Preparation is the Winning Formula with Richard Newman

Over 100 years ago Louis Pasteur said, “Chance favors the prepared mind.” Let’s think about that. In the visual arts I find very seldom does a random visual miracle just happen. Lots of visual opportunities explode around us all day long but are we ready to record those moments? We are if we prepare and practice.


Several years ago, at the dawn of digital, I was teaching at the same workshop program as Jay Maisel. Jay’s been a hero of mine forever and during a quiet moment I found him sitting on a bench with his camera just snapping away. I asked what he was doing and told he was “practicing photography”. No more needed to be said to me that day.

Before grabbing your camera or video camera and heading out for “the great shot”, spend a little time on a bench and practice first. When the moment that stirs your soul happens right in front of you, you’ll be ready.

Learn more from Richard in his workshop

Video Boot Camp

October 6-October 9, 2010

Visit Richards’ web site www.newmanphotos.com to see what he’s up to.

Follow him on his blog bipolarpizza.wordpress.com.

Seeing Beyond The Surface with Memphis Barbree

When photographing a scene it is easy to be so immersed in the business of our minds–the judging, the calculating, and the planning–that we miss the real and authentic image that's just below the surface. No one is immune from it. It happened to me just yesterday ... and the day before, in fact. To really see, we must disengage our thinking for a moment. That's when we can make our most powerful and authentic images.

How do I do this? Here's a few simple ways:

I start with time. To get below the surface of a place and moment I give myself permission to spend time with it. I don't mean I spend all day working with a spot. I just take an extra moment to allow possibility and magic to enter. Give yourself, and the world, time.

Then there's clearing my mind and settling the ripples of thought. I do this by simply focusing on my breath for a few minutes with my eyes closed and not thinking about anything but my breath. Just follow the in and out–clear the agenda, and just relax and breath.

If all else is failing me, I close my eyes and hold my breath for just a few seconds. (Don't make yourself pass out now … and maybe squat or sit while doing this … and not in traffic … safety first!). When I open my eyes I can sometimes see things completely differently.

Most of all I find that by relaxing, opening my heart and falling in love with the world around me, the scene before me allows the world to come and meet me and my camera!

Learn more from Memphis in her workshop

The Autumn Landscape: Capture to Print

 October 6-October 9, 2010

Visit Memphis’ web site www.memphisbarbree.com to see what she’s up to.

Change Your Perspective with Alan M. Thornton

Maybe you don't need to hang onto the side of a six-story building, but you can always change your point of view to make a stronger portrait.

We often fall into patterns in photography once we discover that something works, and looks great. However, to develop even better images, and to grow and therefore become stronger as a photographer, discovery is very important. Once you 'feel' you have made a good image, take a chance and dramatically change your POV.


Stand on a chair, climb a nearby ladder or tree, lie on the ground or jam yourself against a wall to find new ways of seeing, and new ways of photographing. You just might stumble across something great!

Learn more from Alan in his workshop

Lighting Portraits on Location  

September 29-October 2, 2010

Visit Alan’s web site www.amtproductions.com to see what he’s up to or follow him on his blog amtproductions.blogspot.com to see how his Cambodian trip is going.

Digital Black-and-White using Adobe Lightroom with Carlan Tapp

Finally! Photography software designed by and made to be used by photographers. To make stunning black-and-white pictures in Lightroom I do the following. (And, by the way, now with a smile and only kind words passing from my lips.)


In the Develop module I adjust my “properly captured” histogram by adjusting the Exposure, Blacks, and Recovery sliders to obtain the best overall histogram. If fill is needed, I add it with the Fill Light slider. Add a little Clarity adjustment (40-50), and we are looking good.

Next step: click on the HSL button. At this point, I like to split my screen to show the “before and after” image. (i.e.: the original RGB and my new black and white). Move to the Saturation sliders, which represent the original colors in the RGB. Move each slider to the left to fully “de-saturate” the photo. Now drop down to the Luminance sliders. Here I can lighten or darken the different original color values (now grayscale values) to taste. I go back, check my histogram, move to the Tone Curve and finish off with a slight “s” curve to add the magic to the black-and-white. The final touch, drop on down in the menu bar and find the Lens Vignetting slider under Lens Correction and you can “burn” the edges of your image to taste. Time now to hit the “print” button and experience digital black-and-white.


Remember: it is all about Seeing – Framing – Shooting from the Heart. If you do this, the black and white tools in Lightroom are ready to help you share your vision in black-and-white. So, who needs color now?

Learn more from Carlan, a black and white photographer at heart now tempted to shoot more digital, in his workshop

Expressive Digital Landscape in Black and White

September 29-October 2, 2010

Visit Carlan’s web site www.carlantapp.com to see what he’s up to.

Finding Your “Voice” with Michael Crouser

You're not a beginner anymore. You know your camera, and you've been making nice photographs for years. So how can you now take those pictures to another level, one that is more personal? How can you discover your own style, look and aesthetic?

A good place to start to find your “voice” as a photographer is looking at the work of famous photographers and studying the elements in their work that make their photographs so strongly and individually identifiable. Is it their lighting choices, composition or a dedication to black and white versus color?

Consider what you respond to in the work of others, and then practice incorporating those factors in the making of your own images.

Learn more from Michael in his workshop

Finding Your Voice as a Photographer

September 29-October 2, 2010

Visit Michael’s web site www.michaelcrouser.com to see what he’s up to.

Improve Your Techniques When Photographing People with Julien McRoberts

A few tips from the trenches to help you take better photographs of people:


Adapt to Your Environment.
Blend in as much as possible; people like people that are like themselves. When I am shooting a rodeo, out come the cowboy boots, hat and jeans, and up go my odds of being accepted by and more approachable to my subjects.

Select Your Background.
The background is important; it sets the tone and provides the context of your photograph. Direct the person to the location, or shoot candidly and wait for the scene to evolve.


Strive for Natural Shots.
While posed shots sometimes work well they also can lack authenticity. Photograph your subject interacting in everyday life for more interesting images.


Fill the Frame.
Get in close and fill the frame with your subject. The little details help tell the story. Some of the best images I have made are where I have tightly framed people's faces.

Learn more from Julien in her workshop
Introduction to Portraiture: Capture to Print

September 22 - September 25, 2010

Visit Julien’s web site www.julienmcroberts.com to see what she’s up to.

One Window, Two Views with Bobbi Lane

Both of these images are shot in exactly the same window light, but the mood is totally different. It's all about the use of shadows and the camera position.

In the first image, the model is sitting on the floor with a "normal" size window (about 2' x 4’) about 4 feet away. I'm shooting with a Nikon D700 and the 85mm f 1.8 lens, and I'm shooting wide open for the smallest depth of field. Only her eyes are sharp, and it's all that really matters. I'm standing with my back against the wall right next to the window, maybe even blocking it a bit and the model's face is turned fully into the light. That direction of light makes the skin tones really creamy, not much texture, and the quality of light is very soft and pretty. The soft light, and eyes looking up creates a sweet, dreamy image, and the shallow depth of field enhances the effect.

In the second image, the model stood up and the camera angle is now slightly below the face. She's turned her nose away from the light, towards her right, so that makes more shadow on her cheek. When we see a face from an angle, not straight on, and we see the side that has more shadow, it's called a "short" lighting. The short lighting has several effects: it both creates more drama and somber mood, and it slims out the face a bit, too, because we see less light. There is no fill in the shadows, so they are darker, also adding to the drama. Since she's now looking down, the eyelids are more closed so it's very introspective in feeling.

Always be aware of the direction and quality of light, and how the shadows really control the mood. Make sure that you guide the subject's expression to match the mood. And remember that one light can look very different from different angles, so walk around the subject!

Learn more from Bobbi in her workshop
Portraits Unplugged

September 22 - September 25, 2010

Visit Bobbi’s web site www.bobbilane.com to see what she’s up to.

Writing with Light, with Eric Swanson

Photography is writing with light. A pretty literal, straightforward definition, but poetic in its simplicity.

The subject of a photo has its importance. The colors and textures give the photo its depth. But it is the light, how it moves thru the image, what it reveals and obscures that is for me the magic of photography.

The second-by-second change, the chance, of light on a landscape. The precise modeling with light in the studio. Or the combination of the two. Watching the light, its emotion based. By working with and understanding how this light works, you can write with it. You can capture emotion on paper. And then you are doing photography.

Learn more from Eric in his workshop
It's All About the Light: Lighting Techniques 101

September 22 - September 25, 2010

Visit Eric’s web site www.ericswanson.com to see what he’s up to.

A Conversation about Photographic Projects with Sam Abell & Leah Bendavid-Val

Sam, what’s the difference between a project and simply a collection of photographs?
Collections of photographs, no matter how distinguished, have no cumulative power. Projects do.

Leah, how should a photographer choose a project?

Appropriateness. Does the photographer care deeply about the subject? Is the project doable?

You say “doable”. Leah, what does that mean?
Well, a common mistake is excess of scale. It’s possible that a well-done small project enlarges the world more than a poorly done large project.

So a project is a high-minded endeavor. Can you comment on that, Sam?
A project gives you a chance to concentrate your ability on something meaningful. Why else become a photographer?

If they are meaningful, Sam, why do so many projects wither?
Isolation. Photographers working alone reach the end of their inspiration. One of the reasons to gather with others is to end that isolation and re-inspire this important work.

Learn more from Sam and Leah in their workshop
The Project Workshop

September 22 - September 25, 2010

Visit Sam’s web site www.samabell-thephotographiclife.com to see what he’s up to.