P Ho T o G H Ra P H y Masterclass - Issue 35, 2015

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PHOTOGRAPHY

ese) [ 0°} PHOTOGRAPHY Color Blast Collection © a a PHOTOGRAPHY 3 AE eH For just $33 you get 100 professionally-developed presets from Mike Newton at Hacking Photography. With these presets you'll be able to convert your photos from average to amazing with just one click, saving you a tons of processing time. ‘The four collections of Lightroom presets include: 25 color blast presets — stunning, vivid, rich, buttery colors in every image 25 black and white presets - for a stark, sharp effect that'll give your images the soul they could be missing 25 old school color presets — roll back the clock for a vintage appearance 25 night color presets — to add different colored street, building and ambient lightsee HOW TO CREATE oni th? rs THE LIGHT IN ME| By: Arseni Kukk Portfolio | WebsiteDOUBLE XPOSURE PeeCAE ReC) i iDouBFis| By: Callui Website | FacebosCU eee Ue) FALLING APART CYA ere Portfolio 1 | Portfolio 2CU eee Ue) Ca CIR IE:EUGENIA-FC-2a HOW TO CREATE A TRENDY eons EXPOSURE yy GILL ROBERTS he double exposure effect is a combination of two or more different images combined to create one final abstract image. The effect stems back from the days of film photography, and is traditionally a combination of two images on the same piece of film, Photography Masterclass Magazine | 46Film photographers would take a single image, and then instead of winding the film on for the next exposure, would take the second exposure on top of the same piece of film as the first, thereby creating the double exposure effect. Likes trends in fashion, the double exposure effect has made a comeback recently and you've probably seen lots of really artistic images boasting this effect appearing on sites like 500px and Flickr in recent months. The Double Exposure effect isn't just popular with photographers though. You'll often see this effect of overlapping images used by artists and designers to create music al- bum covers and adverts. It's possible to create the double exposure effect in-camera with modern day DSLRs. Many DSLRs these days have a multiple exposure option, allowing you to create your double exposure directly using your DSLR menu. If you'd like to know more about creating the effect in-camera, check out the video following this article where you'll see exactly how to do this. In this tutorial we're going to focus on exactly how to on create a trendy double exposure effect in Photoshop, by taking two separate images and combining them, with the assistance of Clipping Masks and different blending modes. Combining the images in Photoshop (instead of in-camera) allows you much more flexibility over the look and feel of the image and the final composition. Even if you've never used Photoshop for editing before, by following these step by step instructions you'll easily be able to create your own artistic double exposure image! It's a fairly simple process and the success of your final result depends mostly on making an initial good selection of two photographs that complement each other. The most popular combination for a double exposure image is combining a portrait image, with a landscape nature scene. Try to choose a portrait image with a clean background as otherwise it can be difficult to tip the portrait out from the background For our example | have selected two free stock photography images. You can download both of these images yourself if you'd like to try out the tutorial for yourself. The first image is a female portrait image from Stock: \Vaull.net. The second image is a gorgeous monochromatic landscape image from Un- Splash.com. Photography Masterclass Magazine | 47Right let's get started! Everything that's black in your first exposure is going to be transparent and show through anything in your second exposure. Open the portrait image in Photoshop and save it to a folder of your choice - we will be working on this as our main document. With your final double exposure in mind, decide whether your base portrait image could benefit from any cropping. Sometimes a good crop can improve the composition of the final double exposure effect. Photography Masterclass Magazine | 48Selecting the Crop Tool (C), crop out any large blank background space that doesn't add to the final composition. In our example there's not that much blank space, so I’ve only cropped off a bit on the left, but depending on the image you choose you may decide crop off more (or less) - It's really down to personal choice. STEP 2: EXTRACT THE SUBJECT The next step is to extract the subject from the portrait image - this is why it's important to choose a portrait image with a clean background to begin with. Select the Magnetic Lasso tool - using this tool we're going to easily clip the subject from the background of the image. Select a point on the edge of the person's profile by clicking your mouse button. Now begin ‘to move your mouse around the outline of the subject. The tool should automatically follow the outline of the person's profile. Anchor points will be created automatically, and to make your selection more accurate you can also create additional anchor points as you go along by clicking the left hand mouse button. If the tool ever automatically selects a portion of your subject that isn't following the outline, you can return to the last anchor point made by clicking the Back Space Button on your keyboard. Create your own anchor points around any section that the tool is having trouble with, so that itis outlined correctly. Photography Masterclass Magazine | 49‘When you come to the hair line follow the outline of the hair quite roughly, and it is better if the selection cuts into the hair by a small amount to stop you selecting the background between the loose hair strands (we are going to tidy up the hair in the next step anyway) Create a selection all the way around the subject until you reach the point where you started. Clicking on the first anchor point that you started with will complete the selection. ‘The selection will change to a marching ants outline. STEP 3: REFINING THE SEL TION We are now going to work on the rough hairline. Click the Refine Edge Button in the control panel above your image. ‘The background should automatically change to a white background making it easier to edit, (if it does not automatically change to white, choose “On White” from the View Mode drop down box) In the Edge Detection section, tick Smart Radius, then start slightly increasing the Radius value. This will help to make the edges smoother and reveal the separate hairs, helping to bring the hairline into the selection. Start with an initial setting of around 1.5. Keep increasing the Radius value until you are happy with the hairline selected, but not so much that other parts of your image selection are affected, In the Output section, select "New Layer With Layer Mask” from the Output To dropdown list and click OK. You'll see a new layer is created in the layers panel. This automatically creates Photography Masterclass Magazine | 50a copy of your original image with the background of that image hidden by the Clipping Mask. if you have a more complex image you can also play round slightly with the other Refine Edge options. This can be useful if you have an image that isn’t on a completely clear background or there are other features in the background. In our example however, these small adjustments are more than enough for us to continue with creating our effect. Inthe Layers tab on the right hand side of your screen, click Create New Layer, and drag this new blank layer below the cut out portrait layer that we created in the last step (your new blank layer should be the 2nd from the top). Z opacty: 100% | Cn ae} Coed © 8 teaser ry o ee Select the Paint Bucket Tool and fill the layer with a white colour. This will create a clean white background for us to work with. Photography Masterclass Magazine | 51STEP Open the landscape image in a separate Photoshop document. Copy the landscape image into the document you are working on ‘The easiest way to copy an image to another document is to right click on the background layer thumbnail of the landscape image, select Duplicate Layer, and then select your main document from the dropdown list and click OK. STEF In the layers panel, click on the landscape image layer that you just copied into the document. Drag it to the top of the layers panel, so that it is the first layer in the stack (if it's not already). Cee ai With the landscape layer still selected, hold down CTRL/ CMD on your keyboard and click on the white cutout of your subject (the layer clipping mask) in the layer below. You will see a marching ants selection of the subject's silhouette on the landscape layer. Photography Masterclass Magazine | 52Fen lok Bo’ > ey ri mL | oer es BoB cascront cony i= po actorant Now press the Add Layer Mask button in the bottom of the layers panel. This will con- strain the landscape image to the outline of the portrait and hide the unneeded parts of the landscape image. ‘On the top layer in the layers panel, click on the chain icon between the image thumbnail & the mask thumbnail. This will unlink the landscape image from the mask, allowing you to move the landscape image around inside the mask to find the best composition (which we'll do in a future step). Photography Masterclass Magazine | 53rt = |: q pres ee a Peete ™ , Sama A q Seer Eaeay STEP 8 Right click on the layer containing the portrait cutout with its clipping mask (2nd layer from the top) and select Duplicate Layer. Drag this new layer to the top of the layer stack, above the landscape layer. Click on the original portrait cutout layer (3rd from the top) and make it invisible, by clicking on the little eye icon next to the layer. STEP 9 With the top layer selected, click on the Image menu, then select Adjustments ~-> Levels Make the image darker by dragging the black & grey sliders in the Input section to the right, and the white slider in the Output section to the left. When you are happy with the darkening achieved click OK. Any really dark areas on your portrait image will allow more of the landscape image to shine through, and any light areas will allow more of the portrait image to show through. This is why it's important to darken the image at this stage, otherwise you may not get much of the landscape image shining through in the next step. Photography Masterclass Magazine | 54Disable Layer Mask Delete Layer Mask ‘Apply Layer Mask ‘Add Mask To Selection Subtract Mask From Selection Intersect Mask With Selection Refine Mask. Mask Options... Click on the white portrait cutout (the clipping mask) on the top layer. Right click and select Apply Layer Mask. Inthe dropdown menu in the layers panel, change the blending mode of this layer to Screen. The double exposure effect appears! RS sa =—s ot Photography Masterclass Magazine | 55Now it's time to have a play around with the posi- a tioning of the landscape image. By moving the landscape image around within the portrait cutout you'll be able to get the exact composition you like for your = double exposure. | i] | ssccrentcon? Fd extra Click on the landscape thumbnail, on the layer with your landscape image and white portrait cutout (it should be the 2nd layer from the top), and make sure you have the Move Tool selected. Drag your landscape image around within your portrait cut- ‘out until you get the look you like. If you are following along with ‘our example, try to have the tops of the trees looking like they are growing out of the subjects head. This works because our landscape image has a neutral background behind the trees. If your image does not have a neutral background play around with the composition to get an alternative look that you like. Photography Masterclass Magazine | 56EP 12 You can either keep the background of your final double exposure image white, or you can sample a colour from your landscape image to make the background match. In our example there's quite a good neutral colour that's been revealed at the top portion of the subjects’ head where the trees end. Using this as our background colour for the final double exposure image wil really bring the final image together, by having a background ood Se blebxposureTutonah-psd @ 36% (Layer 1, RGB) * colour that complements the rest of the image. Select the white background layer (it should be the second layer from the bottom). Select the EyeDropper tool and sample a colour from the landscape background by clicking on it. Select the Paint Bucket tool and fill the background with that colour by clicking on the white portion of the image. This will replace the white background layer with the colour you sampled. Photography Masterclass Magazine | 57STEP 13. Layers corr Right so far so good, our double exposure image is looking really good and we're almost complete! eon) We're now going to make some final adjust- ial ments to the image to really bring it all together. L [} ed I Sa, decmerer You may find that some’parts of your subject's face look too noisy. In our example, the eye has a bit too much of the forest layer coming through and | think this is distracting from the overall effect. Let's make these areas more distinct Click on Create New Layer at the bottom of the layers panel. Drag that layer to be the second layer from the top. Select the Brush Tool (8). Painting a darker colour onto this layer, will allow more of the portrait image to show through. Right Click on the image. This will open the Brushes menu. Select Soft Round Brush from the menu and change the size of the brush. In our example, | used a 40px size brush - you may need a smaller or larger brush depending on your own image and the adjustments you want to make. Change the opacity of the brush to 50% and the flow to 10%. Change the fill colour of the brush to a black (or you can select a dark colour directly from a dark part of your image using the eyedropper tool. In our example | have selected the same colour as the subject's top.) Photography Masterclass Magazine | 58Make sure the new layer you created is selected (2nd layer from the top) and start slowly painting over any noisy areas of your image (in our example the eye) until you get the look you like. Remember the changes should be subtle as you still want some of the ghostly landscape to come through. (TIP: Pressing CTRL and clicking on the top layer thumbnail, will create a marching ants selection around your portrait to stop you from painting outside of the selected portrait area.) Photography Masterclass Magazine | 59EP 14 There may be parts of your image where you would like the landscape layer to be showing through more than it is in your final image. In our example, | personally think that the subject's ear is quite distracting and would prefer the landscape image to show at this point instead. Select the darkened portrait layer (top layer) and click Add Layer Mask from the bottom part of the Layers panel. Select the Brush Tool (B), and change the size of the brush to match the size of the section you want to change. In our example, | have changed the brush size to 500px. Change the Fill colour of the brush to black. Since the Layer mask is automatically white, painting the black colour onto it will erase parts of the subject where you'd like to see more of the landscape image in the final image. Now, by painting over the subject's ear we allow the landscape layer to show through at this point instead. eT ae ee a Photography Masterclass Magazine | 60AND WE’RE DONE! After these last final finishing touches our trendy double exposure is complete! ur finished image is a great example of the double exposure effect and just what you can achievel By combining these two completely different images we have created a thought-provoking and artisti- cally creative image. The per- fect silhouette really jumps out from the background, and by bringing out some extra de- tail in the eye, and hiding the ear, we have brought everything together to create a sur- real effect. As opposed to the film and in-camera method, the different combinations you can create using Photoshop are endless, allowing you to alter your artwork and try out different looks. | hope you found this tutorial useful. Even if you've never really used Photoshop . before, by following these simple steps you'll easily be able to create your own trendy double exposure images. If you try out this technique we'd really love to see your results, so please do share them with us on our Facebook page and our official Flickr grouy EU ae) Gill Roberts is the Editor of Photogra B Eun ea i} Se acl)Motorsport, Automotive Photographer Jamey Price is an award winning motorsport photojournalist based in Charlotte, North Caro- lina, His work has been published around the globe for a variant of different clients, such as Road and Track, RACER magazine, Autosport, F1 Racing magazine, Motorsport Maga- zine, F1i magazine, Sports lllustrated, ESPN, SPEEDTV, Souther Living, QC Exclusive, the Washington Post, The Charlotte Observer and many more, phy Masterclass Magazine | 65FEATURED PHOTOGRAPHERacing Instagram accounts to follow, the most r many oth- y to Formula 1 Long-term Photographic Ambition: want to keep building a reputation as a leading motorsport phoFEATURED PHOTOGRAPHERFEATURED PHOTOGRAPHER| have always been a passionate fan of racing. It’s an amazing thing to witness. There are so many different subjects and ways to cover racing. | got my foot in the door covering local club racing and even some lawn mower racing for newspapers and small websites. | eventu- ally made enough contacts to get bigger jobs. It has just been a slowly evolving process that has been centered around being passionate about what I'm covering and trying to cover it ina way that not everyone does. My first F1 race came in 2012 working for a friend and well known F1 photographer who offered me the opportunity to assist him during the weekend. To date, I've covered nearly 20 races. I've done a lot that I'm personally proud of. I’m not sure that there is one single thing that makes me more proud than another, but the fact that I've survived as a professional photographer ina cut throat industry and niche of that industry makes me proud, raphy Masterclass Magazine | 71oN Tap ee ainsssFEATURED PHOTOGR‘An image | took of the Marussia F1 team practicing a pitstop is probably one of my personal favorite images. Teams spend millions of dollars trying to go faster, but the easiest way to do that is to streamline the pitstop practice. Teams work for hours each week perfecting the process, and to see it play out in person with the car running and the team working as one is like a ballet of helmet and firesuit clad dancers. The energy of an F1 race, the atmosphere, the excitement and the day is incredible. But it comes at a price. You spend many weeks away from home. I've missed my gitlfriend's birthday, my grandmother's funeral, holidays, weekends at home, random nights out with friends and so much mare. It definitely comes at a cost. But in the end, | LOVE my job. Our days start early and end late. It's an involved process of trying to tell the story of the race. It can be easy to get into too much of a rhythm and just shoot what you need to shoot with- ut looking for something new. So much of the weekend, I'm really trying to photograph the event in a unique way. Practice sessions are spent getting the “banker” shots that are neces- sary to editorial coverage. Once those are done, you can play with more artistic images and angles. But we have clients with specific briefs that must be fulfilled.oN Tap ee ainsssMost days, | might have time for a very quick lunch if I'm lucky, otherwise, we just push through from session to session and relax a little at the end of the day once all the images are edited and sent. Most F'1 photographers are shooting for editorial needs, so excessive editing is unethical. Nikon D4, D3s, Lexar Memory cards, 500mm f4 lens, 70-200mm 2.8 lens, 85mm f1.8 lens, 24-70mm 12.8 lens, 14-24mm 12.8 lens, and a few teleconverters. | carry all this around the world in a Tenba Roadie rolling bag. Amazingly, it all fits in the overhead bin of international airliners. | pretty much have my dream kit bag. I'm very lucky. | would say my 500mm or 14-24mm are the two lenses | couldn't live without. | love the super telephoto and the super wide. It's a great contrast. raphy Masterclass MagazinWhat words of advice would you give to those looking to get into shooting motorsport? | get asked very frequently how to “get where | am”. The answer, as you can imagine is not that simple. But it takes hard work and a lot of patience. Any aspiring photographers need to get to race tracks as much as they can, In the United states, there are so many places that an amateur can shoot the same images that the pros can because there are very few catch fences. But just making the effort to put in the time is what will pay off in the long run. The instant satisfaction society we live in today does not favor long term success. Pe Me Clair) ETS eS reso)BERIND THI SC N =! “BLACKOUT CITY TIMELAPSE” Nicholas gives us a behind the scenes look on how he put it all together Na metropolis like London light pol- lution makes the night sky invisible. Only a few of the brightest stars and asterisms force their celestial light through the man made glow of the city. The night sky, one of the most beautiful of natural wonders is extinguished from view. Blackout City is an experimen- tal timelapse film that makes the invisible, visible. It attempts to show what the night sky would look like if there were ever to be a total blackout in the South East of Eng- land on a clear, moonless, summers night, | started shooting this project back in Au- gust 2013 and have been slowly gather- ing footage when conditions were right, Although each shot in this film is a com- posite, all footage is real class Magazine | 821 to 100k like night id see in terms o capture internet land to ensure that the for the lati¢ its’ inte mplicated, the Milky Way ot look like this; so in order to make night and simply look up. This project is purely non-profit but | ould Ic opportunity take or the fille ut in LA in 1 ific latitude will re If anyone thinks th e this happen please gh the lir in fact the Milky ut how the lights many of us lose our to the nigh live in a in track is by The American D for us to become e natural world around us, iso- hat is actually real. There many other aspects of the human condi- tion that this film could touch upon which AOU a ee Ces ea aC (Cen C ah visit his messes a orREADERS GALLERY Your Very Best Shots Showcased re Pere ae oe PR eee satires eee cae eee Sonnar T* 2/135 ZF.2 lens, at {/8.0, 1/250 Website | FacebookREADERS GALLERY ODD)PTC DLO CACC] iile ae ee Po ORO a Cras gc Shot Details: Nikon D800, at 72mm, ao ee ee) WebsiteTa ae CCR aa ey Shot Details: Canon EOS 5D Mark Ill, Ee Re iREADERS GALLERY R PHOTOGRAP Cao Cas See eeu sock Cn Il ee end WebsiteSea eL mee BUR Aco cg Shot Details: Canon EOS 5D Mark Ill, at aR eee tena) Ferriotales ae eee SU) Eee eae Tc eee ea Een A AP tone) Website | Projectave you ever seen an amazing picture and thought, "/ wish I had taken that picture - | wonder how the photographer did it?” Well, you're reading a photography magazine, so the answer to that somewhat rhetorical question is probably, “Of course I've done that! Who hasn't? | personally think like that all the time. For me, the worst is when | see a mind-blowing picture of a place that I have visited, but my own pictures from that exact same location pale in comparison. There's not necessarily a cure for a human emotion like jealousy, but | have found a place that can help you decrease that envy and that can give you the tools to improve your own skills at shooting great photos. That place is hotography Masterclass Magazine | 95Now, “location scouting” sounds like something professional filmmakers or photographers do, so | was a bit intimidated by the name at first. But when I thought more about the name, its just a fancy term that means “find a place.” And in this case, the site will help you find a place to take a great picture. Locationscout is a new site that provides photographers with a combination of inspiration, information, teamwork, and transpar- ency...and yes, there may be an occasional dash of envy thrown in. It is uniting photographers and travelers throughout the world and helping them help each other. At first glance it actually looks like a normal photo-sharing site, but one major thing does seem different right from the start: there are no portraits, no birthday snapshots, no nude models with snakes, and no abstract pictures. “Is this some kind of Bizarro Flickr?” Discover new spots wherever you like you wonder to yourself. Then, when you start seeing the emphasis on maps, keywords, and themes, you get the idea that this site is actually fundamentally different, Let's say you're planning a trip to Germany and you want to take some great pictures. If you go “Locations” on the drop-down menu, you'll note that it's actually the country with the most members on the site, and as such, it also has hundreds of locations that other photographers have recommended. To find ideas about some great places to take pictures, you can simply just look for the cit- ies that you'll be visiting, and then see what places in that city people recommend for taking photos. Orif you feel like exploring a bit more before nailing down a place, you could also zoom in on the map to see some examples of great Photography Masterclass Magazine | 96pictures that others have taken. When you find a thumbnail picture that you like, just click on it, and it'll take you to the full page for that user's picture at that location. On that page, the photographer will tell more about how he or she got that shot. No matter which way you search or explore, the biggest difference between Location- scout and other photo sites is that on this, one, it's all about sharing information about where, when, and how to get those great pictures. For example, the general entry for the Ger- many page mentions that you need to keep weather forecasts in mind and be prepared for rain. That's true, of course, but it might be fairly obvious for someone who's spent any amount of time there. The truly useful information and tips seem to come from the individual location pages. ‘A page for Nymphenburger Park in Munich, for example, informs other photographers that the park is best photographed in the morning since there is a lot of wildlife, and also because the park usually closes before sunset. That's a solid tip, and when combined with the cool pictures that other users have uploaded, it can quickly lead you on the road to inspiration and help you get out there to take better pictures with less hassle. Or if you're looking to get a picture of Heia- vatnet in Norway, a user named Florian help- fully recommends to take along an ND filter and a tripod, along with a polarizer to be able to see into the water. He also mentions that the area has excellent views of the nearby archipelago. Again, you could maybe get some of that information from various other sources like guidebooks or Trip Advisor, but it probably ‘wouldn't really consider the area from a photographer's perspective. And then you'd still probably have to combine all the bits and pieces from different sources together into ‘one coherent plan in your mind. Or, you Photography Masterclass Magazine | 97— could just do it the easy way and use this site - it does all that stuff for you, and it does it for free, To gain a better understanding about how the site worked, | signed up and tried it out a bit. Registration was quick and painless and about two minutes after | started, | was already adding “spots.” That's what you do on the site - you add spots. That does in- deed involve uploading a picture from that spot so that other photographers can get an idea about what the area looks like, but the main focus is stil on the place and what it's, like for photographers, but not the pictures themselves. It also asks for you to provide some information about the site. You have to give it a Beautiful spots for photography in Italy name and a general description, and - most importantly - put a pin in a map as close to the exact location as possible. Then there are some optional fields such as “Photog- raphy tips” and “Travel information.” Finally, when posting the spot, it also asks you to rate it honestly. It asks how good the place really is, when the best time of day or year to Visit is, and whether there are a lot of people around the spot. All of this is great, but it also exposes a small potential issue with some spots: it's a crowdsourced project, so the spots are only as useful as the individual users make them. For example, a spot for the Deutsches Mu- eum in Munich says that there are a lot of things to take pictures of, and to use a slow lens since many museum visitors may not Photography Masterclass Magazine | 98like tripods. That's maybe true, but its also ‘true of basically all museums, and it won't necessarily help someone who's looking for information like the best places or things to shoot at that particular museum, or whether there are days with discounted admission. | would argue that that is a small concern, though. Even if a specific spot doesn't have an avalanche of information, you can still get a general idea of what it's like by looking at the pictures, and you know what they say: that's worth a thousand words. When you add a spot and upload a picture and then rate a spot, Locationscout actually even says that “...i's not about your beautiful photos, and only about the spot itself." | under- stand why they'd say that, since they probably want to avoid self-promotion and they want people to focus on things like location, logistics, and advice, but there's also a huge inspiration factor, and that's what you get by including the pictures. The only other thing that might pose a small problem is language, but it might be fairly easy to fix. Most photo sharing sites are fo- cused on the photos and not on what people write about them, and even if there are tags, the sites may have translators built in to search for similar tags in other languag- es. Locationscout, on the other hand, spe- cifically focuses on information, and on using that information to make great pictures, Since it has users from all over the world, it's obviously an issue if the person giving the information speaks a different language than the person looking for the information. ‘Some of the spots in Germany, for example, are written completely in German. | happen to speak German, but that's not true of most people in the world. It seems like the site Beautiful spots for photography around the world Photography Masterclass Magazine | 99heme ¥ would do well to either install translation en- gines or options for users to translate what others have written, but that may be something that's coming in the future. Speaking of the future, the site seems to be new but growing fast. New users and new spots are added all the time, but it's stil rela- tively small and has more of a personalized, community feeling. That's actually kind of exciting, since it's not very common that you can get in on “the ground floor’ of something new like this, especially on the internet. The people who are joining now really can help the site grow and influence the direction it goes - while literally influencing where future users go to take pictures. EU aa eRe euee eee ne) TU Na CELT] Beautiful spots for photography in USA ema ec nar ge Although crowdsourcing has become a buz- word in internet marketing, in this case it really is applicable, and it's a pretty good thing, ‘Some spots may not have a lot of details, but they stil generally have a great picture, and that alone can make a person think, “Wow, I've got to go check out that place!” And the spots that do have great information, ratings, and suggestions, really exempiy the power of the site's model and hint at its potential But the best thing of all is that it's one of the few photography places that pushes you to get out there and take great pictures - and which actually tells you how to do it! So, happy scouting! Find out more at Locationscout.net Ia eae OmirOS OS ¥ Locationscout Discover this spot with photo tips & geo details at www, locations¢odt.net/spot/1376 Col aro ReLU melt Rol Bol bol Celte- aN LReU ATe B ol

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Rating: 4 out of 5 stars
4/5 (895)
Team of Rivals: The Political Genius of Abraham Lincoln
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Doris Kearns Goodwin
Rating: 4.5 out of 5 stars
4.5/5 (234)
Never Split the Difference: Negotiating As If Your Life Depended On It
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Chris Voss
Rating: 4.5 out of 5 stars
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The Emperor of All Maladies: A Biography of Cancer
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Rating: 4.5 out of 5 stars
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Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America
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Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America
Gilbert King
Rating: 4.5 out of 5 stars
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On Fire: The (Burning) Case for a Green New Deal
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Naomi Klein
Rating: 4 out of 5 stars
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Principles: Life and Work
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Rating: 4 out of 5 stars
4/5 (599)
The Unwinding: An Inner History of the New America
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The Unwinding: An Inner History of the New America
George Packer
Rating: 4 out of 5 stars
4/5 (45)
Fear: Trump in the White House
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Fear: Trump in the White House
Bob Woodward
Rating: 3.5 out of 5 stars
3.5/5 (738)
Rise of ISIS: A Threat We Can't Ignore
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Rise of ISIS: A Threat We Can't Ignore
Jay Sekulow
Rating: 3.5 out of 5 stars
3.5/5 (137)
The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers
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The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers
Ben Horowitz
Rating: 4.5 out of 5 stars
4.5/5 (345)
Steve Jobs
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Steve Jobs
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Rating: 4.5 out of 5 stars
4.5/5 (806)
The World Is Flat 3.0: A Brief History of the Twenty-first Century
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The World Is Flat 3.0: A Brief History of the Twenty-first Century
Thomas L. Friedman
Rating: 3.5 out of 5 stars
3.5/5 (2259)
Bad Feminist: Essays
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Bad Feminist: Essays
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Rating: 4 out of 5 stars
4/5 (1016)
Angela's Ashes: A Memoir
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Angela's Ashes: A Memoir
Frank McCourt
Rating: 4.5 out of 5 stars
4.5/5 (440)
The Glass Castle: A Memoir
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The Glass Castle: A Memoir
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Rating: 4.5 out of 5 stars
4.5/5 (1713)
The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are
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The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are
Brené Brown
Rating: 4 out of 5 stars
4/5 (1090)
John Adams
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Rating: 4.5 out of 5 stars
4.5/5 (2409)
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The Outsider: A Novel
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Rating: 4 out of 5 stars
4/5 (1839)
The Light Between Oceans: A Novel
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The Light Between Oceans: A Novel
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Rating: 4.5 out of 5 stars
4.5/5 (789)
The Sympathizer: A Novel (Pulitzer Prize for Fiction)
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The Sympathizer: A Novel (Pulitzer Prize for Fiction)
Viet Thanh Nguyen
Rating: 4.5 out of 5 stars
4.5/5 (121)
A Man Called Ove: A Novel
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A Man Called Ove: A Novel
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Rating: 4.5 out of 5 stars
4.5/5 (4609)
Wolf Hall: A Novel
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Wolf Hall: A Novel
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Rating: 4 out of 5 stars
4/5 (3811)
Brooklyn: A Novel
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Brooklyn: A Novel
Colm Toibin
Rating: 3.5 out of 5 stars
3.5/5 (1937)
The Woman in Cabin 10
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The Woman in Cabin 10
Ruth Ware
Rating: 3.5 out of 5 stars
3.5/5 (2322)
Little Women
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Little Women
Louisa May Alcott
Rating: 4 out of 5 stars
4/5 (104)
Manhattan Beach: A Novel
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Rating: 3.5 out of 5 stars
3.5/5 (792)
The Perks of Being a Wallflower
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Rating: 4.5 out of 5 stars
4.5/5 (2104)
Sing, Unburied, Sing: A Novel
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Sing, Unburied, Sing: A Novel
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Rating: 4 out of 5 stars
4/5 (1103)
The Art of Racing in the Rain: A Novel
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Rating: 4 out of 5 stars
4/5 (4200)
Her Body and Other Parties: Stories
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Rating: 4 out of 5 stars
4/5 (821)
A Tree Grows in Brooklyn
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A Tree Grows in Brooklyn
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Rating: 4.5 out of 5 stars
4.5/5 (1929)
The Constant Gardener: A Novel
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The Constant Gardener: A Novel
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Rating: 3.5 out of 5 stars
3.5/5 (104)