Speak Dog and Carry a Big (Chewy) Stick with Norah Levine

Ok, so you don’t need to literally speak “dog,” but when you’re photographing dogs it certainly helps to think like one!

After photographing hundreds of dogs over the years I have had a lot of “dog speak” practice. One of the most important tricks to know when photographing dogs is that there isn’t just one trick! You need to bring the whole doggone “bag o’ tricks” with you, and be prepared to use it.

A dog’s attention span is very short, so consider using a variety of noise-making toys and sounds. The best sounds can be made with your own mouth! And, surprisingly enough, some of the most effective attention-getters can be subtle, quiet gestures. The most important aspect of attention-getting is changing your approach quickly and often.

Keep up your “dog speak” practice, and don’t be surprised if you attract other neighborhood pets to your shoot!

Learn more from Norah in her workshop
The Creative Pet Portrait
July 18 - July 24, 2010

Visit her blog www.norahlevine.com/blog to see what she’s up to.

Slow Down and Smell the Flowers with Daniel Milnor

Our lives today can feel like non-stop motion amidst a barrage of visual information. So much so that sometimes what we care about the most gets the least amount of our attention—namely our images.

I made this picture ten years ago, but never saw it when I first poured over those contact sheets. I was rushing, partly due to excitement and partly due to my hectic life. Last week, out of the blue, I received a phone call requesting other images from this shoot, one for a book cover and one for a CD.

Searching through the negatives to find the chosen image, I found this photograph. In fact, I found SEVERAL photographs I never saw all those years ago. It made me wonder what else I’ve missed over the years. It made me realize that if I don’t slow down and smell the flowers, I might not even know they are there.

Learn more from Daniel in his workshop
Beyond the Snapshot

July 18 - July 24, 2010

Visit his blog www.smogranch.wordpress.com to see what he's up to

Patience, or “What a difference 3 minutes can make!” with Rick Allred

There are times when we find ourselves in such a hurry to “grab a shot” we forget to look at our scene. Composition, camera settings, and lighting get lost in the hurry up. But even when it’s a quick “snapshot” to document a location or a friend’s visit, lighting is a crucial element to stop and notice.

In these two photos documenting a friend’s departure, the lighting came from a partly cloudy day. The camera was on self-timer and on a tripod. When I set up the camera it was shade lighting. When the first shot was taken, the cloud had passed and the bright sunshine created a high-contrast seen. (Technically speaking, the light was gross.)

I squinted and looked up to see a big cloud moving in and asked my friends to wait a few minutes so the lighting would be better. In less than 3 minutes the cloud moved in to block the sun and the light of the scene became soft and diffused. Much, much better for photographing people! The exposure is more consistent between highlights and shadows, and people open their eyes more. That three minutes was well worth the wait!

They say that, “Patience is a virtue.” I say, when it comes to photographic lighting, “Patience can be sweet!”

Learn more from Rick in his workshop
Basics of Digital Photography

July 4 - July 10, 2010

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

Don’t Be Afraid To Surprise Your Editor, with Brad Trent

The connection a photographer has with a photo editor makes for an often complicated, visceral relationship. The key to making it work is trust. Editorial photographers are often faced with situations where they must come up with arresting images in the worst possible conditions—boring locations, limited shoot times, uncooperative subjects and having little information about the story, to name a few of the challenges. To deliver the great results the editor expects you sometimes have to know just how far to push the level of trust. This usually means looking beyond the literal interpretation of your assignment and perhaps attempting a shot that wasn't anticipated or asked for by your client.

I was recently assigned by BusinessWeek to photograph Itai Shoffmann, the guy who operates the skating rink in New York's Bryant Park. The problem was it was months before the rink was in place and the temperature was a steamy 80 degrees. The magazine suggested styling him with ice skates and winter attire, so we did that. But, as a way of having some fun with the non-reality of the situation, I did a second shot that not only employed my “pull back and show the lighting setup” technique, but I also had an assistant climb a ladder and make it snow!

Both the photo editor and the art director loved the image and I lived to shoot another day!

Learn more from Brad in his workshop
The Editorial Portrait

July 4 - July 10, 2010

Visit his blog  damnuglyphotography.wordpress.com  and his web site, bradtrent.com, to see what he's up to.

Shoot! That's the Point, with John Weiss

Do you carry a point 'n shoot camera with you?

When I made the decision to carry a point 'n shoot camera at all times, my life in photography changed dramatically. Visual delights I'd never seen before magically appeared. Why? Because without a camera on hand, I'd unknowingly shut my eyes: not looking, not seeing. The very act of simply carrying a camera made me incredibly more alert and aware of the world around me.

Here's a perfect example of how the point 'n shoot camera enriches my visual world. I saw this man in New York about 10 days ago. I’m certain that without a camera I would not have noticed him, or at least would have paid him scant attention. Instead, I thought, “Aha, this is a photograph waiting to be made.” More than that, I had a great conversation with "Louis."

I found out he uses Fuji instant film, charges $20 per picture, and that he enlists his friends to seek out flashbulbs. Thanks to that little camera, my visual world has opened up in truly remarkable ways. Everywhere I go, it goes. And now I wonder: Will you start carrying a point 'n shoot with you?

Learn more about maintaining your motivation from John in his workshop
Revitalizing Your Photography

July 11 - July 17, 2010

Visit his web site gallery.me.com/jjdoublejj to see what he's up to.

Remember to Copyright Your Images! Tips from Josh Withers

In a digital age where file sharing is potentially limitless, it is extremely important to remember to copyright your images before they leave your computer–or even leave your camera! Nikon and Canon let you add ownership information to your images as soon as they are shot.

On most Nikon cameras, the “Image Comment” field lets you add a text message into every image's EXIF data field. Unfortunately, Nikon does not provide a copyright symbol so try parentheses surrounding a lowercase "c" instead …"(c)".

Set copyright information by going to MENU > Set Up Menu > Image Comment > Input Comment. Add your text–such as (c) your name and number–then hit ENTER. You must hit ENTER or it will forget everything you just did. Now go to ATTACH COMMENT and hit SET so a small checkmark shows. Now select DONE. If you forget to check ATTACH it won't attach, and if you forget to hit DONE it will also forget everything you just did.

On a Canon, the process is similar. Most models have a “Copyright Information” menu item to enable or disable an author's name and copyright details (see image). It is also easy to add copyright information in Lightroom or Bridge by filling out the Metadata fields and applying them to your images.

Final word of warning: DO NOT rely solely on this to protect your images from misuse. You should also register your copyright through the U.S. Government Copyright office, www.copyright.gov/register/, to further protect your rights.

Learn more from Josh in his workshop
Professional Photoshop Techniques: Layers, Masks, and Beyond

June 27 - July 3, 2010

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

Dive into the Emotional Moment with Jock McDonald

A great portrait is a wonderful conversation that occurs while you happen to have a camera present. Achieving the emotional moment in a photograph is a lot like diving deeper into the conversation. You start out on safe on the surface and then take it to a more personal level. The key is to remove the focus from the camera and shift it to the relationship.

Next time you’re faced with a portrait assignment, consider these tips:

1. Use a tripod so you are free to move around the subject.
2. Use extreme close-ups to frame and get into their personal bubble.
3. Use humor to build a connection, even with strangers.

Be a little outrageous. Open yourself up, and you’ll be surprised to find how much your subject follows your lead.

Learn more from Jock in his workshop
The Emotional Moment
July 4-10, 2010

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