Camera
The sky isn’t the limit: Six tips to capture intimate landscapes and smaller scenes
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With a cloud-free sunrise, I focussed on this telephoto detail of glowing wave sea spray at the typically wide-angle friendly Bombo Headland, New South Wales.
ISO 100 | F18 | 1/5 sec |
Bold sunrises. Moody clouds. Radiant sunstars.
These elements often come to mind when we think about landscape photography. And for many years, they’re what I chased trip after trip.
But I’ve found that coveting and waiting for glorious skies vastly limits the type of landscape photos we can capture. Expectations stifle our creativity and lead to disappointment when the conditions fall short or fizzle out.
Landscape photography can be (and is) so much more than golden rays and brilliant colors. It’s about capturing the essence of an environment and immortalizing defining details in the landscape.
So what if you simply excluded the sky altogether?
“Expectations stifle our creativity and lead to disappointment when the conditions fall short or fizzle out.”
While I still chase bold skies when they occur – they’re worth capturing for a reason – I no longer let the state of the sky dictate my photography outings.
In fact, smaller scenes have formed some of my most striking compositions. Compared to sweeping vistas at scenic lookouts, these more intimate moments are less likely to be replicated by other photographers.
So here are six tips to help you expand your creativity with fresh compositions and make the sky no longer the limit.
Follow the periphery of your perception
This first tip may seem a bit pretentious. But it’s a crucial place to begin.
I recently read a passage from Peter Dombrovskis (a famed Australian photographer from the 1980s) that crystallized this concept for me:
“My most productive days are when I move through the landscape with an attitude of acceptance – of leaving myself open to all possibilities rather than expecting to find anything in particular.
I look ahead to guide my feet over rocks and roots, but images are more likely to insinuate themselves from the edges of my view, the periphery of my perception.”
The takeaway for your photography? When you remove preconceived ideas that anchor your creativity, you’ll begin to appreciate the smaller scenes around you. You’ll notice quieter moments beyond the epic seascapes, grand vistas and verdant forests.
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Slow down and take notice of underfoot scenes, such as these confetti-like myrtle beech leaves at Cradle Mountain, Tasmania.
ISO 200 | F14 | 1/4 sec |
Your eye may catch intriguing shapes, contrasting colors or patches of light. And when you do, you’ve already gifted yourself the attention and mental space to further follow that thread of interest. You might move closer, shift angles or return later under different light.
So rather than entering environments hoping for ‘ideal’ conditions, I now (try to) enter each environment with an open mind. I allow myself the freedom to wander, to entertain the potential of smaller scenes that I would have otherwise ignored and overlooked.
Simplify the scene and fill the frame
An open sky often serves as a largely clean, distraction-free compositional element. So when you don’t include one, you may be looking down or across at environments overflowing with complexity.
Herein lies a central challenge of intimate landscapes. Chaotic elements, like messy foliage or incongruent textures, can combine to undermine the sense of harmony in your image.
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A simplified frame of ghost gum trunks contrasting against the red rock of Karijini National Park, Western Australia.
ISO 160 | F16 | 1/3 sec |
So, when you find smaller scenes too overwhelming, do what you can to simplify them. Focus on key details, isolate defining features, and obscure others.
You might simplify a woodland scene by highlighting shapely branches while excluding the undergrowth. Or, for rocky terrain, you might switch to a telephoto lens to fill the frame with striking rock patterns.
To help create order amongst the complexity, here are some examples of what you might focus on in different settings:
- Forests: Compressed trunk columns or fractal branches spreading out
- Deserts: Sweeping lines and overlapping layers
- Rivers: Long-exposure patterns as streams cascade down
- Coastlines: Repeating pebble or stone textures
- Lakes: Smooth ripples and reflected golden hour light
As mentioned, smaller and simpler scenes have formed some of my strongest compositions. By filling the frame with key details, you’ll walk away with a more personal photo to call your own.
Don’t stand still: Shift your position and angle
A sure-fire technique to help you notice and capture smaller scenes? Gain some height and then zoom in.
So look for natural features that can provide a higher elevation, such as a boulder, a fallen trunk or a hill. Or venture out to a lookout and use a tighter focal length to shoot down onto the landscape.
Sometimes, even an extra foot or two in elevation will significantly alter the composition or enable you to exclude distracting sky patches. You’ll be better positioned to shoot across the scene (rather than up at it) and experience the landscape around you from a fresh perspective.
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After waiting for the afternoon sun to cloak a distant mountain in shade, it illuminated these shapely branches at Fiordland National Park, New Zealand.
ISO 100 | F10 | 1/30 sec |
Similarly, once you’ve noticed a compelling formation, scout your surroundings to find the strongest angle. For example, I captured one of my favorite smaller scenes of a beech tree in Fiordland, New Zealand. Gaining height allowed me to position the branches in front of a distant mountain. So that when the sun fell, it illuminated the leaves against the valley shrouded in shadow.
When you’re on a well-worn track, you’ll likely only see a fraction of the potential frames on offer. So, go explore and discover new angles to shoot from. But be careful – and considerate. If the area looks pristine or delicate, leave it that way. No photo is worth ruining the scene in which it was taken.
One last benefit from a technical level: In some situations, gaining height may enable you to shoot perpendicularly onto the scene rather than skim across it. This will reduce the necessary depth of field and help to minimize focus stacking. (Which can be tedious and is one of my least favorite parts of photography.)
Challenge yourself and make it fun
For many years, I struggled to break free from legacy ways of seeing the landscape.
So here’s one technique to help you capture smaller scenes: set a challenge for yourself. It’s counterintuitive, but introducing more ‘rules’ will force you into a different mindset and may allow you to view the landscape anew.
When you’re struggling to compose intimate landscapes, try a fresh approach. Here are a few rules that you may create for yourself:
- Set restrictions: Work within a 20-minute timer or limit yourself to 10 frames
- Go handheld: Leave the tripod behind and bump up the ISO if needed
- Set a schedule: Take a photo every 5 minutes (great for daytime hikes)
- Stick to a theme: Perhaps textures, colors, parallel lines or what’s underfoot
Remember, the purpose of the challenge isn’t to walk away with ideal images. It’s to get you to look at the landscape differently. To experiment without the paralysis of perfection.
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The combination of low tide and an ever-shifting stream carved out these braiding sand patterns on sunset at Wilsons Promontory, Victoria.
ISO 100 | F16 | 1/6 sec |
Afterward, go back through your images and take note of your favorite scenes. Often, one or two (or more) frames will jump out and resonate with you.
Once you’ve settled on a frame with potential, consider how you might improve the image even further. A tighter crop? Placing the subject off-center? Or returning under soft light?
After the challenge is over, then it’s time to revisit your favorite frames with your tripod to make the best image you can.
Document smaller scenes with your smartphone
With unfathomably powerful computers (and cameras) in our pockets, modern photographers live in an age of abundance.
So, while our devices can be overwhelming and distracting (see tip #1), they also equip us with tools that past generations could only dream of, like live cloud tracking, detailed satellite maps, and a capable camera to take snapshots of promising compositions.
When I’m out exploring, I’ll often reach for my phone before I reach for my camera. The intentionality needed to set up a tripod, attach the right lens and dial in the settings is often a barrier to creation. (This is why I enjoyed low-friction shooting with the handheld Fujifilm X100V so much.)
An example of using my smartphone to scrapbook potential compositions. Left: A quick phone snapshot to document the stripes and colors of snow gums at Falls Creek, Victoria. Right: The final image after waiting for the midday sun to become partly diffused behind a cloud.
Beyond weather tracking and location planning, my phone serves as a core part of my photography workflow in two ways:
As a scrapbook of potential compositions: It’s particularly helpful when I spend multiple days exploring a new area. In the evenings, I’ll scroll through my snapshots and review the day’s scenes with fresh eyes. Then, I can return to refine and strengthen standout scenes with my camera. The process also helps to prime my mind to look for similar but perhaps stronger compositions later in the trip.
To test telephoto focal lengths: Zoom in until you fill the screen with your preferred composition, even if it’s beyond the 3x or 5x lens, and take a snapshot. Then, in my iPhone photo library, I can swipe up on the photo to inspect the precise focal length. This helps me determine what lens I’ll need and whether I need to attach a teleconverter.
Sweat the small things: Miscellaneous tips
Here are some small – yet just as impactful – tips for compelling, intimate landscapes:
Composition is still key. Even when there’s no sky, try to retain some breathing room around your subjects and carefully position elements to balance visual weight across the frame.
Experiment with light. If time permits, see what it’s like to capture the scene under different conditions. High-contrast scenes may look more flattering under soft light, while low-contrast scenes may benefit from harsh light.
Be mindful of what is (and isn’t) in focus. When shooting close scenes, select a small aperture (such as F16) and take at least five images, focused in the center and each corner, to help you focus-stack the scene.
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Rather than including everything (and potentially diluting the visual story), this tight detail captures the essence of a much larger cascade at MacKenzie Falls, Victoria.
ISO 100 | F20 | 1/8 sec |
Fine-tune your frame for a clean view. Sometimes, shifting your camera by a few centimeters can evoke a more pleasing sense of order in your scene.
Lastly, stop looking for perfection when it comes to smaller scenes and intimate landscapes. You won’t find it, and you’ll only set yourself up for disappointment.
Nature is complex, raw and unstructured. So, as you capture skyless scenes, remember that not every image will be a portfolio-worthy shot. The point isn’t to produce perfection but to capture scenes that resonate with you on a personal level.
When the sky isn’t the limit, you allow yourself the freedom to fail. To look for interesting yet imperfect scenes. To experiment with new angles, focus on fresh features and refine your approach to make more meaningful photos.
About the Author
Mitch Green is an Australian landscape photographer. He can be found on his website, on Instagram or by the beach at 5 am waiting for sunrise.
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Canon’s LI5070SA sensor delivers 4K at up to 60p with no rolling shutter, with Canon suggesting ‘Cinema’ as one of its potential applications.
Image: Canon |
Canon has made a 4K/60-capable Super35 (∼APS-C) video sensor with global shutter available to third-party buyers.
The 10.3MP sensor added to the product page of its industrial equipment and semiconductor business unit is 27.4 x 15.3mm, making it a 1.34x crop, relative to a full-frame stills camera, but in a roughly 16:9 aspect ratio.
Its 4288 x 2398 pixel count is clearly designed for delivering 4K footage. We’d usually expect Canon to have already offered it in a camera, if it planned to, before offering it to external users.
Canon sold a 4K/60 Super35 ‘GS’ global shutter version of its EOS C700 camera, back in 2017, though available specs suggest its sensor was slightly smaller, so presumably wasn’t the same as the one now being offered to external companies. Notably, Canon claimed its dynamic range was one stop lower than the progressive scan Super35 chip in the regular C700 model. There’s still a chance this new chip will underpin a successor to the C700 GS.
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An image of Canon semiconductor’s LI7080SA sensor: a progressive scan Super35 sensor that closely resembles its global shutter cousin.
Image: Canon |
At present, we’re not aware of any other consumer camera maker using Canon sensors. Specialist industrial / security camera makers such as Illunis have used its sensors to make high-speed and high-resolution cameras for applications such as aerial photography and machine vision applications, but we’ve not seen its 120MP or 250MP APS-H chips in consumer cameras, including those from Canon itself.
Canon said it was developing a DSLR based on its 120MP sensor, back in 2015. Prototypes based on EOS 5DS bodies appeared at trade shows, but no final product ever emerged.
Canon’s semiconductor business also offers a “full-frame” global shutter sensor. Again this has a roughly 16:9 aspect ratio and proposed uses include microscopy, factory automation and traffic surveillance. This sensor has been available since early 2023.
| The Retrospective 30 V2 is a big ‘ol bag. |
The ThinkTank Retrospective 30 V2 is not a new product by any means, but it’s new to me. Earlier this year, I went looking for a camera bag to replace the one I had since high school and landed on the Retrospective 30; the largest option in ThinkTank’s well-known lineup of canvas shoulder camera bags.
While anyone can make a messenger bag with a few dividers and call it a day, it feels like this bag was really designed and refined by and for photographers. All its velcro flaps can be covered or tucked away to silence them if you don’t want to draw attention to yourself while shooting on the street or at an event like a wedding. The top can be zippered closed for maximum protection or left open to let you quickly access gear, and it has what I think is just the right ratio of open space to built-in organization.
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Some of the velcro patches have covers to keep you from ruining a quiet moment by ripping them open.
Photo: Mitchell Clark |
There are also subtle touches that I’ve found really useful: one of the front pockets has a bright red fabric loop that I clip my keys to so I always know where they are, the water bottle pocket can be cinched tight when you’re not using it and there are plenty of places to hook carabiners onto if I need to hang additional gear on the outside of the bag.
I also just like how it looks. The olive green fabric matches the antique-looking metal hardware well.
My favorite thing about this bag, though, is that it’s monstrous. It’s the station wagon – nay, Honda Odyssey – of messenger-style camera bags. I’ve used it to carry two camera bodies, a few lenses, a 14-inch MacBook Pro, an iPad, and a bunch of other bits and bobs like a notebook, an army of SD cards, a Clif bar or two, power adapters and rain jacket. Is that a sign of overpacking? Perhaps, but it’s part of the job; I’m frequently testing out one camera for a review and using another to shoot a sample gallery of some variety.
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It may look like there are three lensed cameras in here – a Nikon Z8, Canon EOS R7 and Panasonic S9 – but there are actually four; a Fujifilm X-M5 is hiding out in a compartment under the Z8’s grip.
Photo: Mitchell Clark |
Even when my camera load isn’t as heavy, I’ve found the Retrospective 30 useful as a commuter. I live in Spokane, Washington, but travel to DPReview’s offices in Seattle relatively frequently. Because I keep my entire photographic life in it – my SD cards, various cables, white balance cards and rolling shutter tester – I can just pick it up and go without having to run around making sure everything I’ll need for the next week is packed.
I took a bit of a chance buying this bag: DPReview was sending me to Japan as a freelancer to cover what ended up being the Panasonic S9 announcement, and I knew the Lowepro bag I’d gotten with my first camera in high school was on its very last legs. I hoped to turn reviewing cameras into my full-time job, but I wasn’t 100% sure I was cut out for it.
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Me, very tired, returning home from Japan.
Photo: Mitchell Clark |
If it turned out I wasn’t, the 30 would be way larger than I’d ever need; my personal camera consists of a Fujifilm X-T3 and two lenses, which would get absolutely swallowed by this bag. But if I did end up at DPReview, I worried that a smaller bag might not be able to carry all the gear I assumed I’d be carting around.
I was also concerned about the price at the time: at $240, it’s far from the spendiest bag out there, but I still didn’t feel great telling my wife that I wanted to spend that much on anything when I’d been largely unemployed for the last year – I’d quit my job as a news writer at The Verge in April 2023 to hike the Pacific Crest Trail. I spent some time working at a ski shop after I got back and did various odd jobs, but it’d been a long time since I’d meaningfully contributed to our household’s budget.
But I went for it anyway; the prospect of going on a press trip and juggling cameras in a backpack that’s not at all designed for them seemed like a nightmare. And obviously, it worked out: I’m working at DPReview now, and am reminded pretty much every day that it was a good idea to get something with this much capacity.
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Despite its carrying capacity, the Retrospective 30 is a reasonable size to carry around on a photo walk.
Photo: Mitchell Clark |
Of course, I have a few nitpicks. No bag is perfect, which is why the market for them is nearly infinite. I haven’t figured out a graceful way to attach a tripod to it, even one as small as the Peak Design Travel model, the main zipper can be a bit hard to start closing if it’s all the way open, and I needed a tutorial video to figure out how to use the included rain cover. I’d rather the bag’s top flap was made out of waterproof material, though the canvas alone has been enough to protect my gear through short walks in light rain – phew!
The bag can also rub a bit uncomfortably on my hip when it’s fully loaded, but I suspect that’s more of a limitation with the messenger bag form factor as a whole. Realistically, if you’re carrying over 7kg (15+lbs) of gear, you should be doing it on your back, not slung over one shoulder.
Despite my complaints, I still love this bag, and I suspect I’ll continue using it for years to come. The same’s true for the job, by the way – and if I’m lucky enough for that to happen, I’ll have the Retrospective 30 as a reminder of where it all began.
Northern Lights Photographer of the Year winners
Capture the Atlas has announced the winners of its 2024 Northern Lights Photographer of the Year awards in the seventh edition of its annual photo contest.
This year was an exciting year for aurora photography – both the aurora borealis and the aurora australis – as we close in on the solar maximum of the current solar cycle. Throughout 2024, increased solar activity has resulted in aurora being visible further away from the poles than in recent years, which can be seen among the winners.
This year, the competition awarded 25 photos from photographers representing 15 nationalities. We’ve picked our ten favorite images from the set to share here.
Want to be ready to photograph the aurora if it suddenly becomes visible in your area? Read our article on how to photograph the northern lights to learn how.
Carpe Diem: Adrian Cormier
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Photographer: Adrian Cormier
Location: Crater Lake National Park, USA
Caption: May 10, 2024, began like any other new moon cycle for me. I was shooting at one of my favorite spots along the Sonoma coastline. Around 2:30 a.m., I was surprised to feel my phone buzz with a notification, as my location had sporadic cell coverage. The alert was one I never expected—and will never forget! A fellow Sony Alpha photographer, who was in Nepal at the time, messaged me: “Get as far north as you can by sunset, it’s going down tonight!” A historic geomagnetic storm, possibly peaking at G5, was predicted.
I immediately drove home to grab my Atlas pack full of cold weather gear. My gut told me to head to Crater Lake National Park in Oregon. Shortly into the drive, I learned the CLNP Rim Road was completely closed due to 7 feet of recent snowfall. Fortunately, I was prepared for deep snow conditions and pressed on.
Confident and armed with snowshoes, I settled on a spot along the South Rim, east of the Crater Lake Lodge, which was closed due to the extreme snow levels. My image, “Carpe Diem,” reflects the magnificent display of geomagnetic energy that weekend, set against the iconic and unforgettable alpine landscape.
Copyright Adrian Cormier
Looking North: Lynsey Schroeder
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Photographer: Lynsey Schroeder
Location: Arizona, USA
Caption: It’s not every day that the Northern Lights make it as far south as Southern Arizona! I’ve been captivated by the aurora ever since I first saw it in Iceland in 2018, so when I heard there was a chance to witness it here, I didn’t hesitate to grab my gear and head into the desert with a couple of friends.
My expectations were low, but the show completely exceeded them! As soon as we stepped out of the car, we could clearly see a pink glow on the horizon, occasionally pulsing with shimmering pillars as the night went on. I achieved a photography goal I never imagined I’d accomplish: capturing the aurora shining over the beautiful saguaros of the Sonoran Desert.
Copyright Lynsey Schroeder
In the Rays of the Solar Wind: Sergey Korolev
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Photographer: Sergey Korolev
Location: Rybachy Peninsula, Russia
Caption: After a melt, we had a flash freeze with extremely cold temperatures and a clear blue sky. I was driving by a ditch on the side of a road that had been filled with water and had to stop and look (as we photographers do, can’t pass a ditch without investigating). This is what I found. Great textures and patterns, tones and flow, with lovely graphic lines creating a dynamic, abstract designs. I love this type of work – it’s so much fun, yet challenging to find just the right composition.
Copyright Sergey Korolev
Magic of the North: Josh Beames
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Photographer: Josh Beames
Location: Iceland
Caption: I’ve dreamed of capturing this shot for years, and this year, everything aligned perfectly! During my annual Iceland workshop, our group witnessed the sheer power of nature as Iceland’s most recent active volcano erupted just days before.
After spending hours shooting and soaking in the incredible scene, we started to wrap up and head back to the car. Then, to our amazement, the Northern Lights began dancing across the sky! I quickly launched the drone, sending it on a mission to capture this wild spectacle.
Navigating through the wind, heat, and low visibility surrounding the volcano, I managed to capture a vertical panorama just as the volcanic smoke and ash shifted to the side. Moments later, the dreaded battery warning sounded, and I began the tense journey back. By this point, the wind had really picked up, and I honestly thought the drone was a goner… but with only 1% battery left, it somehow limped back to safety!
Copyright Josh Beames
Devil’s Lights: Forest Barkdoll-Weil
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Photographer: Forest Barkdoll-Weil
Location: Wyoming, USA
Caption: May 10, 2024: Aurora forecasts promised an incredible display, so I drove to Devils Tower, Wyoming, to witness the event. The solar storm delivered, reaching a historic KP9, with auroras visible worldwide. As the vibrant lights danced overhead, my father was undergoing emergency surgery two thousand miles away in Maine. It was a surreal night—awed by the celestial beauty above, yet grappling with worry for my dad.
The aurora offered a strange sense of comfort amidst the turmoil, grounding me in the moment as I captured this incredible phenomenon. My father, a photographer for over 50 years and the person who introduced me to this art, thankfully survived surgery and recovered after several days in the ICU. Although he missed this display, six months later, on October 10, we shared an even stronger solar storm together as a family—a memory I’ll always treasure.
Copyright Forest Barkdoll-Weil
Coronal Mass Eruption: Matt Haynie
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Photographer: Matt Haynie
Location: California, USA
Caption: After finally capturing the elusive Northern Lights in mid-latitudes on May 10th, 2024, I was hooked. I realized there was more to predicting the aurora’s appearance than just relying on the KP forecast, so I learned how to read the charts that determine when the lights can reach mid-latitudes.
This photo is from the sixth time I’ve had the opportunity to capture them since that unforgettable night. Lassen Volcanic National Park, in Northern California, was the best option, as smoke and clouds threatened to obscure views in most nearby locations. I stayed on top of a ridge until 3 a.m., enduring frigid winds that cut through my layers, but witnessing two significant substorms made all the discomfort worthwhile.
Copyright Matt Haynie
Paddling Under the Aurora: Herry Himanshu
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Photographer: Herry Himanshu
Location: Banff National Park, Canada
Caption: I live in Saskatchewan, Canada, so I’ve seen and captured the aurora hundreds of times before, but that night in Banff National Park, Alberta, was unlike any other.
As luck would have it, I was in Banff for a wedding that weekend when massive CMEs were predicted to hit Earth directly. As soon as it got dark, the aurora came out swinging, with vivid hues of reds, pinks, and purples dancing across the sky.
I had three camera setups running timelapses in different directions, but even that wasn’t enough. One brave friend took a standup paddleboard out on the lake and modeled for us beneath the insane light show. She was the perfect complement to the aurora and the mountainous landscape.
We were all in pure disbelief at the colors and patterns unfolding above us. Those shared moments of joy are what I’ll remember forever. I stayed up all night, driving hundreds of kilometers through Banff to iconic spots, capturing some of my best photos and timelapses ever.
Copyright Herry Himanshu
Cosmic Explosion: Uroš Fink
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Photographer: Uroš Fink
Location: Istria, Croatia
Caption: On the night of the Perseid meteor shower, I was treated to a “multi-course menu” of the night sky. I captured the Milky Way arch with Orion, the Aurora (a first for me), the Zodiacal light, and the Perseid meteors. As if that wasn’t enough, the sky gifted me with one of the most stunning greenish airglows I’ve ever seen. Oh, and I almost forgot to mention the close conjunction of Jupiter and Mars, right along the path of the Zodiacal light.
In the center of the panorama is the Cap Marlera lighthouse, built in 1880 at the southeastern tip of the Istrian Peninsula. The rugged coastline, at the entrance to Kvarner, attracts fish and dolphins. This area is also home to the Mediterranean bear, though I didn’t have the pleasure of meeting one.
Meteors rained down throughout the night, and I captured 75 of them using three cameras. I used the RegiStar software to seamlessly insert the meteors to the panorama in the exactly same spots as they appeared in the sky this night.
It was an extraordinary, perhaps once-in-a-lifetime event, and I’m grateful and happy to have been part of it.
Copyright Uroš Fink
Aurora Australis: Marc Adamus
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Photographer: Marc Adamus
Location: Patagonia Fjords, Chile
Caption: I’m not sure if an aurora had ever been recorded in Patagonia before, but we got incredibly lucky on the night of May 10, 2024, when a G5 storm hit. We were camped on an iceberg beach, deep in the wilderness of the Patagonia Fjords, when the incredible display unfolded.
Copyright Marc Adamus
28° Aurora: Efrén Yanes
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Photographer: Efrén Yanes
Location: Tenerife, Spain
Caption: The night of May 10th was one of the most unforgettable moments since I became a photographer. I went to Teide National Park in Tenerife with the intention of capturing a circumpolar shot with the endemic tajines in bloom. After setting up my camera and finding the perfect composition, I hit the shutter. To my surprise, the camera screen showed a strange red color on the horizon. It wasn’t light pollution, but something I had never seen before.
Suddenly, I remembered hearing about a recent large-magnitude solar storm and the possibility of Northern Lights at lower latitudes. My heart raced as I scrolled through social media and saw others sharing photos of the Aurora from the Iberian Peninsula. I realized I was witnessing this extraordinary event from the Canary Islands. It was a magical experience that happened entirely by chance, and I feel incredibly lucky to have been a part of it.
Copyright Efrén Yanes
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