you position your model looking towards this light source , the face should be lit with soft, delicate light. All you need to do is to move your subject, or your camera, to get light crossing the face.. What you want to achieve here is to have one side of the face brighter than the other by two stops exposure, giving a 3-dimensional rendering to the portrait. In case there is no tree, or building, you may need to resort to scrims, reflectors or blacks to modify the light to suit. Scrims are sheets of translucent material that are held between the sun and the subject to diffuse direct light. Reflectors are panels of card or material that reflects light, providing a soft quality of light. Usually white, silver or gold in colour, light bounces off the surface and into the shadow areas of the face. Blacks are the opposite of reflectors and they absorb light, instead of reflecting it. For indoor portraits, window light is a great source-First choose a window on the side of the house away from the sun-you don’t want direct sunlight, it’s too harsh. When you position your model close to a window, you get a soft light to one side of the face, and because the inside of the room is relatively dark, the other side of the face will be in shadow -a 3 dimensional look for your portrait.
Again, by using a reflector, ( Gold gives a warm tanned look, White will be most used, and Silver gives a glint to the model’s eye) you can arrive at the 2-stop difference - For instance F 11 for window -lit side of face, and F 5.6 for the shadow side- ( 3:1 ratio) for the ideal portrait. Or you can use fill-in flash as a last resort if reflectors, scrims or blacks aren’t immediately available. Set flash to ¼ power for head shots at 4 feet, (1200mm) or ½ power for head and shoulder shots at 6 feet (1800mm)
For architecture, hard light and shadows help to bring out details in buildings, and for landscapes, certain times of day, combined with knowledge of where the sun will be at those times will add depth and detail to your images. In days when film was the only way to record your images, you would always carry a set of filters to help modify lighting outdoors, The usual ones were an 81a warming filter, an 80b,cooling filter, a polarizer, (a red. a green, a yellow for black and white film) and for landscapes and seascapes a set of graduated neutral density filters, Fortunately, with modern digital cameras, the white balance settings include the 81a (cloudy) and the 80b (tungsten) You will need a “Circular Polarizing Filter“, not a linear one. Polarizers are grey in colour, and you need to sacrifice two stops in exposure to use one. The front part of the filter can rotate to adjust the amount of polarization. The proper, intended use for these filters, is to cut glare and reduce reflections from all materials except shiny metal objects. A polarizer will help you to see through the glare of a river or a lake’s surface. Wildlife and nature photographers use polarizers sparingly, to cut the sky’s reflection on animal fur and feathers, and the land itself. To set a polarizer for such images, you point it at something earthy-brown in colour-this can be a tree bark, dirt, etc., then the front lens of the filter is rotated to give the brown dirt a dark chocolaty colour-then it is ready to use for your nature, landscape and wildlife images. Polarizers can also deepen blue skies, making white clouds stand out, but realise that over-use can accentuate noise in blue skies. It is a good idea to have your white balance set to cloudy, even on sunny days, as sometimes images can come out cool-looking- If you already have an 81a accessory filter for your lenses, when days are really crappy, rainy etc., attach this also to brighten your image colours. ND Grads, as the neutral density filters are usually called, come in 1,2,3,4,5,6 etc., stops, but a 2 stop is a good medium one to start with-These are used when there are more than 3 stops difference between the land/sea, and the sky-where the sky will be blown out, or the land/sea in heavy shadow. If you need to slow down your shutter speed more than your camera will allow, at the exposure you need, say to get that cotton-wool effect of waterfalls, then you will need a straightforward neutral density filter-a 2-stop will do-if you need to slow down more, just add your polarizer to slow down 2 more stops.
2. Photoshopping (Digital darkroom) Basics
a) Check Levels -(Histogram)
b) At 100% (Actual Pixels) check for:
- Noise
Image> Mode> LAB Colour> Channels
Channel “a” Gaussian blur 5 pixels
Channel “b” Ctrl+F
Channel “lightness” Filter> noise> despeckle
Image> Mode> RGB colour
- Lateral chromatic aberration (fringing)
Ctrl+J select brush tool and click on the quick mask tool.
Choose a brush size to match the width of the fringe.
Trace over all the areas that have fringing. When done, click icon next to quick mask
Select> Inverse.
Image> Adjustments> Hue/Saturation and pick the color closest to your fringe color Click eyedropper on the fringe color on your image.
drag Saturation slider to the left until the fringing goes.
Select>deselect
Flatten and Save
- Transverse chromatic aberration (Moire banding) - Filters/blur/Gaussian Blur at 1.5 pixels radius
-Contrast Enhancement (“Pop”)
Ctrl+J
Filter> Sharpen> Unsharp mask Amount 30
Radius 60 pxls
Threshold 10
Blend mode> Luminosity- Flatten
- To sharpen - Smart sharpen
Ctrl+J
Select> All> Edit> Copy
Channels> New channel (alpha 1)> Edit> paste
Filter> Stylize> Find edges
Ctrl+L move sliders for clean edges
Filters> Blur Gaussian blur1.5 pixels
Select> Load selection-Check “invert” click “ok”
Select RGB channel
View> Show> “selection edges” uncheck
Filter> Sharpen> Unsharp mask- Amount 500
Radius 0.2
Threshold 0
Select> deselect> dump alpha channel
Blend mode “luminosity”
Ctrl+shift+E
-To Isolate Objects against a white background:
Photograph your object using any background, Then:
a) Zoom in 200-300%.
b) Use the pen selection tool to chart an exact path around the object.
Get it perfect.
c) Click on working path Icon in paths palette
d) Select> Modify> Contract by 2 pixels. Smooth by 3-5 pixels.
e) Select> Inverse-. Feather by 0.2 - 0.5 pixels. Press Delete.
You now have isolated object on white background.
- ND grad filter
Layer> New adjustment layer> levels
Drag highlight and mid-tone sliders to the left until foreground looks right
(let sky blow out, the following step brings it back)
Click on "D"
Click on "G"
select foreground to transparent on gradient pre-sets
Drag cursor from top of image to horizon. release
Flatten and save
- Keywording Basically, only describe what can be seen or directly attributed to what can be seen- for instance if the subject is a wedding cake, then “matrimony” and “wedding” may be used.
As a guide:
a] What is the subject?
b] Where is it situated?
c] What condition is it in?
d] What colours does it display?
e] Is there a texture?
-pattern?
-concept?
f] What shape is it?
g] Does it have a specific name?- and so on…..
- Upload
Copyright: (©) Kenneth William Caleno (Dip Phot) 2007
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Nikon D50
18-55 zoom
70-300 zoom
Canon Ixus/Elph 2 (APS)
...
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Uploaded files: 94 | Total Sales: 133
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Bayuharsa
13 posts
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Message posted at 09/22/2007, 04:18:48 AM by Bayuharsa |
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hi keny,...
thanx so much for ur advice,..its really help me to get better understanding how to produce a good stock images..
nice to know u here,..
succes for ur selling..
Bayu harsa |
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Nikon D70s,
Nikon Coolpix 3700,
Nikkor Lens DX ED AF...
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Uploaded files: 133 | Total Sales: 17
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| Page: 1 |
Showing posts 1 - 5 of 5
Current Server Time: 10/10/2008, 15:47:42 PM |
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