Editor’s Note: This article was originally published on April 1, 2022. It has since been updated.

Giving birth is one of the most intense experiences and includes a rush of emotions ranging from anxiety and fear to exhaustion, relief and joy. Having a child is life-altering and it’s natural for people to document that event. When San Francisco photographer Lisa Robinson was giving birth to her second child, daughter Anora, she decided to take photos of the moments leading up to the birth as a means of coping with the intense event and to capture memories lasting a lifetime. She was both nervous and excited at the same time. She and her husband, Alec, already had a 9-year-old son and had been trying to get pregnant again for years. It was a frustrating and exhausting journey for the pair as she had suffered two miscarriages.

The pair had given up on having a second child and stopped trying after multiple failed attempts. However, they were pleasantly surprised when she got pregnant. It was a miracle as far as they were concerned. When it came to delivering the baby, they were both nervous. Robinson wanted to document the birth of her daughter and brought her camera along. It was also her way of calming her nerves. It started out as a joke between her and Alec, but then Robinson thought to herself, “Why not?” Alec was game and said it would be great if she could actually take pictures.

They asked the hospital staff if it would be okay and they all encouraged her. Her doctors and nurses felt it could serve as a nice distraction if she had trouble managing the pain or stress of giving birth. She soon realized that it wasn’t going to be easy to hold the camera steady as her body was shaking. She was in labor and she picked up the camera in between her contractions to take pictures from the room. 

Robinson took pictures even when she started pushing. “Eventually, when it was time to push and I was able to take the photos as I was pushing, I focused on my daughter and my husband and not so much the camera,” she told Upworthy. Robinson photographed portraits and wedding events for a living, but turning the camera on herself and her family in such a moment was a surreal experience. “I didn’t know if I was in focus or capturing everything but it was amazing to do.” The pictures she ended up capturing were beautiful and captured the emotions of giving birth. “I couldn’t have had an easier birth,” said Robinson, reported TODAY.

After her daughter was born, she handed the camera off to her mother, who continued to take pictures. Of all the pictures Robinson took, the one of Alec breaking down on seeing the baby and of the baby alone really stood out. “Everybody was supportive and kind of surprised that I was able to capture things throughout. I even remember laughing along with them at one point as I was pushing,” recalled Robinson.

Robinson was glad she went through with it, especially considering all the memories she managed to capture of Anora’s birth. It also helped her through labor. When asked if she would recommend the idea to other moms-to-be, she said it was very subjective. One of the main reasons it worked for her was that it was centered around her profession, which is also her hobby—photography. It need not be the same for everyone else. Some might find it more taxing or tiring to take pictures while giving birth. But, if you’re into photography and want to capture those moments, then why not. Give it a shot. The only advice she had for those who wanted to try it was: “Don’t put pressure on yourself to get ‘the shot.'” She also said it was important to “enjoy the moment as much as you can.”

Hello, baby Anora! 

Alec gets emotional

Anora breastfeeding

Lisa with Anora, captured by her mother

All smiles!

Summary:
The Leica Elmarit-M 28mm f/2.8 ASPH is a high-performance, ultra-compact wide-angle lens designed for Leica’s M-series rangefinder cameras. Known for its superior optical quality and portable design, this lens is favored by street, landscape, and documentary photographers. Its aspherical elements ensure sharp images with minimal distortion, while the lens’s small form factor makes it a favored choice for photographers on the go.

Introduction to the Elmarit 28mm ASPH

The Elmarit 28mm ASPH is an acclaimed piece of photography equipment developed by Leica Camera AG. As one of the most respected names in the industry, Leica is synonymous with quality, craftsmanship, and optical excellence. The Elmarit name is designated for lenses with a maximum aperture of f/2.8, while ASPH indicates that the lens incorporates aspherical elements to improve image quality.

Optical Design and Performance

This lens features a sophisticated optical design with several aspherical elements, which serve to correct spherical aberrations and other optical imperfections. The result is images with exceptional clarity, contrast, and minimal distortion. The use of special glass types also contributes to the suppression of chromatic aberrations, leading to images with true-to-life color rendering.

Compact Form Factor and Build Quality

Leica lenses are renowned for their precise engineering and durable construction. The Elmarit 28mm ASPH is no exception, being made of high-quality materials that can withstand the demands of professional use. Its compact form factors make it an excellent choice for photographers who require a lightweight setup without sacrificing optical performance.

Usage and Versatility

The 28mm focal length is versatile, perfect for capturing expansive landscapes, tight urban scenes, and dynamic reportage shots alike. The relatively wide field of view, combined with the lens’s compact size, makes it ideal for candid photography where discretion is key.

Comparisons and Market Position

In the market of high-quality lenses, the Elmarit 28mm ASPH holds its place as a lens that offers a balance of performance and portability. Its fast f/2.8 aperture isn’t the widest among wide-angle options, but it provides a good balance between low-light capability and maintaining a compact size. The lens competes with offerings from other manufacturers, such as Zeiss and Voigtlander, which produce lenses with similar focal lengths for the M-mount system.

FAQs:

What does ASPH mean on a Leica lens?
ASPH refers to ‘aspherical lens design’ which means the lens has one or more aspherical elements. These elements help reduce aberrations and improve overall image clarity and sharpness.

Is the Leica Elmarit 28mm f/2.8 lens suitable for low-light photography?
While an aperture of f/2.8 is not the widest available, it allows a good amount of light to enter, making the lens relatively suitable for low-light photography. However, there are other lenses with larger apertures that might perform better in dim conditions.

What type of photography is the Elmarit 28mm ASPH best for?
This lens is well-suited for street, landscape, architecture, and documentary photography due to its wide-angle perspective and high-quality optics.

Can the Elmarit 28mm ASPH be used on non-Leica cameras?
It is designed for the M-mount system, but adapters can often enable use on different camera systems, though functionality and performance might vary.

How does the build quality of the Elmarit 28mm ASPH compare to other lenses?
Leica lenses are known for exceptional build quality, precision engineering, and use of premium materials. The Elmarit 28mm ASPH lens is typically considered among the best in its class for construction and durability.

For further reading and research on the Elmarit 28mm ASPH, one can visit the official Leica website at www.leica-camera.com. Additional reviews and user experiences can be found on photography forums and communities dedicated to Leica and rangefinder cameras.

Leokadia Głogulska is an emerging figure in the field of environmental technology, known for her groundbreaking work in developing sustainable urban infrastructure solutions. Her research focuses on integrating green technologies in urban planning, aiming to reduce environmental impact while enhancing livability in cities. Głogulska’s innovative approaches to renewable energy usage, waste management, and eco-friendly transportation systems have garnered attention for their practicality and effectiveness. Her contributions are increasingly influential in shaping policies and practices towards more sustainable and resilient urban environments.

MOUNDSVILLE, W.Va. — Photo gallery from Morgantown’s 91-36 win at John Marshall.

(Photo gallery courtesy of Robert Ovies Sports Photography)

If you’re like me and live somewhere with out-of-control housing costs, finding somewhere with enough space to shoot in can be difficult, to say the least. Having built out a home studio in a major city, here’s why I did it, but also how.

The Journey to a Home Studio

This was something I had wanted to do for a while. Between headshots, creative shoots, editorials, product shoots, and more, I would often be renting studios often enough for it to be a large portion of my monthly expenses, but renting a dedicated studio space didn’t quite make sense. Enter the idea of a home studio: somewhere with enough space for most shoots, and if I had a larger studio campaign, then I would rent something. My previous apartment was too tight to do most types of shoots in, so when I moved, that was definitely a must-have. After all, the amount I would be saving in studio rentals every month would actually make up for the difference in rent, so the math quickly added up.

Main Considerations for the Studio

My main considerations for building out this sort of space were:

• Enough open space to have a backdrop either hanging or on stands.
• Ideally, not have to move furniture to utilize the space.
• High ceilings for shooting tall models.
• Room for equipment storage/ability to have stands and lights set up when not in use.

After going through many places, many would have been workable, even if not ideal. Rather than trying to make it work for the space, I went into my search with this front of mind, so creating the environment would be rather seamless. Pun intended.

After going through many places, many would have been workable, even if not ideal. Rather than trying to make it work for the space, I went into my search with this front of mind, so creating the environment would be rather seamless. Pun intended.

Finding the Perfect Space

I was open to either an extra bedroom that was big enough (in a major city, this is uncommon) or a living area big enough that it could function as both studio and living space at the same time. Enter where I am now, with 11-foot high ceilings, perfect for photographing models and for me being taller than average as well. The living area is a large open concept floorplan that allows for a resting 6ft backdrop to be up at all times. If needed for specific shoots, I can move some furniture and fit a full 10 ft backdrop as well. There is an abundance of natural light, even though I normally shoot with strobe. There is enough space for a small studio cart, as well as some lights and stands to be left out. It may not be an interior designer’s dream, but it works wonderfully and is something I aimed at for some time. A director’s chair off in the corner is a nice touch to the space, and it helps for whenever makeup artists are over for a project.

Lighting and Equipment

I will jump between strobe and constant light, using Godox AD600’s as my main lights, then going to the Generay Portabrights (similar to a 120D) for when I’m shooting motion or creating content. As I also model and my partner acts, this is a great spot to record self-tape auditions as well and therefore omits the need for a studio for that purpose too.

With power outlets seemingly everywhere, yes, even in the floor, it makes power control a breeze whether powering lights, computers while tethering, steamers for clothes, etc. I also find it unobtrusive when not in use too; it sort of works with the natural vibe of an artist’s home. Even though it’s not a standalone studio, there is something about having a space that is for creativity, for working, that gets me fired up. Plus, having that space only makes me more inclined to shoot in it as there’s no budget concerns of looking for a studio, especially if it’s for a personal project. The simple added benefit, even of not having to load everything in a car, is a game changer. Trust me, if you’re considering making your own home studio, your back will thank you. No more lugging sandbags, stands, modifiers, etc., in and out of studios. I almost always have time for a pre-light before I start shooting. I will set my camera on a tripod and do a quick self-portrait or photograph an assistant, then get the lighting dialed in before the talent even shows up. Another benefit I’ve learned is living in Canada, many models would rather shoot inside during the winter (who wouldn’t), and having this space makes it so I naturally just end up shooting more because I’m consistently able to year-round without dealing with constant studio rentals in different spaces when you’re not sure what you may be getting.

Space and Environment

Perhaps the one downside is that it’s not the largest space, but quite honestly, it’s very similar to shooting in other medium to small-sized studios I’ve worked in anyway. There’s still enough room for a team to work and chill between shots. I didn’t want that sort of dark basement studio dungeon vibe, so the natural light does help liven it up a lot. I find creating a warm and welcoming environment makes a home studio feel less like a HOME studio and more like a studio that you happen to sleep in the other room of.

Living With Others

Obviously, if you live with others, this can add a level of difficulty, but expectations I find are a good thing to have set out, as well as clear communication whenever you are doing a shoot. My girlfriend and I live together, so to give her her own space, I generally found it beneficial to schedule shoots while she’s out, whether at work or otherwise.

Conclusion

That’s really the long and short of making your own studio, how I did it, why I did it, and some things to keep in mind if you’re curious about making your own. It has amped up my creativity in a lot of ways, and I’m definitely glad that I went for it. But if you’re a photographer on the fence about building out your own, hopefully, this will give you the perspective of someone who has done it and would do it again. If you do make your own, or have your own and are looking for ways to elevate it, I’d love to see your setups.

Links to Studio Gear

Links to some of the gear I used in making my studio:

Composition is not just about aligning elements pleasingly; it’s about conveying the narrative and emotion of the scene. This subtle yet powerful aspect of photography is often overlooked, making it a vital area for photographers to explore and master.

Coming to you from Christian Irmler – Landscape Photography, this insightful video looks at a common mistake many photographers make: focusing too narrowly on compositional architecture. Irmler, who grew up in an artistic family and learned about composition from a young age, initially believed that his deep understanding of composition gave him an edge in photography. Over time, however, he realized that knowing where to place lines, shapes, and patterns in a frame is just one piece of the puzzle. The true essence of photography, especially in landscape photography, lies in capturing the spirit of the place. Irmler emphasizes the importance of engaging with the scene, understanding its impact on you emotionally, and then using compositional skills to enhance the narrative of the image.

The video further illustrates this point with examples from Irmler’s own experiences. He describes how, in the rush to capture a scene before crowds arrived, he once focused solely on the technical aspects of composition, resulting in an image that, while technically sound, lacked emotional depth. In contrast, when he took the time to absorb the atmosphere and essence of a location, his photographs resonated more powerfully, telling a story beyond mere shapes and patterns. This approach to composition — considering the emotional and narrative elements of a scene — is what sets apart good landscape photography from the truly remarkable. Check out the video above for the full rundown from Irmler.

And if you really want to dive into landscape photography, check out our latest tutorial, “Photographing the World: Japan With Elia Locardi!” 

The most effective video marketing campaigns start with professional photography.

You read that right, photography is, and has always been at the heart of any effective marketing strategy.

I’ll explain; most businesses have websites, a pile of social media pages, maybe a YouTube channel, a Google business page, Yelp, LinkedIn and more. The one thing these platforms have in common is they are heavily focused on photos.

One of the best ways to stand out online is to have high quality photography that not only tells a story, but shows who you are, what you do and where you’re located.

Admittedly it’s overwhelming to come up with profile photos, cover photos, photos of your location, photos of your products, or of you or your employees performing your services, headshots, photos of happy customers and clients, before and after photos. The list is seemingly endless, and often confusing.

You have options, most of them suck, but they are options.

Option 1: Take your own photos.

Most small or new businesses take their own photos, and it shows. Grainy, poorly lit and composed photos are the hallmark of a business that’s cutting corners in their marketing plan.

Most business owners don’t know what to take photos of never mind how to make those photos good. Maybe you’re a great photographer, and that’s awesome, do it up!

Option 2: Stock Photos

Can I just say “don’t do this” and let you trust me? No? Alright, hear me out.

Stock photos are inauthentic, unoriginal, irrelevant and don’t represent your business. They are the hallmark of lazy social media managers and web developers who are trying to slam out as much useless content as possible so they can get paid.

The same stock photos are used by thousands of businesses to the point of being a trope. They scream “I’m fake and trying to trick you.” Stock photos are the “lorum Ipsum” of the photography world – filler that should never be seen by the public until they are replaced with actual meaning. Do not use this option.

Option 3: Hire a Photographer (recommended)

Hiring an experienced photographer is the best way to get the photos you need to attract people to your social media, websites and ultimately generate sales. Photographers have years of training, practice and education. They understand storytelling and composition and have invested in the equipment needed to capture and process stunning images that will make you stand out from the crowd and give your potential and existing clients a better understanding of who you are and what you do.

How to find and pick the right photographer?

Good photographers are not as common as you’d think, and they are more specialized than you might imagine, and while they won’t generally break the bank, they aren’t cheap either.

That being said, I’ve created a Facebook group to assist you in finding them! Just go to facebook.com/groups/nepaphotographers and make a post detailing what you’re looking for.

Then follow up by looking at their work. You should expect to invest between $2,500 and $7,500+ on average every year for professional photography based on your needs.

Note: if you missed last weeks column on Content Calendars, now is the time to go back and read it. If you haven’t already, subscribing to the Times Leader should be on your urgent to-do list.

Long story short – Photography is an incredibly important part of effective marketing that cannot be overlooked. Before you start making videos you absolutely need to make sure your photography game is solid!

Homework

Go through your website and social media. Make a list of every place that could use a good photo. You probably need headshots, cover photos, photos of the inside and outside of your business, product photos and more.

Once you’ve made that list it’s time to find and hire a photographer! Go to facebook.com/groups/nepaphotographers and start putting out feelers!

As always, if you need help or have questions email me at [email protected] I read and answer EVERY email!