photoshop

© Paul Conrad/Pablo Conrad Photography Creating a Faded and Streaked Border in Photoshop.

Creating a Faded & Streaked Border for Your Prints in Photoshop

When I decided to test Bay Photo Labs for the quality of their metal prints, I wanted something different than the regular 8x10s or 20x30s.

In addition, I wanted a theme and not just pick a few photos for the wall. I decided on 3 images with 3 different colors. After all, what’s the point of getting test prints made and all the colors are the same?

So I chose three different images to represent the three primary colors of Photography: Red, Green, and Blue. AND, I did not want the prints to be just normal prints. So as I was sitting there pondering what I wanted, I was examining the canvas prints on my wall. They have “fade to black” sides which make them appear to float off the wall. A light bulb went off over my head.

Here’s the set and the result of that inspiration:

This technique is rather easy and you can get some great looking wall prints with it.

It uses a technique called “pixel stretching” and uses the gradient tool to bade the stretched pixels to black.

It took me about half an hour to decide on the theme and final print size. I wanted square metal prints to they look better from a distance and you didn’t have to worry about trying to get the arrangement to look nice on the wall.

Square prints make this easy for two reasons: The image is relatively big and the prints are small enough to hang in a narrow wall space.

So Let’s Begin:

***To make things a bit easier, I’ve also incorporated a video after the main blog to help you better understands the steps.

First choose the image you’d like to use. Second, choose your image size. The beauty of this technique is you can make your final print a 20×30 then have the main image float as a 16×24.

For an example, I’ll use an image of the Locust Beach pilings in Bellingham, Wash., I shot a few days ago.

Storm clouds and raging surf at Locust Beach along Bellingham Bay in Bellingham, Wash. (photo © Paul Conrad/Paul Conrad Photography)

It’s a nice image and my wife and I want a nice print to hang on our wall. We’re thinking of a nice 20×30 canvas.

I want a nice image to float inside a 20×30. Doing some quick math, to get a 2″ faded boarder my main image should be about a 16×24.

1. Make the image a 16×24. I use 300 dpi to keep good detail in the image and a high enough resolution to make a high quality print. The 16×24 stay with the 3:2 ratio of the sensor and gives an even border.

2. Take the image and using the “Layers” panel in Photoshop, duplicate the “Background” layer twice so you have a total of three layers. To make it easier, I re-name the layers as follow: Top is called Main Image, and the middle is “Faded Border.”

3. Click on the “Background” layer to highlight it. Using the Canvas Size command, make your canvas the size you need, in this case it’s20x30, with a black background. You can choose any backround color you like. I just prefer black.

4. Highlight the upper layer and click on the “eye” to hid it. This makes it easier to work in the next few steps.

5. Highlight the middle layer. Don’t forget this part or you’ll be doing all the pixel stretching on the wrong layer. Yes, I did this a few times and it is very frustrating.

This is the “pixel stretching” tutorial:

6. Using the “Single Column”  or “Single Row” marquee tool, select a pixel about halfway along the length of the side. As a note, this tool selects all the pixel in that row (horizontal) or column (vertical) and looks like a single dotted line.

7.  Select the Free Transform tool. It’s under the Edit drop down menu up top, or use the “command-T” key combination. Click and hold the middle square and the drag it slightly past the edge of the canvas. Be sure to go just a touch past the edge of the canvas. Hit enter to complete the transformation.

8.  Complete for all four sides.

This is the “gradient tool” fade-to-black tutorial

9. To create the fade to black, I use the Gradient Tool. The option I have is “Black to Transparent” and check the “Reverse” box in the options panel. How much you want the fade to black depends on where you start and stop the gradient tool. I keep it simple and just start at the edge of the main photo and end at the edge of the canvas. ***You can create your own gradient by clicking on the gradient pattern in the options bar. A window comes up with all the options.

10. Now, go to the layers panel and click on the eye on the Main Image layer. Make it visible.

11. On the bottom of the layers panel, or in the Layers Properties in the Layers drop-down menu (Layer > Layer Properties > Stroke), select Stroke. A panel open with all the option. You can have a thin or thick line, choose which color you would like, have the line inside, centered, or outside. Choice is yours. Play with

For the color you’d like, click on the small color box and another window opens. This is your color Picker. To pick the color you’d like from your image, use the magnifying glass. Click on it and hover over the part of the photo with the color you’d like to make your border. Click on that and then the OK button. Your border color is now chosen.

12. Your image is complete. Use the “Save As” command to save the file to keep the changes. In Fact, at the beginning of the process, I like to use the “Save As” command at the beginning and then “command-s” along the way. I save the file as a layered PSD file so I can make changes if needed.

The process only takes about 5 minutes per image.

Here are a few tips to make the workflow smoother and save time:

  • Learn your menus
  • Learn the quick key combinations
  • Work on one photo at a time. Saves RAM and CPU time.
  • Have your colors already chosen. Having a goal at what the final image will help you zero in on the final colors quicker.
  • Play around with the application. Don’t be intimidated by Photoshop. Yes there is a lot to the program, but it is a powerful tool and using a powerful tool just takes a little practice.
  • Be flexible. While working the image, you might decide on a completely different approach.

Below is a video of the process in action. I hope it clarifies the above steps.

title=”© Paul Conrad/Pablo Conrad Photography Storm clouds and raging surf at Locust Beach along Bellingham Bay in Bellingham, Wash.”

BTW, the metal prints from Bay Photo Lab turned out absolutely gorgeous. The colors are deep and rich, the detail is phenomenal, and mounting on the wall was super easy.

But the best way to make your images the best they can be:

  • Have a goal of what your final image should look like
  • Create a plan and then execute it
  • Ask questions if you don’t have the knowledge.

Feel free to comment or ask questions.

Have a great day and thank you for stopping by and reading. All comments are appreciated.

Paul “pablo” Conrad

Pablo Conrad Photography

“Like” my Page on Facebook

Follow me on Twitter

Follow me on Pinterest

Advertisements

A Night Under The Stars: Tips to Improve Your Night Photography

On Friday, my friend Earnie and I headed to Artist Point near the Mt. Baker Ski area east of Bellingham, Wash. We started late as I had to complete a football assignment for the Bellingham Herald. We did not leave Bellingham until about 11.

Our original plan was to shoot an expected display of the Aurora Borealis. However, Mother Nature decided to change its mind and send clouds to the north of us.

Scratch one night of shooting the aurora.

Hikers Descend from Tabletop Mountain:

Lighting the Trail - Hikers light the traila with their headlamps as they walk down Table Mountain at Artist Point in the Mt. Baker-Snoqualime National Forest in western Whatcom County. east of Bellingham, Wash. Bellingham wedding photographer, bellingham portrait photographer

© Paul Conrad/Pablo Conrad Photography – Hikers light the trail with their headlamps as they walk down Table Mountain at Artist Point in the Mt. Baker-Snoqualime National Forest in western Whatcom County. east of Bellingham, Wash. This was a 30 second exposure at f/2.8, ISO 200. This reminded me of one of Galen Rowell’s photographs.

More Tips to Improve Your Night Photography

Photographing a Gun Defense and Knife Fighting Seminar – Part 1

On Sunday July , Sifu Cory Walken with the Seattle Close Range Tactics martial arts studio invited me to document a few of the seminars.

One was “Gun Defense” with Arjhan David Brown from Houston, Texas. The other, a knife fighting seminar also with Arjhan David and Kru Yai Katherine Holmes.

Arjhan David Brown

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Arjhan David Brown, center, helps students learn the fine points of gun defense at Seattle Close Range Tactics in Seattle, Wash.

As I have shot many seminars and classes with Total Confidence Martial Arts here in Bellingham, Wash., I was quite familiar with Master David and his teaching techniques. But I wanted to try something a little different.

Sifu Cory Walken

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Sifu Cory Walken instructs students during gun defense class at Seattle Close Range Tactics in Seattle, Wash.

Rather than stay back a little and shoot with medium and telephoto lenses, I wanted to add some intimacy so I used my 17-35. I wrote in an earlier blog  the “3 I’s of Good Photojournalism: Intimacy”  how a wide-angle forces you to get close to your subject and adds depth to the image.

Layers

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Sifu Cory Walken demonstrates gun defense during class at Seattle Close Range Tactics in Seattle, Wash.

Also, using this lens gave me a little range in focal length. If I needed to get a touch closer, then I could zoom in. I did use my 80-200 for a few shots,  but those were more for close-ups of some of the participants. I used it outside at Gasworks Park to get some sense of place with the Space Needle in the background.

Layers 2

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Arjhan David Brown, left, teaches weapon removal at Seattle Close Range Tactics in Seattle, Wash. I liked how the one student was holding the gun so I focused on it and used Arjhan David and the student on the left to add depth.

Using a wide-angle lens properly can give you a dominant subject in the foreground with a contributing background. This can also be called “layering ” or “adding depth.” Photojournalist Stanley Leary writes about this in his blog Visual Storytelling called “Depth of Field is More Than Aperture.”

 Mirror Mirror

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Rather than view the mirrors as a distraction, I worked them to find an angle to add depth to a few images. I waited for a moment when all the views had a bit of action.

The key is to use a large aperture of f/4 or f/5.6 so you leave the background a little out of focus which allows the viewer to discern what the image is about. Give hints and clues, but don’t tell the complete story. Let the viewer find out for themselves.

As the participants formed teams of two with Masters David and Sifu Cory observing each, I also looked for patterns to use these in the layering. In a close space such as the studio where the gun defense seminar was taught, it wasn’t too difficult. In the open space of Gasworks Park, it was more challenging.

There was a mirror in the room that at first I thought would be a distraction. But while shooting one set of participants, I noticed I could use it to add depth by getting in more participants. For the result, see above.

Mixed Lighting Sources 1:

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Sifu Cory Walken demonstrates gun removal techniques to a student at Seattle Close Range Tactics in Seattle, Wash. The left side of the frame is lit by a large, south-facing open window, and the right is lit by various other sources. As the faces on the left are most important, I color corrected for them and let the other elements shift to warmer tones.

But the biggest challenge was getting correct white balance. The mixed light on the students was mind-boggling. There was indirect sun coming into the studio from a big picture window, the lights were a mix of CFLs, tungsten, flourescent, and LEDs.

As I shoot in raw, I opted for auto so I can get close and then fine tune it in Lightroom. Plus shooting at ISO 800, I wanted the raw because if sway from “correct” exposure just a little, the image can look quite ugly.

As I imported the image into Lightroom, I set the white balance to get the best skin tones. This made some of the picture have a touch of funky color. Some had blue caused by daylight entering the room, or some had yellow caused by the mixed artificial light.

Mixed Lighting Sources 2 (A Better Photo):

© Paul Conrad/Pablo Conrad Photography - Arjhan David Brown teaches weapon removal on Sunday afternoon July 27, 2014, at CRT and Gasworks Park in Seattle, Wash.

© Paul Conrad/Pablo Conrad Photography – Sifu Cory Walken demonstrates a technique during a gun defense seminar at Seattle Close Range Tactics in Seattle, Wash. This doesn’t show the mixed lighting as well as the above photo, but I cropped in a little and it’s a better moment.

But the skin tones are the most important part of the photo, so I adjusted for the main subject and the dominant light hitting their face. Challenging, but worth it.

Tomorrow for Part 2, we head to Gasworks Park in Seattle.

Do you or someone you know someone in the Seattle/Bellingham area who needs teaching seminars photographed for their business website? Feel free to contact me or pass on my information onto them. My email is paulconradphotography@gmail.com

Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.

Also, feel free to share and reblog, link to, and add your site in the comment section.

Paul “pablo” Conrad

Follow me on these various Social Networks:

  1. Follow Me on Google+
  2. “Like” my Page on Facebook
  3. Follow me on Twitter
  4. Follow me on Pinterest

Taking the High Pass: Sharpen Your Photos Using This Filter

Using this filter in Photoshop to sharpen your images without increasing noise. Lightroom’s sharpening  panel does act somewhat like the High Pass Filter as you can set the strength of the sharpening by using the Masking slider. You can see the effect if you old the “opt/Alt” key while adjusting the slider. More on this later.

My friend Anna as she prepares for a recent bout:

© Paul Conrad/Pablo Conrad Photography - Anna Haskin at Total Confidence Martial Arts in Bellingham, Wash. First, I wish to thank Photoshop Essentials with this tutorial which got me started using this tactic, and   of Vibrant Shot which has a slightly better way titled “Intelligent High Pass Sharpening.” The following tutorial is based on the Intelligent High Pass method.

It seems to work the best for me and does not leave a halo on high contrast edges. I chose a photo of my friend Anna as she prepared for a kickboxing bout a few months ago. This method is old news to some people, but I discovered that using this filter sharpens better than Unsharp Mask or Smart Sharpen. It just takes a little getting used to. It’s an added couple of steps to your workflow, but that not a big deal if you use multiple layers in each image.

It’s called the “High Pass Filter” and it works great and is even better if you want to keep high ISO noise to a minimum. There are as many workflows as there are photographers, so choosing when you do this is up to you. I prefer to do it as my last step as it requires copying your background layer multiple times.

That sounds scary, but it really isn’t . It’s a simple & easy process which gives you more control over your sharpening. I discovered it by simply needing a way to sharpen a photo of my father-in-law in the Pacific Science Center during the King Tut Exhibit. Because it was so dark, I was at ISO 3200 and the noise was more than I wanted. Sharpening the image via Unsharp Mask or Smart Sharpen just increases the noise. So I Googled how I can sharpen and this technique popped up. I can say I’ve used this procedure for at least 2 months so I feel confident it works.

Here are the Steps:

1. Copy the Background Layer – First, make sure the image is toned the way you want it. Save the image. Always save before going into a new step. Sharpening your image should always be the last step.

The First Step is to tone it the way you want it. Sharpening should be the last step.

The First Step is to tone it the way you want it. Sharpening should be the last step.

Click on the background layer and make two copies by dragging it to the New Layer icon at the bottom of the Layers panel. Make sure these two layers are just above the Background layer. Title first “Low,” and the second “High.” This will help you keep your layers organized. You should have three (3) identical layers in this order:

  1. High
  2. Low
  3. Background

Copy the background layer twice. Rename the new layers "High-High Pass Filter" and "Low-Surface Blur." Make sure High is above Low which is above Background

2. Implement the Surface Blur –

Click the “eye” on the High layer to make it invisible. Highlight the “Low” layer. Now start the “Surface Blur” tool by going to Filter > Blur > Surface Blur. You have to think a little different with the Surface Blur filter because when you apply the High Pass Filter to this layer, it takes the INVERSE of the settings. With the radius, the higher the radius, the more sharpening even though the image becomes increasingly blurry. Zoom into an area with a sharp edge. Adjust the Threshold setting to about 30 or so. This sharpens the edge in the last step, yet does not give the halo look which is prevalent in using the HP filter on its own. Click the "eye" icon of the High layer to make it invisible. Choose the Low layer then go to Filter > Blur > Surface Blur to initiate this filter Now apply. This filter is a memory hog and can take a little time. So if you have a rather large (150 MB or more), grab a cup of coffee, go for a walk, or just kick back to watch the progress bar march ever so slowly across the screen.

3. Implement the High Pass Filter –

Click on the eye icon of the High layer and make it visible. Initiate the High Pass filter by going to Filter > Other > High Pass. Adjust the radius by zooming into an area with a sharp edge . In portraits, use the eye. Because “eyes are the windows to the soul,” having sharp eyes in portraiture is very important. When adjusting the High Pass filter, make sure you are paying attention to sharp edges so you don't get the Halo effect. Adjust until you start seeing a halo effect in the sharp edge. Usually you only need to go to a 4 or 5 radius to get significant sharpening. Click OK. Now the layer will be gray with some sharp details that will look like a relief map of your photo. Go to the Blending Mode drop down menu in the Layers Panel and choose Linear Light. WOW!! Super Sharp! Delete the Low – Surface Blur layer. You no longer need this. It is just eating up digital space. change the Blending Mode by using the drop down menu.

4. Choose the Blending Mode –

There are two ways to adjust the amount of sharpening:

  1. Change the Blending Mode
  2. Change the Layer Opacity

***The Blending Move changes the overall sharpness of the image, where the Opacity changes the sharpening effect of the layer. The strength of the sharpness in Blending Mode varies from with each photo, so the best way to set the mode is to zoom into 50% or tighter and change the mode to choose the effect you want.

The Opacity affects how strong  the filter is applied. Again, playing with the slider to see the effect is the best way to figure out what is best for you.

*** The great thing about this technique is you can change the sharpness to the layer without destroying the image or having to delete a layer and start again. It is non-destructive. Now depending on your workflow, you can either save as a new file or save over the original PSD/Tiff. I prefer to save over to keep from eating up too much hard drive space. Flatten your image if you need jpegs for the web.

That’s it. Depending on how large your image is, it only takes an extra 2 or 3 minutes to implement this.

Thank you for stopping by to read and view my work.

Feel free to comment, critique, or just ask questions. Also, feel free to share and reblog, link to, and add your site in the comment section.

Paul “pablo” Conrad

Follow me on various Social Networks:

Pablo Conrad Photography

“Like” my Page on Facebook

Follow me on Twitter

Follow me on Pinterest

Follow Me on Google+

My Page on 500px

Calendar Photography: Illuminating Goddesses

***Updated***

For the past week or so I’ve shot portraits of Goddesses for my local client Ashley Benem of Benem’s Body Works.

Ashley contacted me through a friend of a friend. Upon first discussion, her ideas intrigued me and wanted to work with Ashley on her project. She needed various models dressed as certain goddesses for her calendar.

These consisted mostly of studio sessions with a few outdoor shoots. For the studio, I used Einstein monolights made by Paul C. Buff.  These lights are phenomenal.

I borrowed them from my good friend Earnie Glazener of Seattle, Wash. I’ve used studio lights multiple times before, but these were fantastic. With a quick tutoring session, I realized I need to get me a set of them.

For the main light, I used one with the parabolic light umbrella (The PLM system), which is basically a huge beauty dish and gives off some wonderful light. My fill was a basic soft box by Paul C. Buff. On some shots for more dramatic light, I used a Photflex reflector to fill in the shadows for more dramatic light.

For the outside shots, I just used the reflector to fill in the shadow areas.

After setting up the lights, I took a few test shots each day using my Color Checker Passport by X-Rite Photo. Just a few shots at the metered exposure and then a few more bracketed. The good thing with the Einstein lights is that they are extremely consistent with their color temperature.

These are some of my favorites and how I lit them:

Artemis the Hunter:

© Paul Conrad/Pablo Conrad Photography - Ashley Benem of Benem's Body Works portrays the Greek goddess Artemis the Archer, Goddess of the Hunt, Forests, the Hill, and the Moon, during a photoshoot for her upcoming calendar.

© Paul Conrad/Pablo Conrad Photography – Ashley Benem of Benem’s Body Works portrays the Greek goddess Artemis the Archer, Goddess of the Hunt, Forests, the Hill, and the Moon, during a photoshoot for her upcoming calendar.

Lighting: What was important in this photo was the angle of her drawing the bow (it is a real bow and arrow) and the ability to see her eyes. Yes, the inspiration for the angle was the movie poster for The Hunger Games.

A basic lighting set-up was used for this image. Ashley was simply lit with the large PLM umbrella on the left and a powered down soft box (2 stops under) on the right. Exposure was 1/250th at f/11 using my D300s with 80-200 zoomed halfway for a slightly compressed feel.

Post Processing:  Simply brought into Adobe Camera Raw to get correct color balance and add a little fill light. Brought into Photoshop and used separate layers for curves (slight increase in mid-tones) and Black & White layer for the sepia.

Persephone Daughter of Zeus:

© Paul Conrad/Pablo Conrad Photography - Greek goddess Persephone daughter of Zeus being tempted by Hades. Queen of the Underworld and vegetation goddess.

Lighting:  What was important in the photo was all the white with emphasis on the reds of the pomegranate and her lipstick, yet, still maintain some color for her skintones.

The model was simply lit with the large PLM umbrella on the right and the soft box on the left as fill. I wanted less depth of field so I powered down all the strobes to their minimum. Exposure was 1/250th at f/4 using my D300s with 50mm f/1.4  focused on the pomegranate.

Post Processing:  I brought the image into Adobe Camera Raw twice: once for correct exposure and color balance, the second time to get the overall overexposed look. Those were then layered in Photoshop with the bright layer converted as a smart object and placed on top of the “correct” layer. I then used the eraser tool with the opacity and flow settings set to the mid-range on that layer to bring out the red in the lips and pomegranate of the underlying layer. I then added a curves adjustment layer to flatten the highlights and add just a touch of contrast.

Athena Goddess of War:

© Paul Conrad/Pablo Conrad Photography - Athena the daughter of Zeus, Greek Goddess of wisdom, warfare, architecture, divine intelligence, and crafts.

© Paul Conrad/Pablo Conrad Photography – Athena the daughter of Zeus, Greek Goddess of wisdom, warfare, architecture, divine intelligence, and crafts.

Lighting: What was important in this photo is to make her look the part. Ashley did a great job coaching her to bring out the character as she did with all the models.

While shooting, I had to pay attention to the sword because when it was turned the “correct” way, the glare was overwhelming. The model was simply lit with the large PLM umbrella on the right and using a Photoflex MulitDisc 5-in-1 reflector on the right using the gold fabric surface. I wanted less depth of field so I used my 80-200 to compress it a touch. Exposure was 1/250th at f/11 using my D300s with 80-200 f/ 2.8 focused on her eyes.

Post Processing: I brought the image into Adobe Camera Raw for correct exposure and color balance. Then using Photoshop, I layered a curves layer to bring in the mid-tones and add some contrast by anchoring the upper shadow area. Then I added a Black & White layer to add the sepia toning.

Brighid- Celtic Goddess of Childbirth & Poetry:

© Paul Conrad/Pablo Conrad Photography - Brighid the Celtic Goddess of Childbirth and Poetry.

© Paul Conrad/Pablo Conrad Photography – Brighid the Celtic Goddess of Childbirth and Poetry.

Lighting: What was important in this photo is to ensure the herbs on her left were properly lit as well as lighting the globe with a spot light so it has a glowing feel to it.

While shooting, I had to pay attention to the globe to make sure the model held it in the spot where my snooted SB-800 strobe was firing. The rest of the model was simply lit with the large PLM umbrella on the left as the main light to keep the herbs well-lit.  The right side was lit using a soft box set about 2 stops under the main. Exposure was 1/250th at f/11 using my D300s with 17-35 f/ 2.8 at about 20mm focal length.

Post Processing: I brought the image into Adobe Camera Raw for correct exposure and color balance. I also made the shadows a little deeper to drop out the black background. Then after importing it into Photoshop, I layered a curves layer to bring in the mid-tones and add some contrast by anchoring the upper shadow area. Then I added a Black & White layer to add the sepia toning. With the B&W layer, I added a mask and using the eraser tool, deleted that part over the herbs to bring out the green. The opacity and flow settings on the eraser tool were set to the mid-ranges to keep the edges from being to stark.

There are a total of 13 models for this shoot. Each one has their own special characteristics. Each one with their own special circumstances. These are just my 4 favorites.

Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.
Thank you for stopping by to read and view my work. Feel free to comment, critique, or just ask questions.

Also, feel free to share and reblog, link to, and add your site in the comment section.

Paul “pablo” Conrad

Follow me on various Social Networks:
Pablo Conrad Photography

“Like” my Page on Facebook

Follow me on Twitter

Follow me on Pinterest

Follow Me on Google+

My Page on 500px