This entire session was photographed using a Sony Alpha A1 with Sony's 50mm f/1.2 GM lens.

The three of us met in Sanctuary Woods Preserve in Holland, Michigan yesterday morning to take these photos. I hope you enjoy the results! Cheers.

Sarah was a former piano student of mine at Hope College. I also had the privilege of photographing Sarah and Eric's wedding in 2018. That they continue to trust me to capture their most important life moments is ineffably meaningful.

This entire session was photographed using only natural light and a Sony Alpha 1 with a Sigma 35mm f/1.2 lens.

I first went to Yellowstone in 2002 with two of my buddies from Juilliard. I had never been out west - at least, not by automobile - and thus my love affair with the West began. The vast, seemingly endless skies and the majestic mountains won my heart. After I married Jenny in 2008, one of the first things I convinced her to do was to roadtrip to Yellowstone with me. We were young, and our children did not exist yet, so it was a relatively effortless journey. Now that my kids are 10 and 12, I strongly felt that we (I) were (was) overdue for another roadtrip. 

It's funny how I subconsciously replicated our latest itinerary after my first two trips: the places we absolutely had to see were Wall Drug, the Badlands, Mount Rushmore, entering Yellowstone via Cody, Wyoming and the unbelievably beautiful East Entrance, and passing through Grand Teton on the way home. My first journey west was the result of a stupidly rough first year at Juilliard - or "Jailyard", a popular moniker for many. Driving over the George Washington bridge out of Manhattan and into the wild, wide west was one of the most liberating experiences of my life. I found myself wildly reluctant to return to Jailyard. My second journey west was similarly liberating, as my feelings toward academia had then begun souring over time thanks to its inherent and incessantly bitter politics. Driving into the seemingly endless horizon freed my soul.

Grand Teton National Park (2010). Canon 5D Mark II & 17-40L lens. 8 seconds, f/18, ISO 50.

Now it is 2023, I needed to liberate my soul a third time.

As many of you already know, I am a rather enthusiastic photographer. Ever since I recognized at a young age the value and importance of documenting life via photos, I have never really left my home without a camera in my bag. Sometimes even two cameras. When I journeyed to Yellowstone in 2002, I wielded a 3-megapixel Fujifilm FinePix digital camera - one of the earliest models that broke the 1-megapixel barrier and was quite advanced for its day. When I journeyed to Yellowstone the second time, I brought along a Canon 5D Mark II with a gazillion different lenses that took up half the car. I have become somewhat more practical this summer and packed a single bag of equipment plus a tripod that I never ended up using. Besides, I needed to save room for my wife's crochet supplies and the kids' hiking gear...and, I am an oldster now. Not quite the virile gear sherpa that I was in my younger years.

One of my goals for this trip was to focus on mindfully experiencing the journey with my family and to not obsess over producing perfect photos. Family first, photography second. I wanted only to capture things for my children to someday look at the photos to remember the little details that could allow them to perhaps viscerally relive the experience.

Crossing the Mississippi River. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 43mm, 1/320, f/3.2, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 125mm, 1/640, f/5.0, ISO 100. Fighting over hotel breakfast waffles. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/250, f/2.8, ISO 2000. Gotta love hotel pools. Sony RX1R II. 35mm, 1/250, f/2, ISO 8000. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/250, f/2.8, ISO 320. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 73mm, 1/250, f/4, ISO 100.

As we crossed the Mississippi, I actually found myself missing home a teeny bit - both my new home in Hudson, Ohio and my former home in Holland, Michigan. But as the journey continued, the sensation of home became blurred and undelineated. I am unsure if I had ever felt truly "home" anywhere. The memory of an old Tim Keller sermon spotlighted itself in my mind; it was a message about how the human race has never felt truly at home in this earthly world. Some philosophers call it "umheimlichkeit", or homesickness. Dr. Keller asserts that we were made for a different world - one without the brokenness and selfishness that we all experience. We yearn deeply for our true home. 

Sony RX1R II. 35mm, 1/125, f/2.0, ISO 2000. Sony RX1R II. 35mm, 1/125, f/2.0, ISO 100. Yes, this purple pencil is THAT gigantic...just like the rest of Wall Drug. Photo taken with iPhone 12 Pro.

Wall Drug is a must-see American icon. You begin to see billboards for Wall Drug hundreds of miles away and the frequency of these signs of all sizes increases exponentially as you near the town of Wall, South Dakota. I've been asked by others, "what is Wall Drug?" The answer is almost impossible to verbalize. It's that unique. It's a drug store with an attached restaurant, museums, a chapel, and countless gift shops that sell all sorts of paraphernalia from books to gemstones to donuts to camping gear to moccasins. Oh, and may we not forget the gigantic jackelope and T-Rex that adorns Wall Drug's vast property.

Just south of Wall, South Dakota is Badlands National Park. I fell in love with the Badlands in 2002 when my friends and I briefly stopped by on the way to Yellowstone. There's something ineffably beautiful about its inexorable ruggedness, its inability to support human life. Yet - as it always does - life manages to find a way.

Sony RX1R II. 35mm, 1/80, f/4, ISO 320. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 70mm, 1/250, f/2.8, ISO 100. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 70mm, 1/160, f/2.8, ISO 160. Taken with iPhone 12 Pro. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 70mm, 1/160, f/4, ISO 160. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 136mm, 1/160, f/8, ISO 320.
The ruggedness of the Badlands only amplifies the serene beauty of its sunsets.

Sony A1 & 70-200mm f/2.8 GM OSS II lens. 70mm, 1/160, f/2.8, ISO 100. Sony RX1R II. 35mm, 1/250, f/8, ISO 1250. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 200mm, 1/250, f/4, ISO 100. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 70mm, 1/250, f/2.8, ISO 125.
Sony A1 & 70-200mm f/2.8 GM OSS II lens. 70mm, 1/250, f/4, ISO 100. Sony RX1R II. 35mm, 1/250, f/2.8, ISO 200. Sony A1 & 70-200mm f/2.8 GM OSS II lens. 200mm, 1/160, f/2.8, ISO 100.

Here are more snaps from the Badlands and its surrounding grasslands.

Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 31mm, 1/400, f/8, ISO 100. Can you spot the multitude of Prairie Dog mounds? Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/320, f/8, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 200mm, 1/400, f/5.6, ISO 100.
Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/640, f/6.3, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/1000, f/6.3, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 200mm, 1/800, f/5.6, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/1600, f/4, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 35mm, 1/2500, f/3.2, ISO 100.

Next, we drove some back roads (through Interior, South Dakota) to get to Mount Rushmore. These two-lane highways have a speed limit of 70mph, but a vast portion of the roads are in such bad condition, it's virtually impossible to drive that fast. I almost felt like either the suspension of my Highlander Hybrid was going to bottom out, or we were going to go flying into the air. So, I took it easy. There weren't really any other automobiles sharing the road for miles and miles, so I didn't make anyone impatient. The lack of cellular service was a bit disconcerting at first - I thought to myself, if one of my tires happened to have popped, we'd be screwed - but we got used to the feeling of disconnectedness. (Traveler's advice: download everything you'd like to listen to on Spotify before you lose your signal, because streaming just ain't gonna happen.)

Mount Rushmore is nestled within the Black Hills of South Dakota. I find it funny that they're called "hills", because these guys were pretty darn big hills. The Visitor Center is hidden beneath the main viewing area, and is easily missed. There we learned how the mountain was meticulously carved beginning in 1927, and because the Visitor Center is tucked away, we had some glorious views of Mount Rushmore all to ourselves from the lower balcony.

Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/250, f/8, ISO 125. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 46mm, 1/400, f/8, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 52mm, 1/320, f/5.6, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 53mm, 1/400, f/4, ISO 100.

At this point, I'd just like to make a huge shout-out to the lens company, Tamron. Back in the day, Tamron used to make second-tier budget lenses as alternatives to pricier name-brand lenses. However, Tamron now designs first-rate, premier lenses, but are still budget-priced. Most of these photos were taken using Tamron's 28-200mm f/2.8-5.6 lens for Sony E-mount. This thing is sharper than many of my former Canon L lenses back when I shot with Canon, and at a fraction of the cost. It's absolutely perfect for travel because it packs an enormous range into a small, lightweight package. I highly recommend Tamron to those of you shopping for your next travel lens.

After Mount Rushmore, we continued on I-90 west and took a small detour to see Devils Tower National Monument. No, most of us have not watched the 1977 science fiction flick, Close Encounters of the Third Kind (much of it was filmed at Devils Tower), but it was still plenty mystical. Seeing this enormous formation sticking out amidst the hills was hauntingly impressive. Considered to be sacred land for indigenous people, there were trees surrounding the formation that had numerous scarves tied to their branches. These scarves signified prayers, so of course we left them untouched.

Sony RX1R II. 35mm, 1/1000, f/2.8, ISO 100.

Sony RX1R II. 35mm, 1/1000, f/2.2, ISO 100. Sony A7C & Venus Optics/Laowa 9mm f/5.6 FF RL lens. 1/500, f/11, ISO 100.
Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/800, f/5, ISO 100. Sony RX1R II. 35mm, 1/1250, f/2.8, ISO 100.

The next day, we made it to Yellowstone (via the East entrance, of course) in time to see the sun set. It was mostly cloudy, but the views were glorious nonetheless. We also happened upon our first "bison jam".
 

Sony A1 & 14mm f/1.8 GM lens. 1/250, f/1.8, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 36mm, 1/250, f/3.2, ISO 640. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 75mm, 1/250, f/4, ISO 1600. Sony A1 & 14mm f/1.8 lens. 1/250, f/4, ISO 200.

Yellowstone is absolutely one of my favorite places on this planet. Its beauty is simply unparalleled. The fact that most of the park smells like rotten eggs - thanks to the sulfur exhausted by its numerous hot springs and geysers - is a reminder that most of the park lies within the caldera of an active supervolcano that last erupted only 640,000 years ago, the ash from which cast the earth into a nuclear winter and subsequent ice age. The planet's crust is typically 25-43 miles thick; in parts of Yellowstone, it is only 2-3 miles thick. It is mind-boggling to think that this beautiful place could be wiped off the map at any time when it erupts again - along with an extinction- or near-extinction-level event for all earthy life.

"Only" 640,000 years...it wasn't that long ago in the grand timeline of history. I am never endingly fascinated by the fact that only through this massive destructive event that heavenly beauty can form and exist. Honestly, Yellowstone does funky magic to me, and it's not just because of a sulfuric high. I feel as though I could die here and be at complete peace. The magic only grows with each visit, and I am so privileged to get to share that magic with my family during this visit.

The Grand Canyon of the Yellowstone as viewed from Artist Point, with the Lower Falls in the distance. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/320, f/7.1, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/250, f/2.8, ISO 100. Sony A7C & Rokinon 18mm f/2.8 lens. 1/250, f/7.1, ISO 200. Sony A1 & 70-200mm f/2.8 GM OSS II lens & 1.4x teleconverter. 280mm, 1/250, f/4, ISO 2000. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/400, f/8, ISO 100. Sony RX1R II. 35mm, 1/400, f/4, ISO 100. Sony RX1R II. 35mm, 1/640, f/8, ISO 100. Sony RX1R II. 35mm, 1/500, f/8, ISO 100. Sony RX1R II. 35mm, 1/640, f/8, ISO 100. Sony RX1R II. 35mm, 1/320, f/5.6, ISO 100. Sony RX1R II. 35mm, 1/250, f/8, ISO 125. Sony A1 & 70-200mm f/2.8 GM OSS II lens & 1.4x teleconverter. 280mm, 1/250, f/4, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 78mm, 1/250, f/5.6, ISO 160. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 200mm, 1/250, f/5.6, ISO 125. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/400, f/5.6, ISO 100. Sony A1 & Venus Optics/Laowa 9mm f/5.6 FF RL lens. 1/800, f/11, ISO 100. Sony A1 & 70-200mm f/2.8 GM OSS II lens & 1.4x teleconverter. 280mm, 1/250, f/4.5, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/4000, f/1.4, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/4000, f/2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/1000, f/1.6, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/3200, f/1.6, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/1600, f/2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/1250, f/2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/5000, f/2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/2000, f/2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/1000, f/2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/250, f/1.4, ISO 125. Sony A1 & 24mm f/1.4 GM lens. 1/2000, f/2.2, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/500, f/4, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/250, f/8, ISO 160. Sony A1 & 24mm f/1.4 GM lens. 1/320, f/2.8, ISO 100. Taken with iPhone 12 Pro. Taken with iPhone 12 Pro. Old Faithful erupting outside the Visitor Center window. Sony A1 & 24mm f/1.4 GM lens. 1/640, f/2.8, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/1000, f/4, ISO 100. Sony A1 & 24mm f/1.4 GM lens. 1/3200, f/2.8, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 83mm, 1/640, f/4.5, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/1600, f/2.8, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 101mm, 1/500, f/4.5, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/2500, f/2.8, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 51mm, 1/800, f/3.5, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/500, f/5, ISO 100. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/1250, f/2.8, ISO 100. Taken with iPhone 12 Pro. If you look really carefully, you can see an osprey chick peering out of the nest. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 200mm, 1/250, f/5.6, ISO 200. Sony A7C & Tamron 28-200mm f/2.8-5.6 lens. 28mm, 1/250, f/4.5, ISO 200.

After three nights at Canyon Village lodge, four black bear sightings, an osprey nest sighting, some elk and deer and a moose (I think?), a pronghorn, a family of cranes and their chicks, and countless bison, we said farewell to Yellowstone and headed south into Grand Teton, the grandeur of which - like Yellowstone - also defies description. We visited the world-famous deli at Dornan's and briefly saw a grizzly (399, perhaps? That is what the other passerby conjectured.) and one of her cubs, although I wasn't quick enough with my camera to grab a shot.

The view of the Teton range from the Mount Moran turnout, off Teton Park Road. Sony A1 & 14mm f/1.8 lens. 1/400, f/10, ISO 100.

I mean, just look at this. It's called God's Country for a reason.  Sony A1 & 14mm f/1.8 lens. 1/320, f/11, ISO 100.
A brewing thunderstorm made us decide not to take the tram at Jackson Hole, plus our cabin for that night was a good two hours away and we did not want to risk driving in the dark, especially with all the wildlife around. So we sadly started heading back east, driving home along I-80.

Sony RX1R II. 35mm, 1/640, f/2, ISO 100. Sony RX1R II. 35mm, 1/250, f/2.2, ISO 500. Sony RX1R II. 35mm, 1/1600, f/2.8, ISO 100. Sony RX1R II. 35mm, 1/1250, f/4, ISO 125. I miss the American west, but it's good to be home and be reunited with our dogs. Canon EOS R6 & RF 50mm f/1.8 lens. 1/250, f/2, ISO 500.

And so our journey concludes. I am left with mixed feelings: On one hand, it's good to be home after 10 days in the car with young kids; on the other hand, I miss the American west and long to return someday soon; on top of all of this, I am absolutely (but satisfactorily) exhausted from all of the driving. I am unsure how one could experience that glorious landscape and not be humbled. I for sure have been put in my rightful place.

Until next time, dear Yellowstone. We will return.

In Fall of 2017, I had the immense honor of photographing two of my Senior Sem students, Jo and Abby, who were dating at the time.

A while back, Jo and Abby reached out to me to inquire about a new set of photos, this time to commemorate their wedding. Although I was not able to be at their wedding, they traveled all the way out to Ohio this weekend to let me capture images of their forever life together.

Overjoyed is an understatement. Seeing them again and being able to catch up was a special pleasure. Then came the celebrating of their marriage by way of photos. Pure delight!

It is my hope that these images are as meaningful to Jo and Abby as they are to me.

All shots made with a Sony Alpha A1 and one of my all-time favorite lenses, Sigma's 35mm f/1.2.

This is just the beginning. I will do more, I need to do more...I just need to figure out how and when. More details forthcoming. June 10 (above) might seem like an arbitrary date, but that's when my calendar is already full for the summer. For now, I feel like I'm just sitting around, and am desperate to take action.

If you don't want pictures taken, I take no offense. However, I will implore you to click on the GoFundMe below to help the affected families in Uvalde. Just do it - please.

Nun komm' der Heiden Heiland, BWV 659

Nun freut euch, lieben Christen gmein, BWV 734a

Jeanelle and Jimmy's wedding was absolutely lovely.  We were able to book the lobby of Severance Hall for an hour for portraits.  Wow!  What a gorgeous setting!

Let's first look at the final result of one of our shots:

I needed the bride to "pop" from her also-gorgeous surroundings, so I had my assistant splash some light on her with a softbox. Took a plate shot after this, then masked the softbox out in Photoshop. Boom!
Photo was made on a Sony Alpha A1 & the 14mm f/1.8 GM lens. Lighting by Godox and MagMod.

Here's the shot without the artificial light:

Here is an excerpt from the cadenza of the first movement of Rachmaninoff's Piano Concerto No. 1 as performed by Will at the competition finals.

Will will be performing this concerto with the Kent State University Orchestra on Sunday, February 27 at 3:00PM in Cartwright Hall Auditorium on the Kent, Ohio campus of KSU. I'm so grateful for this opportunity for him!

I'm also grateful for the opportunity to create some publicity photos this afternoon for Will!  These images were made on a Sony Alpha One with 35mm f/1.4 GM and 50mm f/1.2 GM lenses, and the lighting was made with two Godox speedlights and MagMod modifiers.

This Sonata by Franz Schubert - his last Sonata, finished a mere two months before his passing - contemplates death. However, it is not dark or grisly; it looks to the beyond with beauty, promise, and hope. It is a vision of peace.

This piece is very dear to me. It has grown with me as I have grown up through the years. It has accompanied me since the day I discovered it decades ago.

Thanks to the video and audio crew at Kent State for their fantastic work on this video. I'll post more movements in the future as I am able. Hope you enjoy!

All photos were made on a Sony Alpha A1 camera & 35mm, 50mm, 85mm, and 16-35mm Sony GM lenses. Lighting by Godox AD200s and MagMod modifiers.

I love reconnecting with people to learn how they've grown and where life has taken them.

This entire session was shot with Sony 50mm f/1.2 GM & Sony 135mm f/1.8 GM lenses mounted to an A9II camera.

This entire session was shot with the Sony 50mm f/1.2 GM lens mounted to a Sony Alpha One mirrorless camera body. Love it!

I met Jeanelle in Phoenix, Arizona in November of 2009 when I was soloist with the Phoenix Youth Symphony Orchestra.  Jeanelle was a violinist in the orchestra at the time; thanks in part to social media, we managed to keep in touch over the years.  As luck would have it, I ended up moving to the Cleveland area where Jeanelle now resides.  It was such a delight to see her for the first time in twelve years, and to meet her brand-new fiancé Jimmy.  Naturally, I had to take their engagement photos!

In case you missed it, here is the video recording of my Kent State University debut faculty recital on October 18, 2020.

Many thanks to the amazing sound and video crew at the Kent State University School of Music!  They did a great job with this production!

Be well,

Drew

Wonderfully assisted by second photographer, Ruth Vanden Bos.  Entire wedding shot with Sony Alpha A9, A9 II, & RX1R II cameras, along with assorted Sony/Zeiss lenses.

--October 4, 2020: "Reinvented: Transcriptions for Solo Piano"
--January 10, 2021: "Vive la France!"
--May 23, 2021: "All-Schubert"

Tickets and details can be seen at https://www.drewle.com/sofa-series

Andrew Le (Drew Le) performs on the Steinway Piano in the John and Dede Howard Recital Hall in the Jack H. Miller Center,

If you may notice, I had the score on the piano in front of me. I had decided against playing from memory this time, even though memorization is a hallowed tradition of classical piano performance. Memorization can be a formidable obstacle for some students; I have had students give up hope of pursuing piano performance as a career path because of this. By having the score in front of me for this performance, I wanted to show my students that memorization is not always a necessary prerequisite, especially if it potentially gets in the way of an effective performance.

Of course, there are many advantages to playing from memory. Removing the score removes the barrier (perceived or otherwise) between the performer and his/her instrument. The performer can communicate more fully and fluidly. 

What do you think? Is memorization overrated? Would relaxing this hallowed tradition make piano playing accessible for more students? Please comment below and let me know what you think!

This photo is from 2016, when Matthew and Kate were practically still babies. We were traveling to northern lower Michigan with their cousins, and I was hoping that in mid-August we might possibly have the whole dune to ourselves. Yeah, right. :) So, when we got home, I decided to delete everyone except ourselves from the picture.  This is super duper easy peasy once you get the hang of using the right tools in Photoshop: the Clone Stamp Tool, the Healing Brush, and Content-Aware Fill were my primary tools.  Using these three methods, I strived to make it look as realistic as possible.  Once all extraneous humans were gone, I adjusted the color and shadow/highlight balance to taste.  Boom!  My hopes were realized and we had the whole dune to ourselves!

Camera settings: Sony A7 with Sony/Zeiss FE 16-35mm f/4 ZA OSS lens @ 16mm & f/9, 1/320 second, ISO 100.

Happy Shooting!

Before. After.

This is definitely one of my all-time favorite family photos I've taken.  I exposed this shot for the highlights (the sky), knowing that the superduper sensor on my Sony mirrorless camera can dial up the shadows with minimal penalty.  All I did to the original file here was toy around with basic settings in Adobe Lightroom: White Balance, Highlights/Shadows, Hue-Saturation-Luminance, and Tone Curves.  That's it...I just moved the sliders around until the photo appeared to taste.  Boom!

Younger kids generally abhor posing for family photos, so I just let them run freely around the parents. :)

Camera settings: Sony A9, Sony/Zeiss FE 55mm f/1.8 ZA lens @1.8, 1/6400 second, ISO 100.

Happy Shooting!

   Before. After.

As you can see, the original SOOC (straight-out-of-camera) shot is pretty flat and dull, but has potential to become much better with a few easy adjustments. The Pros of this photo: strongly romantic moment; I love her windblown hair; nice and centered composition. Cons: the sky is totally blown out, obliterating the clouds; narrow color gamut; lack of contrast. 

The human eye is instinctively drawn to the lightest and warmest parts of an image. Since the brightness of the sky is super distracting, I dialed down the highlights in the sky using the Adjustment Brush, along with lowering the color temperature in the sky to help bring out the blues. I then used the Radial Filter to recover the shadows in her face, which helps to draw the viewer's attention first and foremost to their amazing kiss. I also added a touch of warmth with the White Balance Temperature dial, amplifying the effects of the Golden Hour. Finally, I cloned out (using the Spot Removal tool) a couple of distracting flare artifacts and a branch in the upper right corner, brightened her engagement ring a touch to give it some sparkle, and voila -- done! (All my adjustments were done in Adobe Lightroom Classic -- no need for Photoshop here.)

Camera and settings are as follows: Sony A9, Sigma 35mm f/1.2 @ f/1.2, 1/6400 second, ISO 100.

I hope this helps y'all. Happy Shooting!

Before.

After.