var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-239264-13']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + ''; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })();

Camaras Digitales Online Las Ultimas novedades en Camaras digitales.


This Is What It’s Like to Build a Large Format Camera Out of Plywood

Handmade large format camera from plywood

I have had the itch to try large format photography again recently. I loved it when I was in college, but it’s a very pricy and time consuming pursuit. That said, I probably shouldn’t have spent any time watching these videos of Dieter Schneider who built his own large-format camera out of plywood.


His process uses a CNC machine, which I don’t have access to, so at least I don’t have to worry about being too tempted to try this out. Still, the final product looks very simple but extremely elegant.

There are still some craftsmen out there who are making everything completely by hand, of course, but this method is a lot quicker and more affordable. However, be warned: the large format photography rabbit hole is deep and rather pricy.


Capítulo 295 – Profoto B1

Reseña sobre el equipo de iluminación Profoto B1. En este video vemos las características principales de este modelo así como el funcionamiento al utilizarlo con el control remoto TTL de la misma marca.

Descarga el video haciendo click AQUI

o míralo en YouTube ahora también disponible en formato 4K:


Reto Semanal 145: Formato Cuadrado

Los amantes de Instagram y de las Polaroid de toda la vida estáis de enhorabuena, el reto de hoy no es un tema concreto, ni una técnica, es capturar una imagen en formato cuadrado. El resto, tiene una bonita oportunidad para probar sus bondades 😉 ¿Cómo Funciona? (Recordatorio) Cada semana propondré un nuevo reto, se […]

Este artículo aparece publicado originalmente Reto Semanal 145: Formato Cuadrado en Blog del Fotógrafo.


Yes, You Should Feed Your Wedding Photographer On Your Big Day

This wedding I shot served ribs as the meal and that made it one of my favorite weddings of the season.

Believe it or not, there’s a lot of bad advice out there on the internet. Looking for good advice on the web is like walking through a gymnasium full of your quirky uncles, all of whom have been given a bullhorn to shout their nonsensical advice at you before settling in to enjoy their sense of smug satisfaction. The wacky advice I would like to address today comes from a blogger named Sandy Malone (which is a totally awesome name) who claims that couples shouldn’t provide food for the photographers that they have hired to capture their wedding. That’s pretty crummy.

I understand her motivation. As a wedding planner, her job is to provide the best possible wedding experience within a budget, and once you start slinging steak and lobster to your guests, it can be pricy to include the hired help. But, when we’re shooting, we’re working as hard as possible for our clients and the long day can be a serious grind.

Let’s break down her argument.

“the first place to check is the contract with each of your vendors. If you're required to feed them, it will be stated in the contract.” This is absolutely true and the reason I have a vendor meal for myself and my assistant in my contract.

“Your wedding planning team, for example, will probably be on deck from the crack of dawn until your reception is over. You'll be required to feed them.” OK, so she and her staff should get some food. Got it.

“A photographer, for example, should be taking pictures through the wedding dinner (with some breaks to let people unselfconsciously feed themselves without a camera in their faces).” Here’s where we go off the rails.

Most wedding photographers show up well before the wedding begins. I’ve met most of my clients at their hair appointments and stayed around for the rest of the day. So, that’s about the same timeframe as the wedding planner in terms of hours worked.

As for taking pictures during the actual dinner, that’s just nonsense talk. In fact, I’ll tell my assistants specifically not to take pictures during this part of the wedding. You know who likes to have their picture taken when they’re hammering down a filet? No one.

Typically, we’ll keep the photo booth open during dinner and my assistant and I will split the duty so we can both eat.

In the end, it’s just a common courtesy. Often the venue will actually provide a reduced price meal for the vendors as a professional courtesy. And frankly, I can’t remember the last wedding I worked where the couple and their parents didn’t absolutely insist that we get some food.

A couple can certainly mention it before the big day and extend the option. Some photographers will graciously decline, but they will appreciate the offer.

In summation: wedding photography is hard and it’s the cool thing to do to feed the people taking pictures at your wedding. I honestly can’t believe I had to write an article to say that.


The Phase One A-Series Now Includes a 100-Megapixel Medium Format Mirrorless Camera System

Phase One A-Series IQ3 100-megapixel medium format digital camera

In medium format digital photography, big resolution has always been a selling point, but manufacturers have had to step their game up recently in light of the new wave of high-resolution DSLRs like the Canon 5DS currently on the market. Now, Phase One is making a 100-megapixel version of their A-Series mirrorless camera systems using the IQ3-100MP back and the Alpa camera frame.

If you’re not familiar with the A-series from Phase One, it’s not a mirrorless camera in the familiar sense. The kit is basically made up of a metal Alpa frame that holds a lRodenstock end and has a means for attaching a digital back. The “camera body” is actually mostly composed of a square metal frame with a sturdy grip attached to it.

The digital back is totally compatible with the Phase One XF series, so if you want to also have the option of a more traditional digital medium format system (and you have the funds) you can switch between the two.

You can get more details over on the Phase One site. Bring money.


Sony G Master Series Lenses: Hands-On Impressions and Sample Image Gallery

[To see the EXIF data and full-resolution images, check out this gallery on Flickr (warning: full-res images from the Sony A7R II are 20 MB+). Photos by Stan Horaczek, Miriam Leuchter, and Philip Ryan.]

Sony just made a huge advance in their full-frame lens game with the announcement of the G Master series glass. We had some quality hands-on time with the new 85mm F/1.4 and the 24-70mm F/2.8 lenses at the Sony press event in NYC. While the full reviews will be coming down the road, we can share some early impressions and some sample images to give you an idea of what they’re working with.

The 24-70mm F/2.8 (which will retail for $2,200 when it hits the shelves in a few months) feels extremely solid, but also smaller and lighter than many of the DSLR-specific 24-70mm F/2.8 lenses I have used. Technical editor Phil Ryan points out how balanced the lenses feel when attached to the relatively compact A7 bodies (we were shooting with the A7R II) despite the abundance of glass inside.

Sony G Master 85mm F/1.4 Lens

The AF drive is seems silent (even though we were in a room that was rather loud) and precise. The zoom ring is firm, but not stiff, which is a subtle, but important distinction. From an ergonomics standpoint, I (Stan Horaczek) found that my big fingers caused the edge of the lens to rub against my knuckle during use. No one else seemed to have that problem at the event, but it's worth considering if you have giant hands like mine.

The 85mm F/1.4 is the other lens we were able to checkout today as the 70-200mm F/2.8 isn’t quite ready yet (it will be available in May for an yet-to-be-announced price). Again, it feels hefty, but it’s not quite the beast that is the Canon 85mm F/1.2 (a lens I personally like very much) or even the Nikon 85mm F/1.4.

One of the big selling points about the new lenses is how much attention they have put into making the bokeh more attractive. It will be easier to evaluate that type of performance in the “wild.” After all, it’s the ability to make blurry trees look good behind a happy couple that will make or break a high-end lens for many wedding and portrait photographers.

Sony G Master Series 24-70mm F/2.8 Zoom Lens

I did notice some interesting flare on some of the photos that behaved a little unexpectedly. This is something that I’ll have to check out a lot more once we have a lens to try out, but the shape and occurrence of the flare was slightly different than what I’m used to. I would guess this has to do with the unique shape of the aspherical lens elements inside, but that will take some more investigating. To be clear, I don’t think it’s a flaw in the lens, just something I’m interested to check out.

At first glance, both lenses appear very sharp, even when wide open, which has become increasingly important as bokeh is at a premium. They very much feel like professional-grade lenses, which inspires confidence.


New Gear: Sony Announces G Master Flagship Lenses, Including 24-70mm, 85mm, and 70-200mm Options

Sony G Master Lenses

Sony updated its top-level consumer camera this morning with the A6300, but it also has some news for pro (or advanced enthusiast) photographers in the form of its new high-end G Master series lenses.

As you might expect, they’re full-frame E-mount lenses designed to work with Sony's extremely popular A7-series mirrorless cameras. Three models were announced at launch: The FE 24-70mm f/2.8 GM, the FE 85mm f/1.4 GM, and the FE 70-200mm f/2.8 GM OSS.

As the focal lengths suggest, Sony is very clearly going after working pro photographers like wedding, portrait, and sports shooters. One of the big talking points Sony has about the new lenses are their Extreme Aspheric elements, which are very carefully molded to very low tolerances in order to make the transition from in-focus areas to background blur more pleasing to the eye.

Sony is also putting an emphasis on overall resolution, promising a baseline of 50 lines of resolution per millimeter. Those figures aren’t always easy to parse, but Sony suggests the typical standard is 30 lines for other manufacturers on many of their lenses. The takeaway, however, is that Sony is clearly focusing on lenses that can keep up with high-resolution image sensors like the A7R II.

Sony's engineers have put a lot of work into the focusing system, using individual focusing technology for each lens where appropriate. The 70-200mm actually has two different focusing groups, each driven by its own actuator. Also available for that lens: 1.4X and 2X teleconverters for more focal reach.

I’m hoping to get some hands-on time with each lens soon, but these look very promising, especially for Sony pros who have been a bit jealous over the pro-grade lens options of Canon and Nikon shooters.

The 85mm and the 24-70mm will be available in March for $1,800 and $2,200 respectively. The 70-200mm will be coming in May and the price has not been announced.


New Gear: Sony A6300 Interchangeable-Lens Camera With 425 AF Points and 4K Video

Sony A6300 Camera

This morning in NYC, Sony was eager to make a camera announcement after the CES hype had died down. After announcing that the Sony A6000 was one of the best-selling interchangeable-lens cameras of all time, the company dropped the brand new A6300 on us.

As the name suggests, the A6300 is the spiritual successor to the mega-popular A6000. It’s built around a redesigned 24.2-megapixel APS-C CMOS sensor that uses new materials including copper wire to make it more responsive and provide better low-light performance. It can capture up to 11 fps total with AE and AF.

One of the biggest improvements can be found in the AF system, which now has a rather crazy 425 phase detection points across a very large portion of the sensor. That gives them options in terms of AF performance, including modes that use clusters of AF points to help track moving objects.

Sony also puts a clear emphasis on video, adding in-body 4K capture. It’s not just tacked on 4K, either. They clearly put a lot of thought into the video capture mode, giving it full pixel readout with no pixel binning. If you know what that means, you know it’s a big plus for cinema shooters on a budget.

I’m hoping to get some hands-on time with the camera here at the NYC press event so stay tuned to this page or our social media channels for more coverage!


13 Trucos (Muy Sencillos) Para Conseguir Unas Fotos Bien Iluminadas Cuando No Hay Luz

A estas alturas ya sabrás que para lograr una fotografía necesitas luz, sin luz no hay foto. Lo repetiremos en el blog cuantas veces sea necesario y sin perder la sonrisa. Esa es la primera, primerísima lección. Claro que no siempre se dan las circunstancias que uno desea a la hora de apretar el botón […]

Este artículo aparece publicado originalmente 13 Trucos (Muy Sencillos) Para Conseguir Unas Fotos Bien Iluminadas Cuando No Hay Luz en Blog del Fotógrafo.


Yongnuo YN360 LED Light Wand Offers Handheld Light Effects On the Cheap

A few months ago, this would have been the perfect place for a light saber joke. Now, however, I’ll have to rely on actual blogging about Yongnuo’s new YN360 Light Wand.

The stick is meant to compete with other handheld light devices like the Westcott Ice Light. It has 40 RGB colored lamps that allow the Wand to emit red, green, or blue light. It also has 160 LED bulbs balanced for daylight, and 160 LED bulbs balanced for incandescent light. By adjusting the intensity of the bulbs, it can hit a wide variety of temperatures in between.

The wand’s color and intensity can actually be controlled using a dedicated app. It has a rechargeable lithium-ion battery that can go for two hours in standard mode at full power, and four hours in RGB mode at maximum brightness.

The speculative price for the Wand is only $62, which shouldn’t come as much of a surprise if you’re familiar with Yongnuo’s typical pricing model.

I’ve had a very mixed experience with Yongnuo products in the past, but I can be more optimistic about this one because it doesn’t involve wireless transmitters and doesn’t connect directly to my camera.

Yongnuo site


Sekonic Announces LiteMaster Pro L-478DR Light Meters That Trigger Elincrhom and Phottix Systems

The ability to use a dedicated light meter is a skill that has been fading for some time. There are some instances, however, where a light meter can make a huge difference, especially if you shoot in the studio with strobes. The latest light meters from Sekonic are packed with features, including the ability to wirelessly trigger Elincchrom and Phottix radio systems.

The L-478 has a 2.7-inch LCD display on the front that can relay a wide array of information about the light in a scene. The Elinchrom version allows you to arrange flashes on the Skyport system, control the power, and even adjust modeling light power. The Phottix version lacks the ability to control modeling lights.

One of the other more interesting features is the updated Data Transfer Software. With the additional adaptorand a chart like the SpyderChecker, you can actually map the dynamic range of the camera to help fine tune lights without throwing ratios out of whack.

Both light meters cost in the $399 range, which is what you might expect for a high-end flash meter with built-in wireless. With the increasingly limited use-case, it will be interesting to see how much consumer support flash meters continue to receive. This one looks great, though, at least on paper.


¿Conoces Estos Errores (Comunes) en Fotografía de Interiores?

¿Quién no ha hecho fotografías en interiores cientos de miles de veces? Y de esas cientos de miles de veces, ¿Cuántas te han quedado bien? Confiesa, no muchas 😉 Eso es porque la fotografía de interiores, si bien no es difícil, requiere cierto esfuerzo y planificación. Hay muchas variables dentro de esas cuatro paredes: Diferentes […]

Este artículo aparece publicado originalmente ¿Conoces Estos Errores (Comunes) en Fotografía de Interiores? en Blog del Fotógrafo.


Canon 1D X Mark II: A Pro-Grade DSLR With 16 FPS Still Shooting and 60 FPS 4K Video

Canon 1D X mark II

The professional-grade DSLR category is at a pretty critical juncture right now. Mirrorless cameras, and to a much greater extent, smartphones are closing in on just about every other segment of the camera market, which means the flagship cameras for pro photographers are increasingly important. Today, Canon has a new king to sit in the throne above the rest of their DSLRs in the form of the 1D X Mark II, and it puts a clear emphasis on its status as a true hybrid camera for shooting both stills and video.

The heart of the camera is a brand new 20.2-megapixel sensor, which leaves the high-res, studio stuff to the 50-megapixel 5DS. Coupled with the sensor is a pair of brand new Digic 6+ image processors, giving it more processing power than any Canon DSLR to come before it. As a result, it’s capable of moving massive amounts of data through its internal pipes. It can capture 14 frames per second with AF and AE enabled, and that number goes even higher to 16 fps in Live View mode. It can keep going up to 170 Raw files, or until it hits the capacity of the memory card if you’re shooting JPEGs. That’s a lot of pictures.

Canon 1D X mark II

The sensor uses Canon’s Dual Pixel CMOS for autofocus, which is something we have been waiting to see in a high-end Canon DSLR for some time. The traditional autofocus system is a revamped 61 point affair, with 41 cross-type points among them. All of the points are now compatible with lenses as slow as F/8, which actually comes into play pretty regularly for photographers who tend to use very long lenses coupled with tele-extenders.

Unlike the Nikon D5 that we first met back at CES 2016, there’s not a huge push in terms of mega-high ISOs. The native ISO range goes from 100-51,200, and is expandable to 409,600. The Nikon expands all the way to 3,280,000, which is three more stops, but we won’t know exactly how much of a difference that makes until we have seen exactly how both cameras perform. As we all know, maximum ISO isn’t nearly a big a deal as maximum usable ISO.

Canon 1D X mark II

The other big news out of the 1D X Mark II is the fact that it can capture 4K video at up to 60 fps directly to the CFast memory card (It has a total of two memory card slots—the other is a standard CF slot). As a result, it can employ what Canon is calling 4K Frame Grab mode, which pulls an 8.8-megapixel still image out of a 4K video.

Beyond the flashy headline-grabbing features, there’s a number of other important updates that may not sound quite as exciting. The metering sensor is a 360,000 pixel RGB+IR chip that claims vastly improved tracking and facial recognition. The metering system can even recognize a flickering light source like the ones sometimes used in gymnasiums and compensates for it. AF sensitivity has been upgraded and now operates down to -3 EV compared to -2 EV on the original 1D X. Battery life has also been tweaked to offer more shots on a single charge.

As you would expect for a camera like this, the body is still built like a magnesium alloy tank

The 1D X Mark II is due to start hitting stores in April for $5,999. That’s cheaper than the initial retail price on the original 1D X and a few hundred dollars cheaper than Nikon’s D5, which is really its main competition. If you want the 1D X package that comes with a 64 GB CFast card (which you’ll need if you want to shoot 4K video), the price jumps $300 up to $6,299.


Dutch National Police Are Training Eagles To Take Down Unauthorized Drones

In case you weren’t aware, you’re now obligated to register your drone if you plan on flying it, and it’s going to cost you $5 for the privilege. Flying a drone where you shouldn’t can get you in a lot of trouble, but apparently doing so in the jurisdiction of the Dutch National Police might earn your drone a beatdown from a trained eagle.

This video (the audio is in Dutch and so are the subtitles) shows the police officers working with the birds to take down the DJI drone in mid-air. Eagles can generate a lot of speed and have extremely strong talons, so the takedown looks like a pretty straight-forward task for the bird.

As the Gizmodo post suggests, it does seem a bit dangerous to send a live bird into the potential path of some sharp, spinning rotors, so the practicality of the solution is somewhat questionable.

Of course, here in America, we prefer our solutions a little more straight forward, like using these shotgun shells that are specifically marketed for their ability to shoot drones out of the sky.


Photo of the Day Gallery, February 2016

Think you have what it takes to be featured as Photo of the Day? Submit your best work to our Flickr group.


Hands On with the Olympus Pen-F Camera

[NOTE: To see the full-resolution sample images, check out this Flickr gallery.]

In the July 1963 issue of Popular Photography senior editor Norman Rothschild wrote about his experience using the newly announced Olympus Pen-F while in Cologne, Germany for the Photokina tradeshow. It was the world’s first half-frame 35mm body, making vertical images that were approximately half the width of a horizontal 35mm frame. As a result, it produced vertically oriented images when the camera was held in its regular horizontal orientation. While Olympus didn’t opt to rotate the sensor in the new digital Pen-F, the main idea behind the two cameras remains the same: Make a camera that is easy and fun to use while being small enough that you won’t mind bringing it along with you wherever you go. And the price of the new Pen-F, at $1,200, isn't all that much more than the $917.50 that the original $120 price becomes when adjusted for inflation. I had the opportunity to use an early sample of the Pen-F in Austin, TX on a junket that Olympus arranged.

The Pen-F is the first Olympus digital camera in the Pen series to have a built-in viewfinder, which shows that the company is aiming for shooters who want a higher level of shooting experience than a finderless camera can provide. The Olympus representatives we spoke with said that they hope street shooters will cotton to the camera’s comfortable control system, small size, and speedy AF. In our time with the camera, we mainly shot with prime lenses, especially the 17mm f/1.8, 25mm f/1.8 and 45mm f/1.8. Those lenses, were able to focus quite fast, as did the zoom lenses we shot with only briefly. While older zoom lenses had a tendency to slow down AF thanks to the large glass element that they had to move in order to focus, most of Olympus’s Micro Four Thirds lenses use smaller focusing groups to keep the focusing pleasingly zippy. Street shooters who actually use AF (both of you please raise your hands) should be pleased.

The shutter release button is embedded within the front command wheel to save space, but more importantly, it has a socket for an inexpensive, screw-in cable release. Again, this can be seen as a nod to some street shooters who use a cable release to remain less noticeable when out shooting. It also makes for an easy way to trigger longer exposures, or the High Res shot mode that shoots 8 images as the sensor shift stabilization mechanism moves the sensor and combines them into one in order to increase the resolution in the resulting file. You can make 80MP images from RAW files in this way, but you’ll want to stabilize the camera on a tripod and shoot a subject that also isn’t moving as the camera captures the 8 frame burst. If you want a JPG from HIgh Res mode, you’ll get a 50MP file.

If you’re a fan of shooting with vintage glass through adapters, or any fully manual lenses that don’t communicate with the body, you’ll appreciate that the Pen-F lets you make a list of the lenses that the camera can’t identify. It’s a slightly laborious task to enter the names of the lenses, but once you do, you can select them from the list in the body and the camera will include the name of the lens in the EXIF data. It may seem like a little thing, but if you’ve shot a lot of images with multiple such lenses over the course of a weekend while switching among a handful of them, it’s a really helpful thing to have when sorting out which images were shot with which lens.

Overall, the camera has a classic look that is very appealing. The on/off switch is a round knob on the left side of the camera top and reminds me of the a slightly smaller version of the film rewind knob on very old Leica cameras. In fact, most of the controls on the Pen-F are round. According to Olympus that’s partially because, in the time that the original Pen-F was made, it was less expensive to mill round pieces than it was to make square metal parts. So, in homage to that, the new Pen-F has a round EVF eyecup. We’re not sure if it’s just a quirk of early samples, or the shape of the rubber on the eyecup, but on a few occasions, the sensor that recognizes when you hold the camera up to your eye didn’t work properly, thus not switching to the EVF. You can work around this by manually switching ot the EVF, but it was a tad annoying when it did happen.

A small exposure compensation dial on the right side of the camera top lets you adjust up to +/-3 EV and if that’s not enough you can use one of the command wheels to reach up to +/- 5 EV. If the dedicated dial is enough, you gain the option of assigning something else to the command wheel and it is freed up to be able to control other things, such as highlight and shadow detail in custom color and monochrome modes.

Shot with the built-in monochrome mode

Speaking of those modes, the dial on the front of the camera body, evoking the shutter speed control dial on the original Pen-F, lets you switch between Art Filters, Color Creator, Color Profile Control, and Monochrome Profile Control modes. Each of the profile control modes has three different settings and each of those can be customized. Those modes also add grain to the images. However, Olympus says that it's not just a blanket of fake grain. Instead the caemra takes into account the content of the image and aplies grain differently in different areas to better approximate what film grain would actually look like. I left the grain settings on their default for my shooting. You can also add vignetting, though for the most part, I didn't employ this option and its default setting is off.

The Color Profile modes include standard (similar to normal color shooting), chrome rich color, and chrome film vivid modes. Monochrome Profile modes include, standard (similar to normal monochrome shooting), high contrast, and infrared simulation modes. The infrared simulation doesn’t engage an actual infrared shooting mode, but does a nice job of giving that kind of look, with greens turning brighter and clear skies turning darker as they would with real infrared shooting.

While these color and monochrome modes might sound kitschy at first, in practice they’re quite enjoyable and offer enough customization to tailor them to your taste and incorporate them into your shooting when the moment strikes you. Since the dial is very accessible, I found myself switching through them a lot and having a very fun time. If you shoot RAW+JPG, as I do, you can always go back and second guess yourself if you think that you made the wrong decision in the moment.

Overall, the Pen-F proved a very comfortable camera to use. If you like street photography, or just want a powerful, small camera, it deserves your serious consideration.


New Gear: Phottix Odin II TTL Flash Triggers Offer More Groups, Tons of Channels

Phottix Odin II Flash Trigger

I have been using the original Phottix Odin radio trigger system for a while and I have always found it to be very solid and reliable, but it’s not without its quirks. Now, Phottix is updating the Odin transmitter and receivers with a variety of new features that were apparently inspired by user requests.

The transmitter now has a turning dial on on it face, so you can turn it in order to adjust the power instead of repeatedly pressing a button like on the old transmitter. There are now five individual groups for flash control, and each one can be easily accessed on the transmitter with a dedicated button. So, rather than having to repeatedly press a button to scroll through the groups, you press the appropriate letter, adjust the power using the dial, press OK and you’re good to go. That seems a lot more efficient.

The original Odin system had four channels, but the new Odin II has a total of 32 channels. The first four are compatible with the old Odin receivers, but the other 28 offer some extra functionality with compatible gear. You can give the flashes user-set digital IDs to prevent interference and adjust the zoom on remote flashes like the Phottix Mitros+. It also allows for control over the modeling light brightness if you’re using the Indra360 or Indra500 moonlights.

It still does things like high-speed sync up to 1/8000th sec. as well.

Overall, this seems like a pretty serious upgrade to the system and I’m looking forward to giving it a try.


15 Artículos Para Ayudarte a Acertar En la Compra de Tu Próxima Cámara de Fotos

La mayoría de los artículos de Blog del Fotógrafo son tutoriales y consejos para tomar buenas fotos, sin embargo y paradógicamente, la mayoría de los comentarios que dejáis son para pedir consejo en la comprar de una cámara de fotos. Está bien que demos consejos sobre cómo tomar fotos chulas, pero la gente quiere adquirir primero […]

Este artículo aparece publicado originalmente 15 Artículos Para Ayudarte a Acertar En la Compra de Tu Próxima Cámara de Fotos en Blog del Fotógrafo.

Página 1 de 120
Última »