Jo Whaley Soars on Creative Wings

Your state of mind and how you cultivate your creativity are just as important as the time you devote to your creative practice. So how can you tap into the flow of ideas and imagination that makes photography stimulating play instead of work?

Try this warm-up exercise to loosen your imagination and hone your visual skills. It should take less than an hour.

• Choose three different subjects and photograph each subject six different ways.
• Explore differences in lighting, point of view, short and long depth of field, stop action vs. blur, and cropping .
• Each approach should be a completely different interpretation of that subject.

In my workshop we explore techniques to develop your ability to stretch your imagination and work intuitively. My years of studying the writings and work of musical composers, choreographers, painters, writers, as well as photographers, will help inform how we can soar on creative wings.

You can learn more from Jo in her workshop
The Art of Seeing
February 21-27, 2010

Visit her web site wwww.jowhaley.com to see what she's up to.

Learn the Digital Zone System with Lee Varis

Over the years much effort has been applied to photography to enhance the precision with which we record images. Digital photography has evolved to give us a range of control that far exceeds anything that Ansel Adams ever dreamed of!

However, this promise of precision and control is often hidden behind a trend in U.I. design that invites a more casual involvement in the image-making process. Everything is automated and almost all feedback data is confined to what the image looks like on screen. We are led to believe that "color management" will take care of everything. The professional image-maker needs something more... well... professional.

To this end I have developed an adaptation of the Zone System to digital technology that I share with students in my classes – take a look at a preview tutorial to give you a feel for the material. Or download the printable PDF version.

Of course I go into this in a lot more detail in class – see you there!

You can learn more from Lee in his workshop 
Portrait Photography: Beyond Skin Deep
March 7-13, 2010

Visit his web site www.varis.com to see what he's up to.

Instructor Insight: David Robin Goes with the Grain for Dramatic Portraits

Light is the photographer's primary tool.And some of the best light we might encounter needs nothing more than our ability to record what we see. Many times this requires the use of a high ISO (or fast film) and results in a grainy or a noisy image. But all is not lost to the resulting grain/noise. In fact, many of my most successful portraits have been created using this grain/noise to my advantage.

Noise indeed can be distracting in an RGB image shot at a high ISO. By simply converting the file to grayscale it can become something quite different and wonderful. This image wase made using available light, a high ISO and utilizing the resultant grain/noise as an intentional element of the final image.

So explore the possibilities of available light and don't be afraid to use those higher ISOs.You might just get that wonderful shot that otherwise might have been missed!

You can learn more from David in his workshop 
Dramatic Portraits
March 7-13, 2010

Visit his web site www.davidrobin.com to see what he's up to.

Come to Santa Fe to See What All the Fuss is About

The January issue of National Geographic Traveler spotlights Santa Fe with a 48 hour must-see list.

Conde Nast Traveler readers honor Santa Fe as #3 and our wonderful city was also selected as a top pick for worldwide destinations this month.

American Airlines Flies Direct to Santa Fe

Santa Fe is more convenient than ever. American Airlines now flies non-stop from Santa Fe to Dallas and Los Angeles. The flights align perfectly with the Workshops schedule, so be sure to check with American when you book travel.

Instructor Insight: Get Your Screen and Print Images to Match with David Saffir

David shares five universal tips for getting the best prints out of your inkjet printer:

I.  LOCATION
Park your printer in a cool, dry place and ensure moderate humidity.

II.  INKS
Always use manufacturer’s inks. Third party inks are OK for many uses, but I don’t recommend them for photography.

III.  CALIBRATION
A quality display and calibration go hand in hand. Using calibration software, set screen brightness to 90-110 cd/sqm. Most screens are 200+, ruining any chance of matching the image on your screen to the final print.

IV.  SOFT PROOFING
Soft Proofing in Photoshop is a valuable, but overlooked, tool. Learn to use it! Locate it in the menu bar: View > Proof Setup > Custom.

V.  PROFILES
When printing, use “Photoshop Manages Color” or ”Application Managed Color.” Make sure your paper profiles (sometimes called ICC or ICM profiles) are in the right folders:

• Mac OSX: User > Library > Colorsync > Profiles
• Windows NT, 2000, XP and Vista: Windows > System32 > Spool > Drivers > Color 

Check out the step-by-step instructions to match your screen to print.

You can learn more from David in his workshop with Jack Duganne
Fine-Art Digital Printmaking
February 28-March 6, 2010

Visit his blog at davidsaffir.wordpress.com to see what he's up to.

Instructor Insight: David Tejada Teams Up with Small Flashes

No more power packs or strobe heads with cables for me! I’ve committed to using speedlights on assignment when ever possible. This allows me the creative freedom to express my vision without relying on the heavy and cumbersome power packs of the past.

The easy use of these strobes allows more spontaneity when shooting. It really takes no time at all to change things up for a totally different looking image. It’s fun knowing that I can transform a location into whatever mood I want it to be. Even if you only carry one small strobe, by learning how to utilize the existing ambient light, you can create a two light solution for your pictures.

My tip of the day… Shift your camera white balance to tungsten, gelling a single strobe with a full cut CTO and combine it with the existing light. You can create a two-color light source solution for your photo.

Learn how to achieve studio quality light from your small strobes with David in his workshop
Small Strobes, Big Results
February 21-27 (full)

ADDED WORKSHOP: March 21-27

Visit his web site www.tejadaphoto.com and blog david.tejada.blogspot.com to see what he's up to.

Instructor Insights: Finding Your Sheer Photo Joy with Doug Menuez

To build a satisfying creative life in photography it's important to figure out how to get paid to shoot what you truly love to shoot. Otherwise it's a path to burn out. Aside from a killer portfolio that represents what your true vision is about, you have to support that vision with a proper business structure. Not easy, but in my workshop we solve these fundamental issues and provide concrete steps to reach your goals.

Here's a small thing I learned that turned out to be an extremely powerful tool: learn to say NO.
 
Start saying no to anything that makes you ill and that you really don't want to shoot. This is risky and can mean lost income, but the upside is sheer happiness and getting on your true path to the light... to artistic and financial success. No risk, no reward!
 
You can learn plenty more from Doug in his workshop
Art vs. Commerce
March 7-13, 2010

Visit his blog at www.dougmenuez.com to see what he's up to.

Instructor Insights: Bobbi Lane Takes the Light Off the Top

The problem we have on an overcast day is that the light comes from above, placing shadows under the eyes. Well, if no light comes from above, then it can only come in, making a beautiful soft light. So we take the light off the top! Under a bridge or a pier, under a porch or overhang, or standing inside a doorway or a garage takes all the light off the top.

Here's a really good exercise for you:

• If you have a garage, open the door and stand as far away from the door as possible. The outside light will be a smaller more directional light, like a big window.
• Slowly walk towards the door, noticing how the light changes as you get closer to it. When you get to the door frame you can see that now light is coming from above as well as in.
• Step back a pace or two, and you can see how it cuts out the light from above.

If you don’t have a garage, any door will do. You can always make your own “porch” light by placing a reflector or card above the subject blocking the light from above. You can still supplement with a reflector if you so choose. This is an absolutely gorgeous light and flattering for everyone!

You can learn plenty more from Bobbi in her workshop
Portraits Unplugged
February 14-20, 2010 

Visit her web site www.bobbilane.com to see what she's up to.

Instructor Insights: Lighting with Paul Mobley

Over the years I've worked with the most elaborate lighting equipment and setups one could imagine. There are SO many times when the right situation arises and you don't have access to your lights. What's a person to do? I'll tell you, some of my BEST images have come from improvising. Working with whatever is available. Flashlights, car lights, lighters, candles, bed sheets. The list goes on and on. One thing that I always keep with me is a pocket mirror. Yes, a pocket mirror.

A pocket mirror can put out more light than you can imagine. If used properly, you get amazing results. This photo was taken with a 3 inch piece of reflective mirror. I mistakenly left my strobes at the studio. It ended up on the cover of my book. Sometimes things just happen for a reason!!!

My tip of the day... leave your strobes at home and work with alternative light. Be daring, you might be surprised!

You can learn plenty more from Paul in his workshop
People of Character: Capturing the Soul of a Portrait
March 21-27, 2010 

Visit his web site www.paulmobleystudio.com and blog www.mobleyshoots.com to see what he's up to.

Honors for Past Assistants

Congratulations to Leah Tepper Byrne and Michael Donnor, both former course assistants. Leah was one of five photographers honored by the 2009 "Hey, Hot Shot!" competition and Michael received second place in the PhotoNOLA Portfolio Review.