Jun
29
Vintage! This is a random post. The year was 2008...
Photography: The dark side of the art, technical, geeky, obsessed, and ever so powerful.
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May
18
It was long overdue. I’ve just put the finishing touches to the new « Shop & Print » page that will allow visitors (yes, you!) to buy select prints from the main galleries. Granted, the current selection is rather limited but now that I have a functional site, I will be adding more pictures as time goes by.
The service is provided by SmugMug straight from my site, and most prints are done by Bay Photo, a professional California-based photo lab.
Not all who wander are lost.
Defined tags for this entry: photography, web
May
9
Well, thanks to the little Skribit widget I recently installed in the upper left corner, I am getting reader suggestions for potential post topics, and - time allowing and subject appealing - I will be happy to elaborate on those suggestions. Here, hence, is the first in a series of photography ticks and tricks entries.
To the question « Why do I use a tripod? », I would simply tend to answer « Because I’m lucky enough to have one. » and that would feel like enough has been said. However since 6 lines do not a thorough entry make, I shall now explore the issue a little deeper.
Let me start by making a statement: All that is tripod does not glitter. There are tripods and tripods, and if all were equal, our lives would be simple. They are not. While one can find many a creatively packaged and richly bells-and-whistles adorned tripod at the local superstore, these things have little else to offer their customer than a relatively thin price tag. We must face it, a really good tripod is not always good looking but enormously expensive compared to the camera it will support.
So what makes a tripod that good, and what would it be used for? Let’s see... Self-defense is the first advantage that comes to mind. ‘Nothing like a nice heavy tripod and it’s fancy fluid head swung at arm’s length in dodgy situations. Impressing chicks would be another, even though I am posting this one only as a courtesy to fellow photographers because I personally need not impress any chick, having my own, and generally being the one who is impressed by her. Oh, and tripods impress guys, too.
Ok, seriously now. A tripod is a commitment. It’s a photographer’s way of saying « I do. » What was the question? « Do you, X, accept the fact that your photos could be taken to the next level? Are you willing to commit your time to achieve it? Will you agree to have and to hold and carry the bloody tripod around endlessly, until death - or a new model - do you apart? »
If you answered yes, you are ready. A tripod can mean tremendous improvement to your photography and certainly opens up an incredible creativity Pandora’s box. Before jumping to the actual use of it, here’s a brief outline of handy or essential tripod features that are worth considering, keeping in mind that some of these are much pricier than others - but I won’t discriminate.
- Stur-di-ness. The absolute, bestest, mostest important feature for a tripod. A flimsy tripod will give you terrible headaches and only correctly handle 50% of your needs. Price, sadly, rises exponentially with sturdiness. Look for strong and steady leg and extension locking mechanisms and a head that both pivots fluidly and locks down in an iron-fist grasp. Video heads are even more fluid but heavier, pricier and superfluous for photographers. Test your tripod before buying; once locked in any position, including full extension, it should remain as sturdy as if bolted to the ground. Keep in mind that the further up an extension slides, the more prone to shake it will be. Height always compromises steadiness.
- Height. The above mentionned notwithstanding, I’d recommend the tallest model you are willing to carry around because when the time comes to take multiple shots of a sunset over a period of an hour, your back will thank you profusely if you don’t have to bend down towards a waist-level viewfinder for the duration of the shoot.
- Detachable hot-shoe. You do not, repeat, do not want to be forced to screw your camera onto the tripod head every time you decide to take a picture, especially in cold weather. Instead you attach the hot-shoe to the camera once and for all and leave it there. Setting the camera onto the tripod then takes all of 2 seconds with the fast-release handle. Have a hot-shoe for each body, too.
- Ball head. We’re already talking about a much more expensive feature, rarely standard with a new purchase, and which can easily cost as much as the tripod itself! Rather then having separate adjusting and locking levers for each axis of head movement, a ball head combines all of the above in one fluid control which locks and unlocks instantly with a single control. It makes leveling your frame with the horizon a breeze no matter what position the tripod is in, and it avoids having to shorten a leg to compensate for uneven ground.
- Bubble levels. Very handy if you are shooting panoramic landscapes and must make sure your camera pivots around its vertical axis. Otherwise? Bof.
- Anti-skid feet. I really like the system where a screw-in allows to switch from a rubber boot to a sharp metal point, allowing a good grip on both natural and artificial surfaces.
- Bottom (or reversed) head attachment. Amazingly useful in macro photography to get the camera closer to the ground.
So. You’ve gone ahead and invested in a super-duper tripod. You’ve fitted it to your photo backpack and carried it to the grocery store a few times to get used to its bulk. You’ve practiced attaching the hot-shoe behind your back in the dark with frozen hands in life threatening conditions. You’ve tripped over it at night when getting up in the dark, and have then gotten used to folding it back up after use. You are tripoded to the max. Cool. Let’s proceed to the uses.
Here are, in no particular order, my top 5 reasons and tips for using a tripod:
1 - Say good-bye to blurry shots and heavy noise. Of course, when taking pictures of your drunk friends dancing half-naked in the street, there might not be enough time to setup the tripod. Don’t about you, though, but that’s not too high on my list of favourite subjects any way. Landscapes, on the other hand, allow for more preparation and are way worth taking the time to setup. Why use a tripod when you can hand-hold a camera? Perfection! By using a ground anchor, you are suddenly able to keep your ISO setting to a minimum and obtain the best quality image possible in terms of noise and sharpness. The usable speed range drops along with ISO and that’s why you need to be steady. But each lens has a sweet spot, an aperture at which it gives the cleanest results, and very often a tripod is the only way to achieve that setting if the light is anything but perfect. The whole spectrum of aperture / speed / ISO combinations becomes available, whether you are using a DSLR or a small point-and shoot.
2 - Play with motion blur. In step one, we got rid of accidental blur; it’s time to re-introduce it as a motion indicator. Photographs are not called « stills » for nothing; they can manage to shave a slice off of the fastest moving scene and freeze it into eternity. In come long exposures. When exposing longer (sometimes much longer) than a second, water turns fluids, nocturnal cars leave amazing light trails and people join a volatile crowd or simply disappear.
3 - Capture invisible light. Our eyes are poor sensors and only weakly register a faint portion of the spectrum. A tripod allows for long exposures in near complete darkness, when our brain has decided that the session is over due to overwhelming obscurity, and yet when the shutter has been open for a few minutes, a new world emerges, bright and colorful and completely unsuspected.
4 - Test your affinity with HDR. The only way to bracket efficiently for HDR is to use a tripod and either over and underexpose a number of shots manually, or use the camera’s auto bracket feature. I recommend using mirror lock too if you go into very long exposures to avoid the vibration caused by shutter movement.
5 - Explore the mesmerizing world of macro photography. Only a tripod permits the patience and precision required by most macro situations, but a set of macro focusing rails is the only way to maximize tripod use and allow for easy framing and focusing. If the tripod is still too shaky, hanging a weigth from its base will steady it a little more.
Time to go play. I guess now I’ll try to follow my own advice and apply what I have just preached so eloquently. I need a better bloody tripod. 
May
2
Up at 5:00 AM this morning, I put the Bialetti to good use and then headed out with a warm coffee in hand and a bagful of gear on my back, 2 cameras, the tripod and my new macro focusing rail shivering with excitement. Dawn, like water left running out of a rusty pipe, was finally 
turning clear. There was, however, no one out yet. Streets were literally empty and even runners and dog slaves were few.
I wound my way through the most flowery parts of Stanley Park’s outskirts, walking around Lost Lagoon towards Coal Harbour. Then a terrible thing happened. I saw my first two raccoons of the season, and a bit further a third one, agonizing on the path. The poor thing seemed quite old and apparently had just been mauled by a dog or hit by a bicycle. A park employee eventually picked it up but I’m afraid it won’t make it. I’d like to get my hand on the dog or the bicycle owner and teach them what mauling really means. Really.
I had a hard time finding what I was looking for in terms of macro subjects. There wasn’t much dew and spring flowers are not as interesting shape and 
texture-wise. Worse, the wind picked up very early, not too strong and definitely nowhere near the forecast 15 km/h - but a very slight breeze even if not visible in the trees, is enough to move flowers around and in the dim morning light, makes macro very tricky.
I had too keep my aperture in the mid-values - loosing precious depth of field - and the ISO high, and for that I knew I would have to pay with noise later. Sunrise had been nice but the sun soon vanished behind a high layer of clouds and while providing for a more diffuse lightning, this also made things darker. At first I had to use a flashlight to see anything at all in Live View mode and be able to focus. 
This was my first real field test of the focusing rail and I must say I adore it. It’s a cheap model ordered from China on eBay for a minimal cost but it still does an amazing job compared to my previous miserable attempts at focusing by tilting the tripod’s head and moving the entire bloody setup forward and backwards...
Macro photography, a relatively new domain for me, is incredibly time consuming but equally rewarding. I love the fact that when I thought I had seen everything around me, I can pause and look closer at a single flower and try to imagine what universe will appear once my lens is on it. And most of the time, I get it 
completely wrong, falling short of the mesmerizing reality.
In the end, most of my shots were blurry from the flowers moving slightly in the wind and the flimsiness of my tripod. I’ve still kept a few for the record and because even if not perfectly sharp, they are a nice example of the fantastic world that opens up under a macro lens. They were taken as before by mounting my regular EF-S 18-55 mm IS lens backwards with a simple coupling ring.
Sure, there’s a lot of practice needed on my part, but what a wonderful way to spend a morning...
Note: to give an idea of scale in the macro shots, I would say that the dew drops in the second picture, far smaller than regular raindrops, are about a quarter of a millimeter in actual size...
2009-05-02 18:36 • Posted in Photoblogs: & Photography: & Vancouver:
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Apr
14
Indeed, she is a planet of her own. The Big Apple was our playground for Easter. We roamed around Central Park and the foot of the Manhattan and Brooklyn Bridges.
Defined tags for this entry: photography, travels
»
Apr
1
Last night I saw urban planets. Let me explain. I went for a run around False Creek because the wind was howling and venturing on the Seawall would have meant big waves and unexpected saltwater showers. I had the 
fierce Canon G10 with me, in a pouch on a stretchy belt that makes it incredibly easy to carry.
While it can in no way replace a DSLR, the G10 is an incredible little camera, sturdy, compact, extremely easy to use, loaded with very advanced features and even quite stylish. It shoots RAW files processed by a DIG!C 4 processor, has a 5X optical zoom down to a wide 28mm, a 3" PureColor LCD display with 460,000 dots, focuses in macro at 1 cm, has a old-style top-dial rotating ISO knob, is image-stabilized and features advanced motion and face detection technology. And with its 15 MP, it even beats my Canon XSi. It really feels remarkably solid and well built, slides in your hand with a purr and just begs to shoot. A real pleasure to play with. Oh, and it was a present from Marie.
So I was running and glancing around me at the urban urchin that surrounds False Creek and had to stop here and there to take pictures of the skyline. Nowhere is it more obvious why Vancouver was nicknamed the City of Glass. The sun was setting lazily and dragon boat crews were hard at work on the calm water.
I began wondering how I could bring panoramic shots back and yet show them in the limited horizontal space of my blog or even the main photo gallery. Then I remembered a technique I had noticed in a photo magazine and so tonight I decided to experiment a bit. It’s called a polar planet and involves quite a few steps but revolves around the very cool Polar Coordinates tool of the free GNU Gimp image manipulation program.
Here are my first attempts at polar planets, or as I’d rather call them, urban urchins. Not so perfect yet, I’ll need to refine my skills and work from true 360 panos (these were created from incomplete panoramas.) But it’s a fun way to look at a city and you get it all in one look.
Nov
15
I once hated maths. I was so bad at it that I had to see a tutor outside of my school time. But time passed and I improved, having been given the lucky privilege of an extra school year while transiting from a country to another. College came and I juggled happily with the basics of trigonometry, differential and integral calculus, and other wonderful buggers. And then I forgot it all. Such is the usefulness of our school years. (Don’t get me started on that...)
However, maths is all around us and once in a while, as adults, we run into it and suddenly remember an old friend. It’s happened to me quite a few times recently and I’ve decided to write about it because, not so surprisingly, it was photography that yielded the happy encounter. As both a technical and artistic field, photography is a good breeding ground for numbers and rules.
The number 3 has always begged for rules. Maths has its Rule of Three. That much I have remembered and I use it all the time in high stress situations. « If one black cat eats 76.4 pellets in 55 seconds, how long would it take him to eat the standard 50 pellet ration? » Scuba divers too have a Rule of Thirds. One third of your air supply to go, one third to come back, one third as a reserve. Granted, that’s a worse-case scenario, for penetrations and deep dives.
So sure enough, photographers and artists came up with their own Rule of Thirds. It’s the mother of all composition rules. To be broken with moderation but enthusiasm. After all, as the crew of the Black Pearl would say of the « Code of Parlez », it’s a more of a guideline... Still. The Rule of Thirds... rules. If one divides a typical canvas or photographic composition in 9 rectangles formed by the intersection of two pairs of equally spaced vertical and horizontal lines, four focal points are obtained at the intersections, dividing the scene in three equal vertical segments and three horizontal ones.
The Rule of Thirds claims that a well balanced composition will place its main subject on one of the four focal points. In addition to making the image aesthetically pleasing, this method creates a virtual dynamic path by making our eyes travel from the opposite edge to the subject, and back. The Rule of Thirds is at the Composition 101 level. To the point that I think every digital camera should have an option to superimpose the lines on its LCD screen.
Then there is the much thicker Golden Ratio topic, referred to by the Greek letter phi (φ). Two numbers are said to be in the Golden Ratio if the sum of the two is to the larger what the larger is to the smaller. Got it? Come up, you gotta keep up, here!
(a + b) / a = a / b = φ = 1.618...
Ok, it’s harder to visualize and it involves maths more directly. But it’s an appealing ratio that suppresses one of the lines in the Rule of Thirds and brings the focal point of a photo slightly closer to the center, working well for scenes that lack an abandance of secondary subjects and/or depth of field. And more interestingly, it’s also closely associated with the Fibonacci Sequence. Ah-ah, now I can almost hear the crowd going « Oh » and « Ah » and « Of course, Fibonacci! ». Indeed. Hollywood has a curious manner of pulling obscure themes out of a geeky hat and throwing them out into the spotlight and popular knowledge overnight; so just as Lara Croft brought Leo Délibes’ Lakmé to the masses while dancing on a high wire, Robert Langdon introduced the world to the Fibonacci Sequence and hence, I just awoke you by finally mentioning a concept you’d heard before.
I very much doubt, however, that walking out of the theater you rushed to the public library to open an encyclopedia. So Fibonacci probably ended up in your mind alongside many Italian pasta names. Let me clarify, then. The Fibonacci Sequence isn’t a complicated notion - it’s the implications that are endless. The sequence in itself is a series of numbers, beginning with an arbitrary 0 and 1, and each following number being the sum of both previous numbers in the list. It goes like this, to infinity: 0,1,1,2,3,5,8,13,21,34,55,89, etc. That’s it.
Now let’s turn this into an image. Imagine that we draw an invisible square (it’s the 0, duh.) Then a visible one, one unit in side length. We draw another, same size, adjacent. Then we draw another with a side length equal to the 2 previous added, and we keep going, like this:
Above, the Fibonacci Sequence is represented graphically. So how are the Golden Ratio and the Fibonacci Sequence related? They both yield an approximately identical spiral. If we were to draw an arc in each square, corner to corner, starting with the second 1, we’d get a spiral such as this one:
This is called a Fibonacci Spiral and it is virtually identical to a Golden Spiral (obtained by a logarithmic spiral whose growth factor b is related to φ, the golden ratio - Wikipedia dixit, blah-blah-blah.) This is also where things become interesting from an artistic point of view. Let’s superimpose the Rule of Thirds and the Fibonacci Spiral. First of all, one of the focal points of the Rule of Thirds coincides almost exactly with the origin of the spiral:
Then we notice that the curve of our spiral manages to lead the eye through each of the Rule of Thirds’ 9 rectangles except the central one, which once again, doesn’t need the extra attention. There is a smooth transition from the outside edge, a quick exploration of the image and a final tightening of the focus into the main subject. Perfect. And the path can be followed back out, too.
Now the trick is to actually build a photographic composition according to these rules. It so happens that the shot below works pretty well, but it was a pure coincidence. Entering the scene from top right corner, the eye travels down taking in the tree and pond, finds the goose, leaves it attracted by the boots, starts inspecting the girl and finally centers onto her adorably focused expression.
Or at least, that’s my take on it. One is allowed to theorize, right?
Defined tags for this entry: photography
Sep
27
For Marie, who constantly reminds me how beautiful flowers can be.
This morning at 5:25 AM, I got up and prepared for a trip. I wasn’t going far and yet, I would explore a new universe. The objective was Stanley Park, my spaceship was a camera and for propulsion, I’d be tapping into macro theory.
It was my first outing ever with 
Abetoo as a macro photography tool. We were both quite excited. Abetoo is my Canon 450D, in case you’re wondering if I’ve lost it. Granted, my current macro line of accessories consists of a single little black metal ring worth $10; it’s nothing to write home about but I will be expanding it over time. Bellows are on the way, and as soon as I can get my hand on a 58-39mm step down ring (anybody out there?), I’ll start using the Rodagon lens too.
Today, I was simply going to duplicate the previous setup and reverse-mount my Canon EF-S 18-55mm IS 1:3-5.6. I’d be using the silly little ring for that, and although I had no illusion on the initial quality of the images I’d capture, this was meant to be a field trip and first test. I needed to get a sense of how to juggle camera settings, deal with the extremely limited depth of field, compensate for the loss of auto-focus and aperture control, adapt Live View to my needs, gauge the possible combination of ISO and speeds, etc.
When I reached Beaver Lake, after a nice stroll and a cute encounter with a young raccoon that came to me and stood up on his back legs, opening his arms as 
if to preach or beg for a hug, it was still dark. I turned my small LED flash light on and began searching for sleepy dragonflies. I found none. There was dew everywhere all right, but no bugs. This is late September and maybe the morning air still isn’t cold enough to keep insects numb long enough for me to arrive and shoot. I’ll have to investigate further.
But the dew was enough for me to begin my experiment. I setup the tripod as low as it would go and launched into an amazing new world. It was 6:30 AM. I was at it for the next 5 hours. There is no way to properly imagine the « infinitely small » before actually seeing it magnified on the LCD screen. For this alone, Canon’s new Live View function is priceless! Without it, I would have had to crouch down to the ground and attempt to peer through the viewfinder in very awkward positions.
I soon got a hang of it. Focus, for the time being, is achieved by slightly moving the whole camera/tripod assembly back and forth, or tilting the head, mere millimeters at a time. Very difficult but doable. My lens does not have an aperture setting ring - it’s all electronics as with most modern lenses - so if I just remove the lens and reverse it, it remains wide open as it usually is while metering. But I’ve found a neat trick on the internet that works like a charm: I set the aperture on-camera with the lens in its proper position, then before removing it I press and hold the Depth of Field Visualization button. Voila. The diaphragm stays at the preset value. This is invaluable 
because it allows me to step down my f-stops and gain a little more depth of field.
In the end, the most challenging part of macro photography doesn’t seem to be as technical as it is visual. The problem for me is slowing down enough. I am used to composing my shots while walking around. But in the macro realm of nature, walking around equals to being blind, just as a UFO overflying the Earth would see nothing of our ridiculously selfish yet so passionate lives.
So this morning I would stop somewhere and drop to the ground, and stare for a while, letting my eyes glide over the plants and looking for details and dew drops and interesting light. I got it wrong most of the time, but once setup, the camera would invariably reveal attractive angles and cool textures I had completely missed. Many, many times, while looking at my screen, I felt like I was underwater looking at a coral reef. Other times, I was in space watching strange worlds with liquid planets orbiting yellow suns on a background of green and red nebulae.
The photos are pretty bad. I’m not even close to having mastered depth of field and focus. The slightest breeze sends flowers flying across the highly magnified frame and unless I step down to f-22 and use my highest ISO setting, tripod shots are tricky 
and hand-held’s are just about impossible. A lot of these are poorly framed and the in-focus range is incredibly narrow. But it’s a fascinating start and need I say I am completely hooked?
Any way, there were just too many shots that I liked so rather than posting them all here and linking to them via the usual slideshow, I’ve created a completely new gallery on the main web site, as part of an ongoing redesign which should be completed within a few months.
A word of warning: this is a Flash gallery. If you are among the 1% of web users who don’t have the Flash plugin installed, you will be given the option to do so. It’s your call. I think it’s worth it. Recent Flash versions feature the awesome Full Screen option, which I will integrate to the new site design. For now, make sure to check it out, there’s a full screen button on the lower-right corner of the gallery once it is open. It’s totally immersive! Enjoy!
2009 Update: the site has since undergone a full redesign and the macro gallery is now located here.
Defined tags for this entry: photography
Sep
26
Well kids, we’ll start today’s class with a trivia: can anyone tell me 
what this photo is? The Frenchies among you are at an advantage, but you won’t know that until later... Can’t guess? Just read on then...
A few weeks ago, I stumbled upon some pretty amazing macro photography and my curiosity was triggered. I began reading more on the subject, trying to assess whether or not decent macro could be achieved with a minimal budget. I was not about to launch into yet another expensive hobby and wisely decided to stay away from Canon’s $900 MP-E 65mm f/2.8 1-5X Macro Lens. Some day, maybe.
Further reading revealed that many people successfully used modest setups involving belows and enlarger lenses. I found a Rodenstock Rodagon lens on eBay for a laugh and 
ordered it. It has arrived but I can’t start my trials until I get my hands on bellows and an adapter ring.
But then I read some more and I got into the really cool stuff. Reversing a lens, it seemed, allowed for very interesting macro results, keeping quality decent and cost down. I knew I had found my experiment’s first step.
I ordered two rings, on eBay once again, for a total of $18.78 shipping included. The two small metal adapters, once arrived from India, didn’t look like much. One was going to allow me to mount a lens reversed on my camera body, the other would let me mount one lens reversed in front of a normally mounted lens.
I did my first series of tests last night, late, with a throbbing headache from my lingering cold. The conditions were bad, 
my patience low and my bed was calling. But I needed to know. These are everything but good shots. But the initial results are quite amazing. Here is a non-macro shot of my Opinel knife, king of French-made outdoor tools. Do you see where I’m going with this? Yes. That’s what the first shot was. A macro of the first two letters of the word Opinel engraved in the blade, taken with my very ordinary kit lens, a EF-S 18-55mm set to its widest focal length! I only cropped the out-of-focus top and bottom a bit, but that’s basically full frame.
Of course, the first noticeable glitch is the incredibly narrow depth of field, to be expected. By mounting my lens in a reversed postion, I lost all electronics and hence control of my aperture (and depth of field). Mounting the 2 lenses one on another should help with this. Then focus isn’t really that sharp, because at this kind of magnification, the slightest vibration will make the image move. 
I was not using mirror lock and my remote cable was coiled very close to the camera, inducing slight trembling. In addition, with this kind of macro, focus is no longer set by using the lens’ ring but by varying the distance to the subject, which becomes incredibly difficult with a tripod-mounted camera...
But wow. This is quite amazing an improvement for a lens which normally has a 25 cm minimum focusing distance! And it cost less than $10! My kind of stuff! Next, I’ll be playing with the double lens setup and I will look into getting some kind of rail system to allow for easier focusing.
Oh and by the way: look at the first photo carefully, there’s a splendid optical illusion. Because of the sideways lighting I was using, the letters appear to be sticking out. They are in fact engraved, or recessed. I swear.
Defined tags for this entry: Cool, photography
Jul
9
This will be a surprise slide show, unless you are already familiar with 66 Square Feet. My post is merely meant as an echo, because I like to pile up beauty in here until it finally tints my soul. Let’s just say that these amazing close-ups were taken by a magnificent photographer, with a superb little camera and a killer instinct. What else? Oh yeah, on a gorgeous terrace and in the probable company of a very, very noble black cat. The link is below. Treat yourself.
Defined tags for this entry: photography
May
25
It’s been quite a while and they were getting dusty, but the best 90 South Africa pictures have made it into their own photo galleries. Nostalgic, eerie, beautiful, they will remain what they instantly became as the shutter was pressed: icons, timestamps, history been written and frozen in time. The two galleries are available from the main Photography menu above but to be sure you’ll visit, I’ll even include the links here:
South Africa Part 1 - South Africa Part 2
Don’t look for a particular sequence or logic, there is none but that of colors and moods. Of course most of these pictures have appeared in previous posts here on the blog in the On the Road Category, scattered between January 18th and April 18th. So while turmoil is once again gripping South Africa, here are glimpses of natural peace and harmony. Images of an extraordinary trip, in extraordinary company, for an extraordinary purpose.
2009 Update: Since the full site redesign, the 2008 South Africa gallery is now located here.
2008-05-25 12:00 • Posted in Always: & On the road: & Photography: & South Africa:
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« Also known as the Lalalalalalaaaaa Effect. »
Date of comment: 2008-06-30 09:48 • Reply