Join myself and my good friend Lalit Deshmukh for 7 days, 5 full days of photographing, on the Washington Coast of the Pacific Northwest. We’ll visit waterfalls, amazing beaches, and primordial rainforest, exploring and experimenting and becoming better photographers through awareness, seeing, and contemplation.
The coast of Washington State in the Pacific Northwest is the longest undeveloped coastline in the United States. The rugged, rocky shore exposes the remnants of the ancient North American coastline as ragged sea stacks that have withstood millennia of the relentless pounding of storms thrown at it from the Pacific Ocean. One of the largest and last remaining temperate rainforests in the world, with its lush green canopy of giant Sitka spruce and Western hemlock, takes you back in time with a bit of a Primordial essence. This workshop is conducted at a ‘photographer’s pace’ to allow for as much immersion into the environment as possible, using our senses and perception along with camera technique to make better photographs and to both experience as well as photograph amazing landscapes, abstracts, and intimate nature imagery.
Please go HERE for more information, photos, and registration.
Astrophotography involves many important steps, from choosing equipment, planning the object to photograph, setting up and taking down equipment, and processing image data, to data storage and presentation of your astrophotographs. The process of creating astrophotography images is a lengthy, long-term project, although excellent images can be made either singly or over a short period of time. However long it takes, though, it’s difficult keeping all the necessary data in your head, especially over multiple sessions and targets, different equipment and, not to mention, years. You could enter the data on your computer or reference your online posts, but an analog copy will long outlast any digital journal you may use.
The Astrophotographer’s Log Book arose from documenting my own imaging sessions, but rewriting the same information over and over in a blank notebook. Doing it by memory each time, it was easy to miss adding a line of data, or write it in another place for that session, or flip back and forth between pages to make sure I had it all written down correctly and in order. So, the notebook became, over time, a less-organized and incomplete record of my imaging sessions. In the paragraphs I wrote, it was difficult to consistently find the information I needed for planning follow-up sessions and time consuming to search the pages for it. I looked for a journal or format to meet my needs and discovered there were many different versions of observer’s logs, but almost no journal books for astrophotographers. And, those that did exist, seemed very open-ended and more like the blank book I was already using. So I compiled this set of pages I hope will also fit your needs and help you have more productive and repeatable imaging sessions, and provide a detailed memory you can look back on in the future.
This log book is for astrophotographers who want to record as much data for each session as they like, or at least have the available place for it when they do. It’s for beginners to help establish good imaging session habits early on, for the advanced astrophotographer who wants and needs a consistent place to record and find the data they worked hard to collect, and for the astrophotographer who likes to look back on old records and reminisce about those special sessions.
The Astrophotographer’s Log Book, at 6″ x 9″, is sized to fit easily into your astrophotography gear bag. The front and back covers are laminated 2mm book board for a solid writing surface on your imaging table or your lap. The thick covers also make it sturdy and durable under the varied conditions you might experience, whether at home or at a remote dark site. A built-in bookmark makes it easy to locate where you left off. The front and back covers are designed by the author. The end papers are also handmade by the author and each set is unique. The Log Book is wire-bound and opens flat or a full 360 degrees.
I’ve been learning bookbinding on my own for the past 3 months or so and have decided it’s time to learn from someone who knows more than I do. I’ve started an Indiegogo campaign to help me attend a week-long bookbinding workshop at the San Francisco Center for the Book, and to create photographs to include in a handmade, signed, limited edition book (20) in its own handmade slipcase, titled “Point Lobos Dreaming”.
10% after 4 days! Thank you! Thank you for your continued support! I’m really excited about this project.
What is an artist book, or artists’ book, or artistic book? There are many ways to label it and many more types of artist/artists’/artistic books, which makes this type of book difficult to define. The type of book is recognizable, for the most part: hand made, looks different than the ‘typical’ mass-produced book, can use non-traditional material, and may even not look like a “book” at all. I’ll use the term artists’ book just to keep the typing to a minimum and to refer to the book as “artist owned”, meaning the artist took ownership in its creation by being the maker of all or nearly all of the book’s components; structure, design, content, appearance, from determining the size to cutting the paper to making the cover and hand-stitching the spine.
One predominant aspect of the artists’ book is this type of book tends to cross boundaries and preconceptions and definitions of what a book is, often using cross-disciplinary media and various modes of construction. Instead of the book being about art, or containing something artful, the book itself is an artwork. The book maker has total freedom and control in its production (which creates a bit of anxiety and fear as well as excitement in the artist, especially if the artist hasn’t explored this mode of artmaking before). One thing commonly agreed on; the artists’ book is not simply a book of artwork or a representation of an artist’s body of work, not a diary or sketchbook or blank book, even if it is handmade. Artist’s books are made to be interacted with, the same as with any other book form. Artists’ books are more often than not made in very limited editions compared to machine-printed books or even other limited edition artworks.
The artists’ book can be more deeply or expansively personal than other types of art because of the opportunity to include different media types, from the obvious writing to painting and drawing, photography, collage, augmented reality, even carving and sculpture. Any type of media can be incorporated into the artists’ book form and be used as an appropriate means of expression, as the artist demands. “Artists’ books exist at the intersection of printmaking, photography, poetry, experimental narrative, visual arts, graphic design, and publishing.” (https://blog.library.si.edu/blog/2012/06/01/what-is-an-artists-book/).
While book form has been around for centuries (3500 BC or so), the machine-printed book arrived in 1475 with the Gutenberg press, and artists’ book didn’t really come into being until the 1950s when European artists began experimenting with and exploring the book form. The artists’ book, like sculpture, printmaking, and photography before it, is having a tough time being accepted as a valid form of fine art, and many people have no idea this form of art even exists.
The books I will be making are not artists’ books according to that definition. They are handmade books, for sure, and there will be artistic aspects to them. But each type of book I make for this project are essentially the traditional book form. There may be a time, likely will be, that as I become more experienced with assembling the book form I will explore and experiment with an artists’ book. And it may be sooner than you or I think. I already have a concept for an artists’ book that I may try in the near future based on some photographs I made in the Redwoods of California, with the concept of landscape ecology, fire ecology, and a land ethic (a la Aldo Leopold).
Overall, the hand made book, the artists’ book, is another form of artistic expression and communication based on the artist’s experiences with the world. It’s a way to make the abstract visible or the visible abstract or to be completely and unambiguously literal.
“When we make something with our hands it changes the way we feel. The way we feel changes the way we think. The way we think changes the way we act.” — Carl Wilkens
Here is my current line up of workshops for 2019. I will be adding maybe 2-3 more for 2019 as they become finalized and workshops for 2020. You can also stay current with my workshop and class offerings on my workshop page and by signing up for my monthly newsletter. Your subscription is only for the newsletter(s) you select and you will only receive communications from me via your selected newsletters. Links open in a new window.
For a trip to Iceland in November, I rented a Canon EOS R mirrorless camera as my workhorse for 10 days. I hadn’t shot with a mirrorless camera before and my expectations were mixed. I’d had a Sony Ar series in my hand at one time and didn’t like it. The small form factor ergonomics and menu-driven operation turned me off, as did the off-balance feel I had with long lenses attached. But, recently I read a couple good reviews of the EOS R and decided to give it a go. What pushed me over the hesitancy is the larger body. I’m used to shooting with larger DSLR bodies with controls ready to hand, relying on the menu system only for specific situations and for “set it and forget it” types of operational controls.
So, here we go. I received the camera on rental from BorrowLenses, a company I have rented from several times in the past. I’ve recommended renting gear, camera bodies, lenses, etc. if you’re deciding whether to buy. Renting for a weekend or a week is an easy and inexpensive way to “try before you buy”. Anyway, if you followed my posts on Facebook and saw my first Facebook Live video from that trip, you might guess that I wasn’t at all pleased with the camera. At the time, you’d be right. While the EOS R is, internally, a mirrorless version of the 5D, getting used to a new operation can sometimes be frustrating, even though I’d received the camera a couple days before leaving. The ergonomics of the EOS R body is great. The size, weight, and how it fits in my hand were all very familiar and comfortable. I’ve been a Canon shooter for a long time, and my current DSLR is the 1D Mark IV, a camera that is very near its end. But the body plan, the large grip (also similar to the 1Ds which I used for a decade) lets me hang on to the camera securely while operating most of the controls and while carrying it in hand.
I’m not going to give any technical specs. This review is based on my own personal preferences with how and what I shoot. Any “technical” information is more or less going to be subjective and based on practical use. I hope that’s useful to you.
When I first fired it up and began setting it up at home, there was a mysterious shutter lag of about 1/2 second that was “fixed” just as mysteriously as I worked through the setup. I suspect it had to do with one or more of the shooting control operations, but I wasn’t able to pin it down. It could have been related to the dual pixel focus setting, which I eventually disabled. I didn’t run into that specific issue again during my trip (but see below for more info about shutter lag I experienced).
Operationally, here are my critiques:
1. I set up operation for back-button focus but the shutter release focus wasn’t disabled. So, I would back button focus then when I pressed the shutter release it would refocus. It’s possible I missed a step somewhere, but I’m pretty sure I had it set up properly.
2. I’m not a fan of the electronic viewfinder. It’s nice to be able to review the image in the viewfinder, but with review turned on you get the preview in the viewfinder while you’re trying to shoot. Several times I was fooled into thinking I was looking at the actual scene when it was just the preview image. I eventually turned off the preview function (which also disables it on the large rear LCD and you have to manually press the preview button. Not completely a problem, but sometimes was inconvenient). It would be nice to be able to have a setting of preview only on rear LCD.
3. Another aspect of the electronic viewfinder I didn’t like was I couldn’t look through the camera if it wasn’t on. If the camera is off, so is the viewfinder. There’s no way to compose prior to making a photograph if powered off or in sleep mode. This, of course, will apply to all cameras with electronic viewfinders, so this is a characteristic I’m not liking across the whole spectrum of mirrorless cameras. This reduces battery life.
4. On the body that I had, the light meter tended to overexpose by about 1.5 – 1.75.
5. Rear LCD touch screens are both a help and a hindrance. Useful sometimes for focusing in odd situations and for adjusting camera settings. But a hindrance at other times when the focus point shifts at random when your hand or nose brushes across the screen while you’re composing or carrying the camera and the screen gets activated.
6. The viewfinder shut off sensor became a frustration when I used my rain cover, which has transparent panels so I can see the camera controls. The sensor kept shutting off the LCD screen when it sensed the rain cover, treating it like it was my face at the viewfinder. I had to hold the panel away from the sensor with my thumb, hand inside the rain cover.
7. The menu touch strip, located just to the right of the viewfinder, turned itself on at random when I had the touch strip turned off. I would get a notice in the viewfinder asking me if I wanted to enable it or not if I brushed my thumb or face across it. I’m not sure of the utility of this feature.
8. I’m also not a fan of the toggle setup for the back control. I have a pair of waterproof/windproof gloves I can easily use with my 1D and its control wheel and buttons, but I found operating the rear toggles and the buttons (which are slightly recessed) very difficult with these gloves on and often had to remove them. I prefer the rotating control wheel over the toggle.
9. The low light focus was pretty good, but with my EF 70-200 f2.8L there was a lot of hunting in low light after sunset (that’s probably more of a lens issue, I think).
10. The menu system is familiar to me and organized in a logical way that’s easy to navigate, though there are more categories on the EOS R than on the 1DS. It would be nice to simplify the menu system with an option to disable categories that aren’t used, like the picture style/JPG processing features, that some photographers like me may never use.
11. Perhaps it was just me operating a new camera, but at slower shutter speeds, 1/4 sec or slower, there was no shutter release indicator (no sound, no “click”). It was as if the shutter release timer (2 sec delay) was engaged. Sometimes I wouldn’t realize the shutter had been released and moved the camera during the exposure. This didn’t happen at faster shutter speeds when I had a tactile signal from the shutter button that it had been depressed enough to release the shutter, and no shutter release delay.
12. The jack for the cabled remote is a mini-plug and the remote for the EOS R doesn’t have an intervalometer or timer. I prefer the TC-80n3 remote.
13. Battery. The EOS R uses the same small battery as the 5D. I also rented the battery grip and an extra battery, so had extended use as well as a bit more body to hang on to.
Instead of a control wheel on the top for switching shooting modes, there’s an LCD screen, a mode switch, and a wheel. I found this somewhat inconvenient to use, though you can see the modes in the viewfinder when the mode switch is pressed. It wasn’t a showstopper and eventually I would probably get used to it.
I’ve been going through the files from the trip and I don’t have any image quality complaints. I do notice more pronounced chromatic aberration than I do with the 1D, but that may be due to the larger file size making it more apparent than it does with the sensor (yes, CA is created by the lens).
One of the reasons I rented this camera was for the reported high ISO quality (much better than the 1Ds) specifically for night shots of stars and Aurora borealis. Unfortunately, there wasn’t much opportunity for the Aurora, but I did shoot some night scenes at reasonably high ISO (2500) and the noise was easily taken care of with Photoshop noise controls. One very useful aspect of mirrorless cameras is with long exposures and telephoto shots. It’s essentially a permanent mirror lock-up situation and camera vibration is greatly reduced, especially when using a cabled remote.
My frustration abated somewhat as the trip progressed and I became more familiar with the EOS R’s operation and particular idiosyncrasies. For me, while I ended up liking the camera overall, it wouldn’t be a camera I would buy as a replacement for my 1D at this time. I would likely still opt for the 5D, even though it seems that model is on its way out. Here’s another issue. Lenses. The EOS R has a different lens mount, so your EF lenses won’t work without an adapter. And, the RF lenses for the EOS R line are amazingly larger and heavier than EF lenses (and there are fewer of them at this time). I think there’s promise in the EOS R line if a “Pro” model was made with the larger NP-E3 battery (and the associated larger grip) and a control wheel on the back instead of the toggle, an optical viewfinder option, and remove the touch strip. These are, of course, operational critiques. Camera operation, where controls are and how easily they are to use – bare handed or with gloves – is just as important (to me, anyway) as image quality, focus accuracy, and ISO performance. You can have the most advanced camera with amazing image quality and performance, but if it takes you 15 seconds to change the ISO or shooting mode or focus point selection, or you can’t operate it under certain conditions, it will be mostly worthless, no matter how much money you spent for it.
I did like the articulated rear screen. It makes low and high angle shots more pleasant. I’m not a vlogger or selfie taker, so the forward-facing capability didn’t concern me, but might be a feature others would appreciate.
The weather sealing on the EOS R is pretty good. I used the camera with a rain cover in heavy rain and without in light rain conditions and there were no problems with water affecting controls or getting into the body. Weather sealing is better with lenses that also have that capability.
My conclusion is the EOS R is a pretty good mirrorless camera. Of the cameras I’ve had in hand, this one is more practical in the hand for me, easier to handle, better balanced with long lenses, and a familiar layout which is easier to transition into. This is, of course, because I’m a long-time Canon shooter and they’ve kept their layouts fairly consistent. It’s larger than the Sony and that body type, especially with the RF lenses. If you’re looking for a compact mirrorless, the EOS R isn’t it. But if you want a camera that fits your hand and is comfortable to use, that is balanced, performs well in all weather and puts out a nice image file, the EOS R might be what you’re looking for. I’m just hoping future models will accommodate a more practical “field layout” that is functional using gloves.
Some time ago I was asked if I’d be interested in reviewing Bert Krages book The Photography Exercise Book: Training Your Eye to Shoot Like A Pro. Published by Allworth Press in 2016, I’d seen it while browsing in the bookstore. I picked it up and thumbed through it, wondering if it would be a good reference for me and my classes and workshops. At the time, nothing stood out to me about the book other than it seemed to be written for beginning photographers and, at the time, I was working on my own book and there were more advanced concepts rummaging around in my head. So, I put it back on the shelf.
When I was asked to review the book, I remembered looking at it that one time and thought I should give it another chance. Bert Krages is an attorney and photographer living in Oregon with a couple other books in his bibliography; Legal Handbook for Photographers and Heavenly Bodies: The Photographer’s Guide to Astrophotography. I’m pretty sure I’ve also seen and thumbed through both of those books at the bookstore. The Legal Handbook for Photographers delves into an aspect of photography that has many fewer references available than for any other aspect of photography. If you are a photographer interested in your legal responsibilities and liabilities, that book and others would be beneficial to you.
Mr. Krages begins The Photography Exercise Book by describing its purpose and who it is for. In my own classes, I describe three groups of photographers; those who are technically-inclined, those who are not, and the largest group that’s somewhere in between. This book is for people who have at least a comfortable understanding of camera operation, in terms of using the various exposure modes and making exposure adjustments, but it does not discuss exposure settings, focal lengths, filters, flash, the “Rules”. This book is not a “how to use your camera” book, but a “how to explore your surroundings” book. It’s for photographers who are starting out and for those who need a little inspiration for exploring. It is a book of photography exercises after all.
I agree with most of the author’s premises: to become a better photographer you must make photographs, you must pay attention to the world around you, you must experiment, you must keep an open mind and always look for opportunities. The Photography Exercise Book is divided into sections that begin with letting you know you should have a basic understanding of how your camera works, some general tips about composition, and the importance of evaluating your work. The rest of the book includes the exercises. The exercises are a bit open-ended, which is good because it allows you freedom to find subjects and situations at the time you’re doing the practice. You don’t have to seek out a specific situation, wait for a certain time, or amass various props and equipment to do the exercises. This approach may not work for some individuals because the exercises are not “recipe-driven”. This is why I mention the need for comfortable understanding of camera function and photography principles. None of the exercises instruct you to use f8 at 1/125 and ISO 200 with a 85mm lens. You’re given the concept of the particular practice, like photographing people who are in action or light, shadow and shapes when clouds are passing overhead, or revisiting a location multiple times.
The final two chapters are about “photographer vision” and Thinking Like an Artist, with a little history of art and the relationship of photography with other art forms, discussions about defining your own individual approach to photography and what you would like to express with the medium, inspiration, and work ethic. Nothing too deep, but put straighforward and simply.
Some of the exercises, admittedly stated in the introduction, won’t be for everyone. But, like the author suggests, try them anyway. You never know what you’ll learn that will apply to other situations. Overall, The Photography Exercise Book is a useful reference for photographers who are starting out and who would like a little guidance for exploring and improving your craft.
There are recurring questions photographers are asked when discussing photography: What is your favorite photograph you’ve made? What is your favorite photograph by another photographer? What is your favorite place to photograph? What is your favorite camera/lens? etc. Questions about a photographer’s opinion of things that more often than not have no actual relationship between the photographer and the person asking the question. Sometimes it’s genuine curiosity, but most often these are “easy” questions as a conversation starter, perhaps. But, do you really want to hear why I like a certain photograph or location or piece of equipment? Because, from me at least, you’re likely going to get more than you asked for. Besides, how do I describe a photograph you’ve probably never seen in a way you understand why it’s a favorite of mine? Without the ability to show you the picture you form in your mind from my description won’t be close. Even if I could show you the photograph, my reasoning is probably going to be too long, too short, or lack relationship with your own experiences or expectations. The same for locations, gear, and my praise of another photographer’s work. These and other “favorite” questions are difficult to answer or are even irrelevant because favoritism is temporary, and because we don’t favor THINGS.
Make a list of your favorite things. Do it now in your head or write them down. It’s likely a long list: movies, food, people, events, beaches, music, cars, clothes, cities, countries…the list goes on. Then review your list. What’s missing? I’ll bet what’s missing are some of your favorite things from last year or when you were 40 or 25 or 12 or 3. Why aren’t your favorite things from high school still your favorite? Do you have a singular favorite that has withstood the ravages of time? If so, examine it, analyze for yourself why this favorite thing has persisted. Brainstorm and write down everything you can think of that makes it a favorite. Compare the characteristics with your favorites that have come and gone or are in your “favorite bin” at the moment. Any similarities? What are the differences?
Our favorite thing is not actually a thing, but an experience or emotion. It’s what moves us to feel good, strong, empowered, empathic, safe, smart, accomplished, alive, accepted. The list of favorite things changes with our knowledge, experiences, preferences and skills. How many times have you said on vacation “I want to live here”, only to have that feeling replaced by the next awesome place you visit?
Our favorites can be fleeting or grow in stature over time, like the accumulation of a patina. A favorite dessert of mine is cherry pie. But not just any cherry pie. There are certain characteristics of texture, flavor, intensity and consistency that elevate a cherry pie from simple preference to the favorite bin. The mixture of sour and sweet (more sour than sweet), the consistency of the filling (not thick), the texture of the crust (flaky, not doughy), and the addition of complimentary spices that add an element of surprise, all add up to a pleasant emotional experience that I will return to as long as that experience is maintained. It’s the experience I enjoy, not just that I like sour cherries.
Your favorite location might be the beach, but if you think about it, it’s not just any beach and it might not even be a specific beach. It’s a beach with certain characteristics that can exist at many different locations – a certain slope of the beach, the composition of sand or rocks making up the beach, the sound of the surf, solitude or bustling with activity. And, if you’ve visited several beaches, you likely have more than one favorite type of beach depending on your mood at the time, or your “need.”
In photography, our taste in photographs, equipment, locations, is controlled by similar criteria. Our favorite camera is the tool that is easiest to use and/or gives us the ability to control the factors that allow us to create the visual image we have locked away in our head, that allows us to make a photograph when we need to. In some situations, my favorite camera is my smartphone because of its simplicity and I can make a complete photograph while in the moment, a spontaneous creation inspired by the subject, event, and emotion of the instant. At another time, my favorite camera is my 35mm DSLR because of its flexibility and sometime need for deliberate contemplation, exploring the subject, composing visual elements, choosing the aesthetic appearance of depth of field, shutter speed, focal length, lighting, etc. Previsualization of how I’m going to process the image, it’s final appearance, may or nay not have an influence or relationship with my experience of the moments surrounding when I make the exposure. But there is almost always influence and inspiration from the external and internal environment as I make the many decisions needed to make a meaningful photograph (meaningful to me, primarily. If you as the viewer also find it meaningful – Bonus!)
Our favorite moments are juxtapositions of ideal circumstances – atmosphere, companions, emotions, location, etc. We often try to replicate these circumstances to relive the emotional high produced by these special happenings. But it rarely works. However, there will be other such moments that eventually replace the previous moment as a favorite, and those older moments join the others in the group of favorites we can lovingly recall from memory.
The basis of our favoritism can be complex. A significant object or event is often connected to a significant experience. The favorite thing is a memento mori of sorts, reminding us of our vanity (how good we felt, how good we made others feel), mortality (you can’t take it with you), and the transience of everything (this, too, shall pass). Emotions and memories fade and are replaced, material objects break and decay. A true favorite, though, withstands time, trends, fads, and vanity. It remains because of its influence on you, its emotional importance, and despite negativism and ridicule by others.
In 1943, Abraham Maslow wrote A Theory of Human Motivation in which he proposed a hierarchy of needs. Diagrammed as a pyramid, physiological needs necessary for survival form the base, or foundation. This is where food, space, shelter, and mates exist. Moving up the hierarchy are safety, love/belonging, esteem, and self-actualization (the motivation to realize one’s full potential). It’s interesting to note that 3 of the 5 levels in Maslow’s hierarchy are emotional motivations – esteem, belonging, potential. The association of motivation and favorite things has been exploited by salesmen and marketers since the dawn of history. Creating pleasurable emotional experiences engages customers, helps control their buying impulses, and retains them as repeat customers. In some circumstances, people will be repeat visitors or customers for the experience even if the product is not considered a favorite.
For photographers (and other artists), our satisfaction comes from creating beautiful, interesting, meaningful work as the result of experiences we have in life and in making art or making photographs for a client. A photograph of a landscape can be as much of a favorite as a corporate headshot or a sporting event. And as our experience grows and our skill set improves our list of favorite photographs and locations and gear will change. Even the much-discussed and promoted concepts of personal style and vision are just the current ways a photographer uses to interpret their world and communicate their message. These, too, change over time.
Favorites are fugacious: transient, temporary, ephemeral, ever-changing. That’s a good thing. It’s improvement, variety, growth. Don’t hold too tightly to favorites. It can be sad to see a favorite go, but the new ones will be just as good, if not better.
Join me March 20-27, 2018 to explore the beautiful, minimalist landscape of New Mexico’s White Sands National Monument, a dramatic environment of shifting contrasts, lighting, patterns and textures with a backdrop of the rugged San Andres and Sacramento Mountains. Emphasis during this workshop will be your interpretation of the stark dune environment using your senses and perceptions to search for simple, elegant compositions using elements to give depth, graphical design, and abstract impressions from broad panoramics to up close macros. We’ll discuss in a group and individual one-on-one guidance about using light and shadow to create form, improving composition, setting exposure under difficult lighting conditions, abstract impressions, and sensing and perceiving the environment to help find subjects and make meaningful photographs. Each student will also receive a copy of my book The Ecology of Photography.
Also, I’m excited to share that this workshop has been chosen as an Unordinary Trip of the Month by Infohub.com, the #1 portal on the internet dedicated to out-of-the-ordinary, special interest vacations. If you book my White Sands National Monument photography workshop before January 5, 2018, you will be entered in a random drawing among those registered for my workshop to receive a one-year full membership to the GPSmyCity app for Apple and Android, from InfoHub’s sister company GPSmyCity. Since there is a maximum of 8 for this workshop, your odds are pretty good!
The GPSmyCity app features offline city maps, self-guided walking tours, and travel articles for 1,000 cities worldwide. Because the app works offline, there’s no worry about roaming charges when using the app abroad. One lucky person who has registered for my White Sands photography workshop will be randomly selected to receive a one-year full membership to the GPSmyCity app and the over 6,500 self-guided city walks, offline city maps, and travel articles, a value of over $8,000 (includes all in-app guide purchase options).
I’ve started a Patreon page to provide limited edition artwork to patrons and with the goal to create a community. If you would like more information, you can read about it here: https://www.patreon.com/mikeshipman
Here are some of the workshops I have scheduled for 2017. Come join me and explore these amazing locations while learning to improve your photography and way of seeing. I’m working on others for summertime and into 2018, including an Antarctica workshop for 2019.