Composing Effective Images – FIELD EDITION
2-Day Workshop with Art Wolfe & Jay Goodrich
Seattle – October 20-21, 2012
Welcome Reception at Art’s House on October 19th – 6pm to 8pm. Light appetizers.
We have modified this class to offer more of what people want. We are now including a FIELD session in this class. We are packing so much into this class, that Art will actually begin his first lecture at the opening reception in his home on Friday night. This class is available only in Seattle, WA.
Whether hosting PBS series, Travels To The Edge, publishing a book, or conducting a seminar or field workshop, my focus remains the same: “Engage, inspire and reveal a new vision of the world around us”.
>>REGISTER!
GREAT SMOKY MOUNTAINS
OCTOBER 26-28, 2012
(3 day Workshop)
Led by Art Wolfe
$2000
Join Art Wolfe for fall colors in the Great Smoky
Mountains. Based out of Asheville, NC, we explore
with field sessions in this incredible National Park.
Art’s finer points of maximizing early morning and
late afternoon light at this unique time of year will
yield great images and inspiration for your work.
The best way to learn photography, is in the field,
one-on-one with an experienced instructor.
BISHOP, CA
NOVEMBER 16-18, 2012
(3 day Workshop)
Led by Art Wolfe
$2000
Join Art Wolfe as we explore Owens Valley. The
Light is exquisite this time of year. We will take
field sessions to the beautiful surroundings of
Bishop. Art’s finer points of maximizing light
will be discussed in the classroom and in the field.
Critiques will be part of the learning process, too.
The best way to learn photography, is in the field,
one-on-one with an experienced instructor.
PALM SPRINGS, CA
NOVEMBER 30 – December 2, 2012
(3 day Workshop)
Led by Art Wolfe
$2000
Join Art Wolfe as we explore the desert that
surrounds Palm Springs. Dunes, cactus, and
wildflowers are abundant in this unusual
landscape. Art’s finer points of maximizing light
will be discussed in the classroom and in the field.
Critiques will be part of the learning process, too.
The best way to learn photography, is in the field,
one-on-one with an experienced instructor.
Join three nature photography masters, Frans Lanting, Thomas D. Mangelsen, and Art Wolfe, for a unique weekend of photographic inspiration
LOS ANGELES, CA, July 18, 2012. For the first time ever, three of the world’s most renowned nature photographers–Frans Lanting, Thomas D. Mangelsen, and Art Wolfe–are teaming up to present a series of unique weekend events that will change the way you look at photography and what you can do with your own camera.
Frans, Tom, and Art will draw from their wide-ranging experience with subjects and locations around the world to inspire attendees, show them new ways to see, give them tools to create more compelling images, and empower them to use photography to benefit conservation causes and other personal interests. Presentations from each photographer will be mixed with panel discussions, Q & A sessions, and reviews of images submitted by attendees. Photo industry expert Patrick Donehue will share strategies used by successful photographers to get the attention of editors, art directors, and other photo buyers.
The first Masters of Nature Photography Seminar will be held Friday November 9through Sunday November 11, 2012, in San Francisco at the InterContinental San Francisco Hotel. For more info or to register, please visit www.MastersofNaturePhotography.com.
About Frans Lanting
Frans Lanting has been hailed as one of the great photographers of our time. His influential work appears in books, magazines, and exhibitions around the world. The recipient of many honors, Lanting has been commissioned frequently by National Geographic, where he served as a Photographer-in-Residence. His mission is to create leverage for conservation efforts and to promote understanding about the Earth through images that convey a passion for nature and a sense of wonder about our living planet. For more, visit www.lanting.com.
About Thomas D. Mangelsen
Thomas D. Mangelsen’s limited edition prints have been collected by more people than have those of any other living nature photographer. His images are known for their exquisite composition and for conveying a strong sense of place and a keen understanding of animal behavior. Sensitivity to his subjects and reverence for their surroundings is a defining mark of his work. Mangelsen has received many awards for his photographic and conservation work and has been profiled frequently on television. For more, visit www.mangelsen.com.
About Art Wolfe
For four decades, Art Wolfe has worked on every continent, in hundreds of locations, and on a wide array of projects. His unique approach to photography is based on his training in the arts and his advocacy for the environment and indigenous cultures. Wolfe has published more than 80 books and is the recipient of numerous awards. His work has also been featured in traveling exhibits, galleries, and the award-winning television series “Art Wolfe’s Travels to the Edge.” For more, visit www.artwolfe.com.
Long-time Art Wolfe associates Jay Goodrich and Gavriel Jecan have just posted a terrific selection of tours starting in August & running through next summer:
Seal. Crazy. 4:00am. I think it has been my ring tone for 15 years now, way before the iPhone was even a concept. It is this song that closely reflects the life of a photographer. I mean who in their right mind would wake up at 4am? The beauty of my current situation is that Art is as much of a morning person as I am. We firmly believe that waking up this early should be minimized on all accounts. Seriously, the coffee shops aren’t even open yet. The flip side is that we have no problem staying up well into the evening to photograph stars. I guess that justifies sleeping in way past sunrise. At least in summer.
We were in Moab. It was the first day of leading ten people around with a certain and much different workshop challenge. Discover the subjects beyond the obvious. Yes, if you have never been to Moab you can shoot those icons, but after that we wanted our participants to move beyond and work not only their subjects, but their minds too. As a participant you are restricted to keeping those iconic images to yourself. We all know that they are already good compositions. During our critiques we want to see the other images. The ones you have questions about. Or the ones you struggled with until you thought you failed. Those are inevitably the ones that are most successful.
If this sounds like a duality of common sense, it probably is. Those images that you struggle with force you to work, and when you work at your composition, you put thought into it. This thought process always comes through in the images you produce, even if you don’t realize it at the time.
The desert is a magical place. The colors are extremely brilliant and complimentary. Unbelievably clear and dry blue skies complimented with deep reds and oranges as the sun comes up. This time of year though, it only lasts about an hour after sunrise, so timing is of the essence. And lesson number one is to illustrate this on morning one, day one, without any prior instruction. The forthcoming discussions will change this ideal and then we will progress to make you think even harder. Once you are challenged with trying to find subjects beyond the icons, we are going to take you an abandoned town. At Noon. With one request, find us subjects.
We continue by highlighting specific techniques. Specific ways of processing images utilizing Adobe Lightroom 4. Adding in creative options here as well, so that you realize that every image shouldn’t be super-saturated color, a perfect blend of multiple exposures, or even produced in the 2 by 3 format. This is were your ideas are taken into reality. The creative juices are beginning to flow at this point and you are beginning to see. To see less like a recorder and more like an artist. You begin to realize that you are in control of what your viewer perceives and almost understand that the image you create becomes your viewer’s reality.
Then we add different perspectives into the mix. How to create composite panoramics, star trails, and nighttime compositions. We do this by taking you to different eco-systems and different environments continuously throughout the day. The main rule here is if you can find something of merit to photograph at high noon in the summer desert, you can find a subject just about anywhere at any time. And then, all of a sudden, everything clicks, (figuratively and literally) you become a creative. The word photographer only has meaning to you because you choose that as your mechanism to display your vision.
You in fact become a little crazy and like the song says, “But we’re never gonna survive, unless, we are a little crazy.” Now you want only one thing. MORE. Stay tuned we will give you that real soon. — Jay Goodrich
As always, it is always great to spend several days in Olympic National Park with such enthusiastic photographers! This workshop continues to be the gold standard of my learning program. Be sure to check out the blogs & websites of the following photographers!
Alan Augustine: “I really enjoyed the workshop. Art and all of his assistants were very helpful with my attempts to progress from simply documenting a scene to creating a work of art.”
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Cory Kitzan: “I had a GREAT time at this workshop. I came home and told my wife that it was the best three days of my life! It was very mentally and physically challenging. It took me two days to recover! I loved every bit of it.
Art has so much energy and passion, and seemed to really care about the quality of the workshop experience for each member of the group. He was a lot of fun to be around. His lectures and candid comments during the critiquing session were invaluable. I learned so much!
I also learned humility when I viewed my results. I’ve been taking photographs as a hobby since I was a kid (35+ years). I understand the technical side, and can take good “vacation photos”, as Art described them. I have loved Art’s photography ever since the first time I saw “Travels to the Edge”, but I didn’t know what it was that appealed to me, or how to replicate it myself. At the workshop, those questions were answered.
I now have many fun years of practice ahead of me. What I learned in those three short days will impact my photography for the rest of my life. I would highly recommend Art’s workshops and lectures to anyone interested in photography.
Facebook: www.facebook.com/Cory Kitzan
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Dan Rosen: “I had a great time at the workshop!”
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Darrell Sano: “I’ve always admired Art Wolfe, ever since watching his “Travels to the Edge” PBS series. He is far more than a landscape photographer, and his fascination with people and culture attest to his multi-faceted interests and skills. Aside from looking at his work and hearing first-hand explanations behind his images, the class afforded me the opportunity to visit someplace I’ve never been. And sharing the experience with fellow attendees, especially those who I drove in our car pool, was utterly enjoyable.”
Web: www.dksfoto.com
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Ella Hudson: “Earlier in my life I have worked as a college photographer and a medical photographer. More attune to a PR and photo journalism style, I have never really explored nature as a photo subject. The grand landscape has always been too broad and vast; my photos never came close to Ansel Adams! But I enjoy others’ nature photography.
I have followed Art’s work since becoming aware of him through “Travels to the Edge.” His obvious love and passion for animals and nature’s beauty is what makes these episodes. My husband encouraged me to sign up for the Olympic Peninsula workshop as a gift to myself. This was the first real photo workshop I have ever attended. Even though I felt a little out of my comfort zone, I promised myself that I would be open to all the possibilities, no matter what. I really had no expectations; I planned to attend and see what happened.
Well, what happened was more than I could have ever expected. Photography, photography, photography morning to night with a lot of other people at times feeling out of their comfort zones, too! But that’s how you learn! Here was an opportunity to just soak it all up!
Eric Schoch: “This was a terrific workshop in a great locale. Art and all the instructors were supportive and had excellent suggestions. I learned a lot and had a great time!”
Web: ericschochphotography.com
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Kashif Izhar: “What an exhilarating experience it was to be with Art Wolfe at the Olympic Peninsula Workshop. 3 days full of great advice and ample chances to implement it in the field with first hand feedback from Art and his team. The critique session was by far the best, where Art looks at each photo for a moment and then with live Lightroom implementation, transforms it to its true potential. Wish to join Art once again at a more exotic location for a longer trip.”
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Kathryn Mead: “Art is a great teacher in lecture, field and critique. His enthusiasm is boundless as is his knowledge, which he shares freely. This was my 3rd workshop with Art. He takes us to places that offer a variety of shots. Since he’s thought out where to go, all I have to do is think about shooting. I really enjoyed shooting with a group. I got to make new friends and learn even more about photography from talking to them and seeing their work. Art’s personality sets a relaxed atmosphere. I would recommend a workshop to anyone who would like to learn more about how to see an environment in a way that allows them to create more compelling images. For me, this class is not (mostly) about f-stops and ISOs. It’s about how to see a composition. My photography has improved tremendously as a result of learning from Art.”
Nick Monkman: “Art Wolfe is a fantastic teacher and and enjoyable person just to be around. Not only did I improve my photography – I also had a fun vacation. Art’s rich background in painting and art history really help drive home his main teaching points about effect compositions. Lectures were well-organized without being oppressive and the image critique at the end of the workshop was especially rewarding. Well done…and when’s the next one?”
Blog: nickmonkman.zenfolio.com/blog/2012/6/okay-that-was-fun
Web: nickmonkman.zenfolio.com/
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Timothy Lindsay: “I learned a lot about composition and the technical aspects of photography on this workshop. Both during lectures from Art Wolfe and his helpers in the field. I recommend atttending one near your home first so you know what kind of equipment you need (and what you don’t need) when traveling with your photography equipment.”
Some people are amazed to learn that I still enjoy getting out to photograph wildflowers. Well, the greater truth is that I just enjoy getting out to photograph – anything. It fuels my soul, and as long as I can walk and hold a camera that’s where you’ll find me, out in the field working the subject, whatever it may be.
As spring gives way to summer, the mountains around Seattle, melt out to reveal wonderful meadows of wildflowers. Mt Rainier is perhaps one of my favorite destinations for wildflowers and so many can be found just a short walk from the parking lot. For those familiar with the area I like to head to Paradise, drive past the main parking lots and down the hill maybe half a mile, parking where the road crosses Edith Creek. From there you hike up towards the mountain and the wildflowers will soon surround you with a rushing creek and smooth boulders to work with. Hiking maybe a mile will afford beautiful views of Mt. Rainier filling the foreground with flowers.
When you head out to photograph wildflowers one’s first instinct is to often isolate a perfect blossom at a 45 degree angle (any lower and your knees might get dirty!) and go home happy. I call this the trophy shot, it looks just like the image on the packet at the wildflower seed store – we all have them, myself included, so get that shot (I will) and then open your mind to more creative possibilities.
When I have lead workshops to Mt. Rainier in the past I’ll let the students know that we have “arrived” at our destination for the next hour and they will politely line up on the trail and begin to photograph the first flower they see, usually right from the very direction they had approached it. After all, that’s why we’re here, no? No. We’re here to stretch our creative imaginations, to see in new ways, and uncover new possibilities. Consider how you approach the flower as you would any subject. Over the years I have critiqued so many photos and the answer is all too often the same, get lower and get closer.
My approach is generally to first walk through the area and get familiar with the myriad of options, perspectives, background possibilities, subtle differences in lighting. I’ll look at the subject from all sides possible before choosing a location to begin. Remember, recolonizing, fragile, easily accessible meadows like those of Mt. Rainier don’t allow for venturing off established trails. So please be aware of your surroundings, trail markers and warning signs.
Initially, I will photograph the larger scene with a wide angle lens (16-35, always with a polarizer adding a 2 stop hard ND filter as needed) helping to establish a sense of location. This can be useful later when trying to remember where I was when the image was taken, perhaps a hold-over from shooting slides when it could be three months before I would see any results from the days’ efforts. The wide angle lens allows me to include the surrounding plants, trees, terrain and mountains leaving the to flowers become a pattern of color in the lower foreground. I’ll look for leading lines in the pattern, gentle curves, a way for the viewer to interact with the image as they move through the foreground, middle ground and background – an old, well established formula from view cameras that still works today.
As I move in closer, I continue shooting with the wide angle lens, allowing first, a group of flowers and then individual blossoms to dominate the frame. This gives me the ability to still tell the story of location and environment through the greater composition. When people first purchase a wide angle lens they see it as an opportunity to get a greater view of the distant vista, to include the mountain and the surrounding hills – and are all too disappointed with the results. It’s not until they begin to see the wide angle as a tool for getting in close to the subject, I’m talking within inches – not feet, do they begin to see the possibilities.
Once satisfied, I’ll switch to my 70-200 lens and look to limit the composition to just the flowers themselves. Here I begin looking for those ubiquitous patterns in nature, patters of petals filling the frame, of alternating colors, lines and form, positive and negative space. Ultimately zooming from the wide end up to 200 mm abstracting the subject as I bring the viewer to see the flower in a unique way. I’ll then put on extension tubes which allow me to focus even closer. As you abstract the elements of the flower, digital photography now allows you to “rack focus” with a middle ground f-stop, say f11, shooting several images as you move the shallow depth of field marching towards the back of the composition, knowing later you will combine them into one image with a sharp focus throughout.
What about wind and movement? Use it! Sure you can purchase a “Plant Clamp” to hold the flower steady in a light breeze but why not use the movement to your advantage just as you would with flowing water in a stream. Try longer shutter speeds to abstract the flowers to a wash of color. Even introduce your own movement by intentionally panning with the camera up, down or sideways during the exposure. You may be surprised by the results, perhaps pleased even.
Working the subject I will be changing my location, moving in closer, shooting from the side as well as directly overhead – ultimately I may even spread the legs of my tripod to where it is less than 12 inches off the ground and be lying on my side in the dirt – why? Because it’s about unique perspectives. Flowers aren’t usually photographed from directly overhead nor do most people bother to look at them from the ‘flowers’ perspective. Great images are generally not made at a comfortable standing height having just walked up to your subject.
Don’t wait for the sunny day to go out and look for wildflowers. For images of the flowers themselves your best bet is an overcast day with even lighting. While a sunny day is great for a picnic, and the flowers are beautiful to look at, the shadows caused by the direct sun put too much contrast in the image and where flowers are the only subject the results will be disappointing. Overcast days, even rainy days are some of my favorite for flower photography, good thing I live in Seattle.
