Alice and Kevin’s wedding at Paradise Gardens Kiambu was the perfect day you would expect from this storybook couple. Their ceremony was a unique blend of cultures, individuals, and love. More than once, the photographers and videographers had to wipe tears from their eyes and take a deep breath to go on, touched by the outpouring of love and support from family and friends.
Love was in the air, the Scrabble tiles, and now the images. We had a great time exploring old and new favorites in Paradise Gardens Kiambu with Alice and Kevin and capturing these images of a fun, loving couple who made us feel happy to be alive. Paradise Gardens Wedding Venue :: Kenyan Weddings Love Story
“The great marriages are partnerships. It can’t be a great marriage without being a partnership.” – Helen Mirren
“In terms of my marriage, you know, falling in love with my husband was by far the best thing that’s ever happened to me.” – Caroline Kennedy
“My husband has made me laugh. Wiped my tears. Hugged me tight. Watched me succeed. Seen me fail. Kept me strong. My husband is a promise that I will have a friend forever.” – Unknown
“Husband and wife relationships are like the relationship of Tom and Jerry. Though they are teasing and fighting, but can’t live without each other.” – Unknown
“My husband is my best friend, my greatest support, my biggest comfort, my strongest motivation, my truest smile, my deepest love, my favorite, my forever. He has me. Entirely.” – Unknown
“A husband and wife may disagree on many things but they must absolutely agree on this: to never, ever give up.” – Unknown
“There is no such cozy combination as man and wife.” – Menander
With the recent and rapid advancement of AI technology, the conversation around ethical photo editing has never been more relevant. As tools evolve and photo editing becomes more accessible, it’s crucial to approach image manipulation responsibly.
In this post, explore the ethics of photo editing, Path’s stance on the issue, and actionable tips to ensure your edits maintain a moral high ground.
Why ethical photo editing is important
Photo editing is more than just enhancing an image—it shapes how people perceive reality. When editing is done unethically, it can:
Distort reality: Over-editing or misrepresentation can lead to misleading images, especially in advertising and journalism.
Exploit labor: Many affordable editing services outsource work to underpaid workers in poor conditions.
Violate rights: Improper handling of copyrighted materials or the unauthorized use of people’s likenesses can breach laws and ethical standards.
At the end of the day, ethical photo editing means treating images—and the people behind them—with respect.
How to get ethical photo edits
Work with ethical service providers
When outsourcing photo editing, it’s important to partner with providers who treat their workers with respect and fairness. Look for companies that align with the following to ensure your edits contribute to positive change:
Fair labor practices: Work with companies that treat employees well, providing fair wages and humane working conditions.
Transparent practices: Partner with providers that openly share their methods and values.
Focus on quality over speed: Avoid services that rely heavily on automation or exploit cheap labor to deliver quick results.
At Path, we prioritize ethical practices, ensuring our team is supported and valued. We don’t just pay a liveable wage and comfortable working conditions—we proactively invest in our team and look for ways to invest in their learning and development as well as support their families and communities.
Maintain the integrity of the image
Editing should enhance the original photo without compromising its authenticity. Edit the image so it stays true to the subject, rather than misrepresenting it.
When it comes to photos of people, this is especially important as we become increasingly aware of image manipulation and authenticity. And in the case of product photos, authenticity can mean the difference between a returned product and a happy customer.
When editing your photos, keep the following ethical guidelines in mind:
Limit adjustments: Focus on subtle changes like cropping, adjusting brightness and contrast, fixing unnatural imperfections, or correcting color.
Avoid distortion: Refrain from altering key elements that misrepresent the subject. For example, don’t edit a product to appear different from how it looks in real life.
Stay honest: Particularly in portraits or headshots, edits should respect the individual’s natural appearance rather than imposing unrealistic beauty standards.
Abide by all copyright and trademark laws
Ethical editing includes respecting the legal and moral rights of others—so you’ll want to omit certain things from your photos. Using copyrighted material without permission is both unethical and illegal, and editing such material without consent further compounds the issue. Always make sure the images you use are either your own or licensed appropriately. You don’t want to unintentionally steal someone else’s work.
Remove identities
Privacy is another key consideration. If your photos include identifiable individuals, you may want to obtain their written consent before sharing or publishing the images. In some cases, this is even legally required.
In cases where consent isn’t possible, removing or obscuring their identities is the responsible choice. Even if it’s not legally required, prioritizing privacy demonstrates respect for the people captured in your work.
Be transparent
Transparency also matters. If an image has been heavily edited, disclosing the extent of the edits is crucial, especially in contexts like journalism or advertising where the audience relies on the authenticity of the visual content.
Avoid AI edits
AI tools have made the photo editing process a lot faster and easier in many ways. But they also raise serious ethical concerns.
AI lacks the nuance and context of a human editor, often making decisions that compromise the image’s integrity or misrepresent the subject. Plus, relying on AI can lead to the devaluation of skilled human labor and diminish opportunities for professionals in the industry.
When edits are done by hand, you know they’re executed with a certain level of care, artistry, and accountability that AI can’t replicate. While AI may be tempting for its convenience, ethical editing often requires the thoughtful touch of a skilled human editor to achieve the best results.
Work with a virtual photo editing studio you can trust
Our team of 300+ editors have edited more than 8 million images for 40,000+ businesses like yours. We do every edit by hand—no AI automation here. And with prices starting at just 25¢ per edit, it’s tough to beat.
Not to mention, working with Path can make you feel good about the work you do. We donate 5% of our profits to our non-profit organization, the Anisa Foundation. The Anisa Foundation helps people in our local community access life-changing—and sometimes life-saving—care and support.
Find out how you can help us make a difference in the lives of the people in Gaibandha, Bangladesh.
Ethical photo editing FAQs
Is Photoshop ethical or unethical?
Photoshop is a tool—its ethics depend on how you use it. Avoid deceptive edits that mislead viewers or misrepresent subjects.
What is the code of ethics for photo editing?
A general code includes respecting subjects, maintaining authenticity, and adhering to copyright laws.
What is ethical editing?
Ethical editing involves making truthful, respectful adjustments without misrepresenting the subject or violating laws.
Photography can be many things. For some, it’s about capturing scenes. For me, it’s about conveying emotions and suggesting narratives that resonate deeply, first with me and then with the viewers who might experience the image. I’m not so much after eyes as I am hearts and minds. Mood does that.
The mood of a photograph is its emotional tone—a subtle yet powerful element that can transform a simple image into a compelling one that is more than visual but also visceral.
Mood in photography refers to the overall feeling or atmosphere an image evokes in the viewer, ranging from joy and serenity to tension and melancholy. As broad as the gamut of human emotions is, so too is the possibility of touching them with a photograph. Mood is the intangible quality of a photograph, often created by a combination of many elements, a short list of which would include light and composition, the subject matter itself, and colour. But that is a very abbreviated list of how we can establish an emotional connection—to make photographs that are more expressive on the level that makes us sigh, laugh, cry, or feel wonder when we see them.
For those who aim to tell stories with their images (and not all of us do), an image that successfully conveys a mood can evoke empathy, curiosity, or nostalgia, drawing the viewer into the story behind the photograph. Making them care. Investing them.
Mood can also play a significant role in guiding the viewer’s perception and interpretation of an image. It acts as a lens through which a visual story is understood. It changes a photograph of something into a photograph about something more specific. For instance, a photograph of a deserted house might evoke feelings of loneliness or melancholy, suggesting themes of abandonment or loss. But the same scene captured with warm lighting and vibrant colours might create a nostalgic or serene mood, changing the narrative entirely. Through mood, photographers can steer the viewer’s emotional response and shape the story being told. Both hypothetical images I just mentioned are of the same thing, but they are about very different things. That’s the power of mood.
Beyond storytelling and emotional engagement, understanding and pursuing mood can just make prettier photographs. Stronger images aesthetically. Images that stand out more because they have a distinct visual identity. Whether it’s the ethereal quality of a foggy landscape or the raw energy of a stormy sea, mood adds depth and character to photographs, making them more memorable and impactful.
Mood is often what first captures the viewer’s attention—the hook that draws viewers in to explore the image further.
Complicated images with a lot going on can take a while to figure out. The impact is spread out and sometimes doesn’t hit as powerfully. Mood is simple; it’s a feeling that requires no figuring out. Mood is seldom a puzzle.
In portrait photography, mood can be used to reveal a subject’s unique personality or telegraph how they feel. It can connect us to a subject we might not otherwise care about. The landscape photographer relies on mood to transform ordinary scenes into extraordinary vistas, capturing the essence of a place—the feeling of it. Documentary photographers use mood to make us feel empathy about social issues. Any photographer wanting their audience to feel something would be foolish to assume that subject matter alone will provoke empathy when there are much more powerful tools available, among which might be choice of moment, point of view, or the brightness of an image.
Mood brings emotional depth; it is the life of an image.
For me, mood is often the why. It’s what draws me to make the photograph in the first place. And so it is perhaps a source of consternation or confusion when I look at the work of photographers new to this craft, and even back on years of my early work and see no mood. What power they might have had if only these photographers (and I) understood the possibilities. If only I had asked better questions than, “Which lens should I use?” or “What would a proper exposure be for this?”
When you first start out, it’s probably helpful that your questions relate to focus, exposure, or lens choice. But I’m increasingly convinced those questions should never be separated from this better one: How do you want the image to feel? Because even where focus and exposure (and lens choice) are concerned, your choices about how can never be separated from your choices about why. If I can see it, I can feel it. So if you make an image darker, I will feel that darkness and its accompanying mood. If your focus is so shallow that the out-of-focus highlights become globes of light and colour and the rest of the scene softens, I will feel that too. Or if your focus is so shallow I can’t see enough detail to make sense of the story, I won’t feel the power of that story. Not a single decision we make—either in camera or with development—can’t be used to make an image that is as visceral as it is visual.
Two questions that will change the way you make photographs: How do you want the image to feel? What would that look like?
If you’re open to a quick exercise, answer these two questions for me:
What do you love that conveys mood in an image?
What makes your heart skip a beat?
Many of the elements and choices that bring mood to an image are felt somewhat universally, but the ones we most like working with, the ones we most want to see in our images, are a matter of preference. I’d love to hear what those mood hooks are for you. My top three would have to be backlight, point of view, and the mystery that shadows create in an image. What are yours? You can drop those into the comments below.
DPG is thrilled to announce the second edition of the Underwater Awards Australasia—the premier underwater imaging competition focused on the Australasian region. Like the hugely successful inaugural edition, the 2025 competition is a three-way collaboration between the long-established Underwater Australasia, DPG, and underwater imaging equipment and dive gear distributor UW Images.
Like last year, the competition will culminate in an exhibition at the Go Diving Show ANZ in Sydney, Australia, in September. Once again, the exhibition will feature stunning metal prints of the finalist entries by Printing Partner PhotoMart, which will be available for purchase. Half the proceeds from print sales will go to Environmental Partners Australian Marine Conservation Society and Take 3 for the Sea.
The prizes, worth more than A$50,000 in total, include dive trips with the world’s top resorts and liveaboards, as well as the latest underwater photo and video gear. Entrants compete for prizes in 9 categories, including the unique “Reels Showcase” video category. The top image or video among the category winners receives the distinction of “Best of Show.” This year’s prestigious judging panel comprises photo judges Tobias Friedrich, Jayne Jenkins, Matty Smith, Tanya Houppermans, Scott Portelli and William Tan; and video judges Philip Hamilton and Ross Long.
The competition calls for passionate underwater shooters from around the world to submit their most captivating and compelling images and videos from the Australasian region. Shooters are invited to immerse themselves in the challenge of capturing the essence of this extraordinary realm, where every frame tells a story of the delicate balance and breathtaking beauty that characterises our oceans.
The competition opens on June 1 and closes on July 20, 2025. Winners will be revealed during an awards ceremony at the Go Diving Show ANZ, September 6–7, and subsequently on UnderwaterCompetition.com. The results will be published by supporting media partners worldwide shortly thereafter. The entry fees are US$10 per image or video entered.
In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.
(Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)
Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.
Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment.
Can you avoid X-rays altogether?
Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.
Never put film in a ‘checked’ bag
Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.
Always carry your film onboard with you. To avoid a potentially destructive zap from the X-ray or CT scanner, stow (preferably) unopened film in a clear plastic bag and ask for a “hand inspection” at security. Dan Bracaglia
A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.
Film in carry-on baggage: Ask for a ‘hand inspection’
The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)
Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.
*Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.
The PopPhoto guide to hand inspections
First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.
Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).
We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.
Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.)
It’s best to hold off loading your cameras with film until you’ve reached your destination. Getty Images
After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way.
Going home: Have all film hand inspected
Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags.
If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.
What about lead-lined film bags?
Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.
Advice for other countries
While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film.
Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.
You may not have heard of Norway’s second largest island, Senja Island. This underrated must-visit travel destination spans 600 square miles of land area. It is situated above the Arctic Circle and is home to ragged mountains and fishing villages.
With a population of fewer than 8,000 people along the eastern coast, the Senja municipality will most probably be excluded from your list of must-see places in Arctic Norway. There aren’t many tour groups covering this area. You can say that this island with its friendly southern coast is yet to be discovered.
If you are planning to explore the area, check out these photography locations in Senja Island you should definitely visit as a photographer.
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Senja National Scenic Route
Aleksander Englund
What better way to appreciate a new place is by seeing and experiencing it through a road trip? Visiting Senja Island and capturing amazing pictures is possible by taking a trip along Senja National Scenic Route or the National Tourist Route.
There are 18 different routes that are portions of highways and railways. When taking this route you can take amazing pictures of Senja’s outer coastline. You should definitely watch out for the stunning views, picnic-worthy spots, and spectacular beaches that are picturesque.
Tungeneset Viewpoint
Kamchatka
Traveling through the National Scenic Route, you can witness two picture-worthy viewpoints of Senja Island. One of which is the Tungeneset Viewpoint. Tungeneset is considered a photographer’s haven, and it’s considered Senja’s most photographed site.
Here in the Tungeneset rest area, you can take snaps of the jagged Oksen Peaks or the Okshorn Peaks. You can also take snaps of the cliffs and the small pools on the rocky surfaces.
You can also enjoy walking along the rocky edges and taking amazing pictures of the mountain that meets the sea. If you are lucky and it is low tide, you can take pictures of rock cauldrons that are filled with seawater.
If you happen to visit Tungeneset Viewpoint during poor weather, you can still enjoy the famous Oksen Peaks and take amazing pictures. A tourist-friendly wooden walkway makes it easier for tourists to appreciate and marvel at the amazing view of so many mountains and the open sea.
Bergsbotn Platform
Inger Eriksen
The other must-see site along the National Tourist Route is the Bergsbotn Platform. This platform is 44 meters long. Here you can capture the beauty of Bergsfjord town and its surroundings.
If you like the thrill of heights, the view from the top is truly worth it to capture through your camera. The platform is made of wood but the view remains unbothered because the sides are made of see-through material.
Ersfjord Beach
Inger Eriksen
Senja is home to the open sea and an enjoyable coastal stretch. The Ersfjordstranda Northern Norway hides several sandy beaches for both Norwegian hikers and foreign tourists. If you are looking for a white sand beach, you can get your treat by checking out Ersfjord Beach or Ersfjordstranda Beach.
You can easily find photographers spending a lot of their time on this Arctic beach because of its clear skies, spectacular view, and chilling water. The Ersfjord Beach is a great spot for sightseeing, walking, relaxing, and having a photography break approximately halfway along your trip.
Beach at Bøvær
Claudio Beduschi
The beach at Bøvær is another one of Senja’s must-see sights. Though, the road leading to Bøvær Beach can be extremely terrifying, narrow, and winding. But, reaching the spot can make the trip worthwhile because of the spectacular scenery.
Bøvær is one of Senja’s amazing beaches. As a photographer, you can enjoy taking pictures of the beach’s long shoreline, as well as the white and sandy beach.
After taking gorgeous pictures of Bøvær Beach, you can rest and relax at the Crow Caste. The Crow Castle or Kråkeslottet is a renovated wooden fisherman’s house located beside the lighthouse. You can enjoy and take pictures of the cultural programs while you are at it.
Husøy at Fishing Sites
Ernest Kung
Husøy or “house island” is Senja’s active fishing community. It is a small island found at the heart of Øyfjord. There is not much to do in this fishing village, but there is so much to see. You should get your camera ready when you plan to visit the picturesque fishing village, Husøy.
It doesn’t matter when you plan to visit Husøy because this small fishing village looks fantastic all year round. If you are planning to roam the site, be mindful that most stores close during mid-day which is an influence of the Spanish armada in 1588.
With its remote location, you may think that this site is a living museum. However, it is home to a number of residents who make this village alive and beautiful.
Red Cabins in Gryllefjord
Perszing1982
If you are looking for dramatic shots, you should visit Gryllefjord village. The fjord and the open ocean can give your pictures a dramatic feel. The red cabins in the fishing village Gryllefjord are found along the Norwegian coastline and are certainly a feast to behold.
In the summertime, if you are considering a more extensive tour of Northern Norway, you should take a car ferry. A car ferry links Gryllefjord with the Andes at the northernmost tip of the Vesterålen archipelago.
Sea Eagle Safari
Jiri Hrebicek
Aside from taking gorgeous scenic pictures, you may also be interested in taking pictures of wildlife while you are visiting Senja, Norway. You can join fishing trips by riding a small boat towards Hekkingen Island. This is the sure way you can capture amazing pictures of white-tailed sea eagles in action.
Ånderdalen National Park in Senja’s Southern Coast
Matze Friedrich
If you fancy taking pictures of the outdoors with primeval forest and Norwegian coastal landscape, you will enjoy Anderdalen National Park. This wonderful place is 134 square kilometers in area.
The national park is accessible to hikers and bikers. Fishing is a fun activity during the summer. During wintertime, you can enjoy dog sledding and ski touring.
This small national park is home to different animals like the moose, reindeer, and red fox. You can take pictures of the amazing landscape, luscious forest filled with trees as old as 600 years old, and forest animals.
Town of Finnsnes
You can easily reach Senja, Norway by passing through Finnsnes. This town is found on the mainland. Shops, accommodations, and restaurants abound here. If you want to take pictures showing the busy side of Senja, you should stop over at the town of Finnsnes.
If you are feeling nostalgic and you want to taste a bit of Senja history, you can visit the Lenvik Church which was built in 1130 in Bjorelvnes. Its architectural design and simplicity can make an amazing photographic composition.
Hamn I Senja
Lars Almeroth
Hamn I Senja is a sheltered port in Senja, Norway. This place used to be a trading post and an old nickel mine. It is positioned south of Sugarloaf Mountain and the Atlantic Ocean to the west.
You can capture amazing pictures of 98 islets of Bergsfjord that are clustered together up north of Hamn I Senja. The view is simply breathtaking and worth capturing through your camera’s lenses.
Northern Lights and The Midnight Sun in Senja, Norway
Winter is a great time to visit Senja, Norway. Seeing and taking pictures of the northern lights is a non-negotiable when visiting Northern Norway. The island of Senja experiences polar nights during winter which makes it the best place to chase some northern lights.
Polar night can be experienced from the end of November until mid-January. Aside from witnessing the northern lights, it is also fun to go husky sledding and take amazing pictures with the white scenery and adorable huskies.
Now, if you want to experience the midnight sun for once in your life, you should consider a visit around the months of May and July. It is when the sun never sets and Senja is also breathtaking during this time. Hiking is a fun activity that you can do while still seeing the sun shine bright at any time of the day. While you are at it, you should bring your camera with you. If you spot an amazing landscape or intriguing wildlife, take that picture!
Backdrop
Activities and Photography in Senja, Norway
There is no doubt that Senja, Norway has several spectacular views and must-experience adventures to keep its tourists entertained and enchanted. Aside from the view, Senja, Norway also offers amazing activities that any tourist would like to participate in.
Senja challenging hikes are coupled with rewarding views on this small island. There are so many hikable mountains on the island. One of them is the Sukkertoppen Mountain which is a challenging and popular hike route for many.
Nick Fox
If you are looking for a gentler hike, then you may want to consider Husfjellet mountain. It is easy to climb and you can enjoy a fantastic view while you are on top. You can bring out your camera and take pictures of the spectacular view.
Aside from hiking, you may also travel around the island on a bicycle. As a cyclist, you can take advantage of the Norwegian coastline. The route forms part of the European Cycle Route 1. Cycling on the road gives you a more advantageous way of taking excellent pictures. You can easily go to remote areas that offer equally picturesque villages.
On Visiting Senja Island
Dodi Sandradi
Senja is famous among Norwegian tourists because of its gorgeous oceans and beaches, rugged mountain ranges, biking and hiking trails, and must-see fishing villages. This is Arctic Norway which is nestled between Tromsø Islands, Vesterålen Islands, and Lofoten Islands.
As a photographer, you want to be able to manage your own time and enjoy the island at your own convenience. Thus, going around the island in your own car is best. Rentable cars are a good option. Bring your camera and gear so you won’t regret taking a trip to Senja, Norway.
Kenya Adventure Elopement Photographer :: Africa Safari Wedding
You know it’s going to be a great engagement sitting when the couple is on time, in the right location, wearing coordinated clothing, and brings along with them a file folder full of ideas-including an ampersand that Sindura custom-created and made by hand to execute a shot she had in mind. What more can your photographers ask for? It was a beautiful evening in Lewa Wildlife Conservancy and created these incredible images. That’s what we consider FUN! We hope you enjoy these romantic images that capture Sindura and Chris’ personalities along with the surroundings of one of their favorite places to hang out.
We loved exploring every nook and cranny of the LewaWildlifeConservancy, it is the perfect Wild Bush wedding destination that brings together the natural beauty of the Landscape Valley with the elegance and service one would want for a perfect engagement, proposal, or wedding. We love working at Lewa Wildlife Conservancy because there is so much variety in the environment and so many fabulous locations to capture the romance and beauty of weddings held here and take advantage of the amazing light at the end of the day, with a sunset that made us feel like we had gone on vacation… Thank you again for allowing us to use our creativity for you!
From the amazing day we spent at SirikoiLodgeCampLewaWildlifeConservancy for Sindhura and Christopher’s surprise secret proposal engagement session and dinner through their storybook, we have had so much fun with this enthusiastic, appreciative couple. Their excitement was contagious and we were proud to share the day with so many vendor friends. Thank you so much you guys—it was even more perfect than we ever imagined.”
Whether you love hiking and frequent the trails around the Lewa Wildlife Conservancy, spend every free moment at the wild bush, love to explore, consider your black lab to be an important family member, want to recreate your proposal, love and collect classic muscle cars, need to save the date cards to announce your wedding to family & friends, have never had a “good” picture of the two of you together, enjoy strolling the gardens around your favorite restaurant, have a fiancé works for Sirikoi Lodge Camp and you love the light post exhibit at Lewa Wildlife Conservancy or have no idea what you want to do for your engagement portraits, we can help you.
We feel there is no better way to express your individuality, get acquainted with your photographers, feel comfortable in front of the camera, and allow us to capture the chemistry of your love and relationship than with an engagement session in a natural, relaxed setting. That is why we include this important session in all of our wedding coverage. Besides, we love getting out of the studio and exploring all of the great places Kenya has to offer.
We hope you enjoy looking at some of the places we have been recently with our couples. Planning for these sessions is the most fun because it lets us brainstorm and let our imaginations wander. Some couples are more serious, others romantic, and others fun-loving and silly… that’s what makes it so interesting for us. It’s a great way to set us up for success the day of your wedding, it breaks the ice, and it gives you lots of great shots that you can display at the wedding, or you can use them to create a guest book or sign-in board for your guests to enjoy. It also builds your confidence in yourselves and us and makes the wedding day even more enjoyable as far as picture-taking. Don’t miss out on this important part of your engagement!
Explore the Rare Grevy’s Zebra in Kenya : Rare Grevy’s zebras are found mostly in the northern Kenya in areas like Laikipia, Samburu National Reserve these are few places where Grevy’s zebra flourish, this is the most unique zebra specie that is well known for its striking, tall appearance, thin stripes, taller, white belly then elegant gait. Kenya is the best safari destination in Africa where a tourist can spot the Grevy’s zebra with the good numbers occurring, not only in Kenya the Grevy’s zebras are as well found in Ethiopia, in fact they are inhabited in 5 countries in the world namely Djibouti, Kenya, Eretria, Somali, Ethiopia. Kenya is renowned as a home to over 90% of the total population of the Grevy’s zebras that’s why they should always be conserved and protected for their survival, a meaningful Kenya safari can never become stunning minus spotting the Grevy’s zebra in Kenya.
Grevy’s zebras are the largest among the other zebras species like plains zebra, mountain zebra. Grevy’s zebras live in the arid and semi-arid lands the Grevy’s zebras feeds on grasses, legumes and browse these are the unique animal species that can even finish five days without taking water, unlike the plain zebras that do need the water on the daily basis.
Explore the Rare Grevy’s Zebra in Kenya
Grevy Zebra
Grevy’s zebras is different from the rest because in that it does not live in harems and has few long lasting social bonds. Grevy’s zebras have different weight that is male Grevy’s zebras can weigh between 836 to 990 pounds (380 to 450kg) and females can weigh between 77 to 880 pounds (350 to 400 kgs), the Grevy’s zebra can stand about 63 inches (160 cm) at the shoulder.
The Grevy’s zebra specie is the most unique specie that a tourist should never on a Kenya wildlife Safari, the Grevy’s zebra is particularly mule-like in appearance, the head is large, rounded, narrow with elongated nostril openings, its ears are very large, rounded and conical and the neck is short but thick, then the mane is tall and erect. Grevy’s zebras main predator is the lion others include the wild dogs, leopards all these prey on the Grevy’s zebra, though the adults can be hunted by the spotted by the hyenas, then during the droughts the Grevy’s will dig waterholes and defend them.
Adaptations of the Grevy’s zebras in Kenya.
Grevy’s zebras have the large eyes located high up to their head, the eye replacement helps them to scan their surroundings for the predators as they continue grazing, and the only blind spot is directly behind them. Individual zebra in the group do face different directions so they can observe in all the directions providing for the entire group.
Grevy’s zebras have got the long muzzles that are 40 to 45 with constantly growing teeth, these majorly are used to grind the coarse vegetation they feed on, and their eyes are located far up to their head to make room for the roots of their large cheek teeth.
The Grevy’s zebras uses the stripes to communicate in several different ways through recognizing others of their species as well they make the loud donkey-like braying calls.
Though all the zebras have the white and black stripes not black and white stripes, the stripes of the Grevy’s zebras are very narrow compared to other zebra species, their stripes do proceed all the way down their legs to the hooves, and the underbelly is white. The formulation of the stripes on each zebra is unique from the other in fact it can be used to identify individual species, the stripes are important because they help in the camouflage breaking up the outline of the zebra as well as confusing the predators.
Amazing facts about the Grevy’s zebra.
Grevy’s zebras are the largest species of zebra and the largest of the wild equids those are horses and asses.
Grevy’s zebras are unusual because they do not form long lasting bonds like the plain zebras and horses do, their group composition may change on hourly basis.
The newborn foals are able to stand after just six minutes, and they can run after 40 minute.
Grevy’s zebra can run up to 40 mph.
Grevy’s zebras though have the identical stripes that is each stripe pattern is as distinctive as the finger prints of the human being.
Grevy’s zebras were named for the Jules Grevy, the former president of France, to whom the first known specimen of Grevy’s zebra was sent in 1882.
Reproduction in the Grevy’s zebra.
The Grevy’s zebras can mate and give birth year around, after a 13 gestation period a single foal is born weighing between 80 to 125 pounds those are 36 to 56 kgs, but mostly the Grevy’s zebra do mate in the early rainy seasons and births mostly take place in August or September and after the long rains, an oestrous mare may visit as many as four territories a day, and meets with the stations in them, Explore the Rare Grevy’s Zebra in Kenya .
Lifespan of the Grevy’s zebras.
Grevy’s zebra can live from 20 to 25 years in the wild, but then from 25 to 30 years in the captivity.
How the Grevy’s zebra live.
Grevy’s zebras are solitary animal species, but though the strongest social relationship is between the females and their off springs, also some of the Grevy’s zebra do live in temporary groups of 20 to 30 individuals with mares with foals, other females and bachelor males, though groups keep on changing. The Grevy’s zebras stallions set up large territories and mate with any females that wander through the territory, as the males keeps in tolerating other males within the territory.
Explore the Rare Grevy’s Zebra in Kenya
Explore the Rare Grevy’s Zebra in Kenya
Exploring the Grevy’s zebra species is so much rewarding on your wildlife safari in Kenya, this gives you the best memories ever in your life, Kenya is the only blessed country with the Grevy’s zebra species in the entire Africa, plan and fulfill your longtime dream to be true with focuseastafricatours.com which helps and takes you through all the ways to where you can fully explore the most unique Grevy’s zebras species in Kenya, adventuring the nature in Kenya gives you all the expectations and it does not disappoint you on your safari.
I do a little moonlighting for a small computer and imaging company that rhymes with Snapple. They are under the mistaken impression that my nearly 40 years behind the camera means I know what I’m talking about. Still, I like the challenge. One of my first tasks as their Creative Storytelling Specialist (yeah, I don’t know what that means, either) was to help the engineers understand mood as it relates to picture-making.
So to get a head start, I did some poking around the internet in hopes that people with greater minds than I had already articulated the idea of mood. Mostly what I found was the advice to “put more mood in your photographs,” as if I were being told to add more salt to every recipe. Not helpful.
The problem with mood is it’s not really one thing. Add mood? What kind of mood? If mood is about emotional connection then surely we can be more specific about which emotions. But before we disregard the advice entirely, it’s worth acknowledging that it comes from a good place, a recognition of the power of mood.
The desire for more mood in our photographs—not unlike the desire for more salt—is a desire for more flavour. Only in this case, the flavour is emotion. It’s a desire to move beyond the pursuit of perfection in our images toward something a little more poetic. Poetry is about feelings; unless you’re working as a forensic photographer, feelings are probably something you hope to stir with your photographs. And that requires interpretation. It requires making choices that sway an emotion one way or the other. It requires taking some risks because almost every choice that leads to more emotion in our images is a choice that deviates from the playbook we were all given with our first cameras. It’s a move away from average and towards more flavour. Pass the salt, please.
So back to my early efforts to articulate mood as a powerful tool (more like a toolbox, really) in photographic expression. Once I got over the confusion about why so little insightful information was out there, here are the first three realizations I had.
You Can Learn Mood
Mood isn’t the result of secret techniques, or even advanced techniques. It’s more a result of refined sensibilities. Maybe it’s also a matter of priority. It’s in looking for it, chasing it. It’s in recognizing it when you see it and knowing which choices can amplify those emotions through the image. And those are all present as visual cues that we can see and learn from. You can learn this.
Set the camera aside for a moment and think about a photograph that you love—one that stirs something in you. Maybe one of the iconic images that made so many of us feel the power of the photograph and want to pick up the camera ourselves so we could find that power and beauty. What makes you feel the way you do about that photograph? Is it only the subject matter?
I love bears, but not every picture of a bear makes me feel anything. Some make me feel bored. They lack mood. But the ones I love? It’s more than a bear. Bear in great light, perhaps. What kind of light is it, and what did the photographer do with it? Maybe it’s a bear in a great moment. Maybe it’s the camera placement or a story implied by other elements in the frame. Maybe—probably—it’s all that. Whatever it is, you feel it because of something you see. And if it’s something you can see, it’s something you can learn.
In short, don’t spend more time studying your technical tools than you spend figuring out your mood tools.
Light Is Everything
The first thing we look to when we chase mood is light. And so it should be. Light is so often the first thing that hooks us. We feel something about light that resonates with us. We feel differently about backlight than about front-lit scenes. We feel differently about softer light than light that’s more direct and makes harsh shadows. We respond to the shadows and reflections created by light. Where light is concerned, what we seem not to respond to is, well, boring light. Average light. That’s not to say you can’t make expressive photographs in boring light, but it won’t be light to which we respond but something else. A different hook. So if light is so powerful, why do photographers insist on painting with anything but light that has the power of an emotional hook? If you want mood, look to the light.
It’s Not All About Light
At the same time, it’s not all about light. There’s a reason photographers use different focal lengths, and it’s not just to “get more reach” or get more in the frame. It’s because different lenses feel differently. They interpret a scene differently. So do the places in which we put the camera. And the weather. And our choice of moment. Of course light isn’t truly everything. All our choices, all the elements, are everything.
And that’s the problem with “put more mood into your photographs.” It’s every decision we make—or it can be. But here’s the other problem with mood: there are no rules. There are hooks, elements and choices that we do or don’t respond to, but there’s no playbook. Not really. And so it comes down to having a sensitivity to those hooks, taking risks, and knowing what stirs the OMGILT (Oh my God, I love that!). Many things stir emotion in our images—and nearly infinite combinations of them—but you won’t love to use them all. You won’t love the same colours I do. You won’t be as excited by the same focal lengths or perspectives nor drawn to the same subjects or stories.
Your Turn. There’s a Prize.
Are you up for an exercise? How about if I put a prize on the line? In the comments on my blog, tell me about that photograph I asked you to imagine a few paragraphs ago. Describe it. Tell me why you feel the way you do about it. It’s probably not just one thing, but many. What gives that photograph its mood, or what makes you feel the way you do about it? Don’t hold back. I’ll draw one person’s name from the comments below for a free enrollment in my next course, which may or may not be available very soon and is all about mood and making photographs that elicit a more powerful emotional response. Who’s in?
Update: The lucky winner is Jon Lloyd. Jon, I’ll send you an email about your free enrollment in my Shoot What it Feels Like course. Thanks for playing!
Getting the hang of using a camera and photo editing is one thing, but directing subjects? Now, that’s hard! Even pro photographers can struggle with an awkward or camera-shy person in front of their lens.
How can you guide your subjects so your portrait shoots are consistent in quality, there are fewer retakes, and the result looks great? It’s a mix of technical shooting and composition skills, with plenty of soft skills, like getting your subjects to relax and smile.
Want your next portrait shoot to be a success? Check out some practical tips for how to pose any subject—from corporate execs to creative professionals and family groups.
Prepare for a successful portrait shoot
The secret to great portrait poses actually starts before your subject arrives. Here’s what experienced photographers do to prepare:
Set clear expectations
Help your clients arrive confident and prepared by sending them key information ahead of time:
Explain the location and background setup: indoor/outdoor, how many outfits to bring
Give grooming tips: classic styling usually photographs best—and a fresh shave won’t hurt!
Outline the session timeline: how long it will take, how many looks you’ll capture
Send examples of poses you’ll try: helps them visualize the result
To speed this up, you can create a standard pre-shoot guide you can quickly customize for each client. Use apps like Canva or Adobe Express and export the guide as a PDF or create a shareable link.
Build trust and rapport
Most people aren’t naturally comfortable in front of a camera. Posing for headshots can be stressful even for the most successful business people, so your first job is to make them feel at ease. Try these quick tips:
Start with a quick chat about what to expect and what you’ll shoot first
Demonstrate poses yourself—it’s easier than explaining and helps break the ice
Pay attention to what works for each person—a pose that looks great on one subject might feel awkward for another, so stay flexible
The same goes for instructions in general—some people need more guidance than others
Keep the conversation natural while you work, but keep your directions simple
Give positive feedback when you capture great shots, and if something’s not working, smoothly guide them into a different pose instead of pointing out problems
Main posing frameworks for any portrait shoot
Let’s break down some of the best poses for professional headshots and relaxed portraits that consistently deliver great results and let your subjects shine.
Standing poses
Standing poses are a great choice for both corporate headshots and casual portraits. They offer plenty of ways to help subjects feel comfortable—from leaning against the wall to interacting with the surroundings. Standing shots also work anywhere—in a studio, office, or outdoors—and you can repurpose them to crop in for tighter headshots or waist-up portraits.
Here’s how to pose for standing shots:
Turn feet about 45 degrees from the camera—this creates a naturally slimming angle
Have subjects shift weight to one leg—usually the front one—to avoid looking stiff
Ask them to lean forward slightly from the hips, with just an inch or two being enough
Change arm positions between shots—relaxed at sides, hands in pockets, or arms crossed
Remember “if it bends, bend it slightly” for natural-looking poses
Keep shoulders relaxed and dropped because tension shows in photos
Ask the subject to change the direction of their gaze slowly from one side to the other to get a wide range of angles
For corporate shots:
Keep poses clean and professional
Arms relaxed at sides or one hand in pocket
Subtle lean forward to engage with the camera
Maintain a straight posture while avoiding stiffness
For tight headshots, still keep the body slightly angled, like on Treeconomy’s team page
For personal branding:
Allow more dynamic movement
Try casual leans against walls or furniture
Experiment with crossed arms or hands on hips
Include interaction with the environment (desk, tools of trade, products), like Liz, owner of Wild Pines, an arts and crafts store
Allow space for naturally big smiles and laughter, too—it’ll create warm and welcoming portraits, like on Sojo’s company page
Flattering seated poses
Seated portraits can create a variety of engaging shots. Just because your subject is sitting doesn’t mean options are limited—it’s all about working with posture and leg positioning to create natural, dynamic results.
Key principles for seated portraits include:
Guide subjects to sit at the edge of their chair or sofa instead of slumping back
Avoid letting subjects sink into soft furniture (like in the example below of Noura Sakkijha, CEO of Mejuri)
Keep the core engaged for good posture
Point toes in the same direction to elongate legs
Professional settings:
Position at a desk with a slight forward lean
Hands clasped or resting naturally—play around with a variety of hand positions to find a flattering pose for your subject
Encourage subjects to engage with what’s on their desk, such as their laptop or notebook
Cross ankles rather than legs for a polished look
Keep shoulders level and relaxed
Walk around the subject to capture different angles—from camera-facing to slightly angled to full-on side profile
Casual settings:
Allow more relaxed postures while maintaining good form
Create asymmetry by shifting weight to one hip
Use arms for support when sitting on floors
Avoid both legs pointing directly at the camera—instead, either extend one leg towards the camera or angle them both slightly away from the camera
Creating dynamic duo shots:
Use seating to create interesting height variations
Try one person seated while the other stands
For co-founder shots, have one person sit in a chair while the other perches or leans on the armrest, like in the example below of ettitude’s co-founders
Vary the height of chairs or use different seating positions to add visual interest
Keep subjects at different heights but maintain connection through body language or eye contact
Relaxed group portraits
Whether you’re photographing a corporate team or a family, group photos present unique challenges.
Basic principles for group shots:
Create depth by avoiding straight lines of people—unless you’re shooting a sports team photo that traditionally requires one or two straight lines of players
Stagger heights naturally using stairs, chairs, or standing/sitting combinations
Keep heads at different levels but close enough to feel connected
Position taller people towards the back or center
Arrange people in a slight arc to ensure everyone’s visible, like in Ora’s team photo below with the two people on both sides slightly turned inward
For large team shots, shooting from an elevated position, such as another floor, can help include everyone, but you could also use a drone
Shoot more photos than you think you’ll need—there’ll always be someone blinking so it’s best to have more images to pick from
For professional teams:
Keep poses consistent but not identical
Use the rule of thirds to arrange larger groups
Break bigger teams into smaller clusters
Maintain equal spacing between subjects
Ensure everyone’s shoulders are angled slightly rather than square to the camera—or, if facing the camera directly, ask the subject to shift weight from one leg to the other
For family portrait poses:
Create natural connections through gentle touching (hand on shoulder, arms linked)
Position children in front or held by parents
Use props or furniture to create natural groupings
Let small kids move around and play between shots to stay engaged
Capture both formal and candid interactions—experiment with both seated and standing poses
Switch between some or all subjects looking at the camera to fully candid shots
Common posing challenges and tips to solve them
Even experienced photographers run into tricky posing situations. Maybe you’ve got a group with significant height differences, someone nervous about being photographed, or the shoot ran late so now you’re rushing to cover all your bases. So, what are some common challenges you might run into?
Height differences
If you have subjects with drastically different heights, it can make for an awkward portrait. Position taller people slightly behind or sitting. Seated poses work the best to tackle this, but that doesn’t mean you should avoid standing poses altogether. You can use elements like stairs or slopes to minimize extreme height gaps.
You can also create diagonal arrangements instead of straight lines. Avoid placing the tallest and shortest people next to each other—unless they’re standing behind each other.
Confidence issues
If your subjects are camera-shy, start with simple poses to build trust. Give specific compliments about what’s working well, and show them the preview shots when you capture something great.
It’s a good idea to have a few go-to safety poses that work for most people. Some might also feel more relaxed if there’s music playing in the background, especially if you’re shooting in a studio.
Your own confidence and body language as the photographer make a difference too—stay positive or even a little goofy if appropriate. Make sure to edit your portraits and headshots to show your subjects in the most flattering way while keeping their appearance natural
Photographing glasses and reflections
If shooting something reflective in the frame, slightly tilt the head down to avoid glare. You can also ask subjects to push their glasses slightly up their nose. Position lights at angles that don’t create reflections. If the reflection doesn’t cover the subject’s eye in full, you can always fix it with retouching.
Rushing through poses
Prepare a shot list ready but be flexible—you can have the shot list on your phone or even photograph it so you can flick through your camera during the shoot without stopping the session.
Start with your most reliable poses first. Give clear, concise directions, and keep subjects engaged by showing progress.
Are you ready to direct your next portrait shoot?
Working with people can be unpredictable because everyone’s unique—but that’s exactly what makes portrait photography so rewarding. The trick is to adapt your approach for each subject while keeping your photo quality consistent. With these posing guidelines, you’ll be better equipped to direct any portrait session confidently, from corporate headshots to family gatherings.
And if you need help getting those portraits polished and ready to share, our team of expert editors at Path can handle the retouching while you focus on capturing more great shots.
Polish up your portraits with pro retouching from 79¢ per image
Portrait poses FAQs
How do you pose for a professional headshot?
Start by turning your body 45 degrees from the camera, then face back toward it. If you’re standing, shift your weight to your front leg, keep your shoulders relaxed, and lean forward slightly from the hips. Small adjustments make a big difference—change arm positions between shots and keep movements subtle. Allow yourself to smile and laugh, too!
How do you look professional in a headshot?
Maintain good posture without looking stiff
Keep shoulders back but relaxed
Sit at the edge of your chair for seated shots
Cross ankles instead of legs
Let hands rest naturally
What are the best poses for group photos?
Avoid straight lines of people. Instead, create depth by staggering heights using stairs or chairs, and arrange people in a slight arc. For professional teams, keep poses consistent but not identical. With families, encourage natural connections through gentle touching like hands on shoulders.
What are common mistakes to avoid when posing subjects?
Common portrait mistakes include forcing unnatural smiles, rushing through poses without direction, and not adapting poses to fit different subjects. Stay engaged with your subject throughout by having a conversation and provide positive feedback. If something doesn’t work, simply switch to the next pose.
How to pose different body types?
Work with your subject’s natural body language instead of forcing uncomfortable poses. The 45-degree angle works well for most people, as does shifting weight to one leg. For seated poses:
Focus on good posture
Create asymmetry through slight head tilts
Adjust your camera position rather than making subjects twist
Make sure subjects feel confident in their pose
Don’t let the subject sink back into a soft chair or sofa
How do you pose someone who is camera shy?
Start with simple poses and build trust gradually. Show them preview shots when you capture something great, keep the conversation going, and guide them into different poses smoothly. Playing background music can help relax in studio settings.
Backscatter is getting into the fluroresence photography and video game with the latest accessories for its Hybrid Flash and Macro Video 4300—the new Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter, respectively. The former attaches to the HF-1 using the diffuser bayonet mounting system, while the latter snaps onto the front of the MW-4300 the same way as Backscatter’s color filter holder, and both filters are carefully tuned to excite fluorescence optimally. (The latter is also compatible with the Backscatter Mini Flash, but since fluorescence is a weak effect, Backcatter says you’ll get more vibrant images by making use of the power of the Hybrid Flash instead.)
The new blue excitation filters for the Hybrid Flash and Macro Video 4300 are used in conjunction with suitable yellow “barrier” filters that attach to ports, lenses, and filter mounting systems. The barrier filter removes the blue light in your image or video, ensuring your camera records only the colorful fluorescence that is left behind. Backscatter offers threaded barrier filters in various sizes (52mm, 55mm, 67mm) as well as a barrier filter for the company’s FLIP filter system for GoPro. Also available is the Backscatter Fluorescence Yellow Barrier Filter Dive Mask, which allows you to find suitably fluorescing subjects.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
