2023 Workshops Update

Iceland – only 1 or 2 spots left! May 19-28

If you would like to go with me to the south coast of Iceland, May 19-28, I have 1 or 2 spaces remaining. This is a trip for photography, and we’ll have 19 hours of daylight with the remaining in twilight. So there will be 24-hour opportunities. We’ll visit the famous Vestrahorn, some glaciers, Jokulsarlon and the black beach of Reynisfjara, Vestmannaeyjar (Westman Islands) to photograph puffins and the Viking Church, hot springs and, of course, waterfalls (Skogafoss, Gullfoss, Seljalandsfoss, Urridafoss, and more). Finishing in Reykjavik for walks in downtown (all the building artwork) and a visit to the beautiful Harpa Concert Hall and Hallgrimskirkja church. Interested individuals or couples should contact me ASAP. For more information and to register, check out: Iceland Workshop

Kyrgyzstan, June 2-14, only 2 spots remain!

Following the Iceland Workshop is nothern Kyrgyzstan, June 2-14. I have 2 spots available for this workshop. Also, contact me ASAP if you are interested. I and some Iceland participants will arrive in the capital Bishkek on May 30 to spend the intervening days exploring the city and surrounds prior to the workshop. During the workshop, with co-lead Tim Vollmer, we’ll visit the highlands, lakes, and mountains of northern Kyrgyzstan, meet the people, stay in a yurt a couple nights, photograph the Berkutchi (falconers who hunt with golden eagles) and the various styles of architecture, old and new. Information, itinerary, and registration are at the link.

My other workshops are still open and available. You can see them all Here.

Photography vs Photograph, Part II

Part II

What makes photography a strange invention – with unforeseeable consequences – is that its primary raw materials are light and time. – John Berger

We can probably agree there are many different perceptions/concepts/philosophies about photography. Otherwise, we wouldn’t still be having these discussions. Similar discussions to those that began in the 1800s and are renewed at each inflection point in the evolution of photography: the initial introduction of the technology, painting and drawing vs photography, realism vs pictorialism, digital vs analog, mirror vs mirrorless, and now the introduction of “artificial intelligence” in image making and image processing. We’re still trying to resolve, whether for ourselves as individual photographers or in an attempt to create a type of “general theory” of photography, the relationships between the photographer, the device (camera), and the photograph, in addition to the viewers and interpretations of photographs. In this Part II, I’ll discuss the act of photography and aspects of the relationship between the photographer and the camera. In Part III, I’ll address the photograph.

A photograph needs an audience. Or does it?” – Ted Orland, The View from the Studio Door

As a reminder, I stated for simplicity in Part I, and to distinguish between the two parts of the title, photography is a process and the photograph is a thing. A somewhat controversial concept might be that a photograph isn’t even a required component of photography. The process of making the photographic exposure alone could be enough for the photographer to gain pleasure and personal growth. And, at least, showing your photographs to others isn’t a requirement to call yourself a photographer or to receive something from photography. An example is Vivian Maier, who photographed for years and never had her film developed. Not everyone will agree. Henri Cartier-Bresson even said “My passion has never been for photography ‘in itself,’ but for the possibility – through forgetting yourself – of recording in a fraction of a second the emotion of the subject, and the beauty of the form; that is, a geometry awakened by what’s offered.” For HCB, the process was a means to an end; the capture of the subject, like the capture of a prey. But this dichotomy of photography is different from most every other art form where the process nearly always results in something physical.

In most art forms the process and the product are inseparable. You can’t paint without making a painting or carve a piece of stone or wood without making a sculpture (quibbles over definitions of painting and sculpture aside). Painting, drawing, pottery, and carving are words describing both the action and the product. Photography, and photographing, are words describing an activity during which the photographer is doing something toward the eventual making of a photograph. This activity involves a wide range of things the photographer does, sometimes well before finger depresses shutter release: researching subjects, thinking about the subject, processing memories or life in general, exploring locations, observing the light, observing the subject and color, shadow, form, and texture, juxtaposition, balance, subject and compositional element relationships, etc., thinking about and reviewing past photographs and their strengths and weaknesses, reading, listening to music, talking with other photographers, friends, strangers, etc. All of these activities inform and influence the eventual photograph, whether the photographer is consciously thinking of these elements at the time of exposure or not. The process of photography doesn’t just happen when you have your camera in hand searching for something pretty or interesting or funny to snap. Regardless if I have my camera or not, when I’m looking I’m seeing photographs. As I’m scanning the environment I’m “cropping” various parts of the scenes in my mind, “zooming” in and out with an imaginary lens, examining arrangements, isolating, including, exploring relationships. This prepares me for when I do have my camera, searching for subjects to photograph and looking through the viewfinder. This process not only applies to photography, but also to every other art form, and to just being. Awareness and observation of your surroundings makes things more interesting than succumbing to sensory adaptation.

Photographers (and viewers) often think of photography and photographs as indistinguishable parts of the process; one cannot exist without the other. In a sense, this is true. But, the process of photography and the making of the photograph can be broken down into sets of discrete steps and, thus, separated from one another as distinct but interconnected processes. I’ve described the steps (phases) of photography in other texts; they are Exploration, Isolation, Organization, and Exposure. The steps involved in the photograph are Exposure/Ingestion (digital download), Edit, Process, Print, and Display.

The camera, the photographer’s primary tool for making photographs, and its operation, can also be addressed separately with a list of discrete steps for both photographer and camera and in which photography becomes a subset of the individual. Photography, for some, becomes a way of being, a way of interacting with the world. The steps in camera operation are, generally, Observe, Compose, Focus, Settings, Expose. There is overlap with the final step of camera operation, Expose, and the photography process. Exposure, the press of the shutter release, is the culmination of a number of factors leading to that particular moment that can take seconds or years to reach. Those factors are specific to the individual: Experience, Skill, Knowledge, Prejudice and Bias, Goals, and Intent (past, present, and future). All aspects of the processes of photography, photographer, camera, and photograph are interrelated, overlap, and the relationships between them are circular, or web-like. Rarely is the line from inspiration/conception/idea/influence to finished image a straight one. The camera (using the word as a catch-all including all other photographic equipment), different from tools of other art forms, has almost from the beginning of photography taken over the definition of photography. I’m not aware of any other art form other than digital illustration and some aspects of music, where the primary device for creating the art receives as much, and sometimes more, attention than the art or the artist, and for which an entire industry has been developed. Where are the paintbrush and typewriter websites, magazines and podcasts?

Well-known photographers Edward Weston, Ansel Adams, Minor White, Mary Ellen Mark, Man Ray, Yousuf Karsh, and many others, wrote and spoke about the photographer’s relationship with equipment. The general consensus among these photographers is the photographer makes the photograph, not the equipment. But the camera, its type/format, brand, capabilities, accessories, etc. is often at the forefront of many discussions and inquiries about photographs and photographers. Vilem Flusser (1920-1991), in his book Toward a Philosophy of Photography (1984), asks a question “is a human being in possession of a camera, or a camera in possession of a human being?” We see it in photography quite often, especially with questions from photographers and non-photographers alike when viewing photographs; what camera did you use?, what lens did you use?, what were your settings?, what software/action/preset did you use?, as if the equipment is the key to making the photograph interesting or beautiful and duplication in another time and place will produce the same result. We all know the photographer who is defined by their gear, who must have the latest and greatest equipment, but their photographs are maybe not up to par with their arsenal. But that’s not entirely what Flusser means when asking the question.

Our equipment does partially dictate what and how we photograph. In the act or gesture of photography the camera does the will of the photographer, but the photographer can only photograph what can be photographed given the capabilities of the camera and the light-sensitive medium the camera uses to record the energy from photons. Even if we have all the funds available at our disposal to acquire all the equipment we need, our photographs are still limited by the capabilities of the gear we hold in our hand at the time of making the exposure. We’re still limited by the field of view and depth of field of the lens, of the size of the image sensor or film stock, the noise and grain of sensor and film, the dynamic range of light recorded by sensor or film, the weight of camera equipment, the availability of accessories and the cost of cameras and accessories, etc., in addition to our own skill and knowledge to operate that equipment to the best of our ability.

Flusser categorizes the camera’s possession of the photographer by defining two types of images, traditional and technical. Traditional images are symbols which come directly from observations of the real world, made by the “hand of the artist” from original and unique expressions of experience and interpretations “in the [artist’s] head”. Prehistoric cave painting is his example. I think modern painting, drawing, pottery, sculpting, and other art forms made directly by the hand of the artist would fit the definition of traditional images as well. Technical images are made by apparatuses (cameras, for our purpose of discussion) which are twice removed from the hand and mind of the artist through the programming, mechanics, and limitations of the camera. Technical images are also infinitely reproducible by apparatuses (printers or darkroom reproduction) where traditional images are one of a kind. Flusser views the camera only superficially analogous to artist tools like the paintbrush. The paintbrush or chisel and the resulting artwork is directly connected to the mind of the artist through the hand, whereas the complex programming, capabilities and limitations of the camera intervene between the artist and the photograph. In the photograph, we only indirectly see the hand and mind of the photographer because the photographer’s observation of the real world, the internal traditional image, is abstracted and controlled by the capabilities and limitations of the apparatus, the camera.

John Berger (1926-2017), in Understanding A Photograph, adds that the invention of the lightweight, automatic, camera changed the process of making photographs (and art, in a general sense) from a ritual (taking time to observe, set up, wait, expose) to a simple reflex – point and shoot. This resonates with me because when I was learning photography I wanted to photograph using medium and large format cameras, but didn’t have the funds for the equipment. So when I was learning the process of photography using 35mm, I treated the camera as if it was medium or large format, taking time to observe and set up the shot, to make the exposure count, rather than “spray and pray” then pick out the best and “fix it in Photoshop.” Make the photograph in the camera as much as possible. That has always been my philosophy and practice.

In what Flusser calls the gesture of photography, the act of making a photograph is a sequence of events during which the photographer overcomes several barriers or hurdles. At each barrier (what subject to choose, composition to select, settings to use, can my camera record this scene as I envision it, should I ask for permission?…) there is a hesitation. Each hesitation is an opportunity for doubt and an interruption of concentration, awareness, and flow. Photographing is a start-stop process, especially when first learning photography. Experience removes some of the doubt, some of the hesitation, but not all. At some point we have to make the decision when to press the shutter. Because of the multitude of choices available when selecting and composing a photograph, there is no real “decisive moment,” except in the mind and intent of the photographer. Cartier-Bresson even points out the photographer needs to stay with the moment, even after thinking the strongest image has been made; to keep shooting in case something else develops with that particular situation. But to avoid “shooting like a machine-gunner” which produces needless waste and exactness about the portrayal of the event, all the while remembering there are no do-overs.

The act of photographing, the gesture, is the experience, the journey, the discovery by the photographer in researching the subject, traveling (near or far), the personal growth inherent in exploring new places, meeting new people, encountering and working through challenges, fears, and biases, and the satisfaction of the learning process, whether you achieve your intent or not. I think we learn at least a little more from not meeting expectations than from our successes, though arguments can be made for the opposite. The process of photography, for me, is a mechanism to living a Way of Life, a way of experiencing the world and interpreting it; not necessarily interpreting it for you (which is something I once told people as a bit of a conceit and marketing ploy – as if I somehow had a better sense of what you needed to know or see better than you did) but interpreting the world for me. The journey, for me, is at least as important as the destination, because the destination is a moving target. I doubt I’ll ever reach it, or even discover what that destination is. My process of photographing, the way I think about it, approach making photographs, how I see the world, is different than yours. There might be similarities, but they aren’t exactly alike and can be very different. That’s great. Diversity makes life interesting. I like to share my journey and for those who want to come along, in person or through my photographs, I welcome you.

Photography vs Photograph, Part I

This is the first of a three part essay exploring the different aspects and understanding of the act, or gesture, of photography, the photographer, and the photograph. I use material from Vilem Flusser, John Berger, Henri-Cartier Bresson, Ted Orland, and others to describe and comment on the different ways photography and photographs are perceived. This is one way to look at it. You’re going to have something different to being to the discussion or you’ll learn something new. We’re learning all the time.

Part I

Photography, like any artistic practice, is a multi-faceted activity involving materials, equipment, process, learning, technique, philosophy, a few other things, and the making of physical or otherwise visual representations of the photons recorded by the camera which, whether on film or digital sensor, are at first not visible to anyone (reviews on the camera screen notwithstanding). In this and the next one or two newsletters, I’m going to write about some different philosophies or approaches to the concept of photography versus photograph; the interconnected but also separate ideas of the process of photography and the product of the photograph. As you might already know or guess, there are, and have been, several different ideas throughout history about photography, its purpose, how it should be done, presented, and thought about, as well as the impact, importance, and relevance to the society, culture, and technology of the day. It’s a pretty big bundle to unwrap.

I’m going to focus, or try to, on just the concepts of photography and the photograph. There is spillover into other aspects of both, and I’ll try to keep that to only directly relevant offshoots. First, definitions. Photography I’ll consider to be the process involved in most of the activities NOT related to the creation of a physical photograph. I define the photograph as the physical or visual representation of a photographic image, whether that is a darkroom print, digital print, digital display, or some other physical or visual representation. In general, to keep the concepts as separated as possible for clarity of discussion, I’ll treat the image of the photograph as different from the process of photography. But first, we might need to delve into a brief overview of the long history of photography.

In some ways, photography has come a long way since its recognizable beginnings in the early 19th Century, while in other ways it has remained much the same. The arguments for and against photography and photographs in the 1800s are much the same in the 2000s; technological advances haven’t changed those arguments much but, in some cases, it has amplified them. The pursuit of photographs came about as a means to accurately record what we were looking at. The camera obscura, the first rudimentary camera device, or pinhole camera, required an operator to trace an image projected onto glass or onto a surface in a darkened room. The accuracy of the illustration depended on the patience and skill of the individual making the drawing, the technology used to create the quality of the camera obscura image (bare pinhole versus lens), and environmental conditions: the sun had to be shining for a bright enough image to be projected on the tracing surface. The camera obscura was first built and used in 1100AD by Persian (now Iraq) polymath Alhazen (Ibn al-Haytham) and used after that by several others in their process of discovering the properties of light. But the principle of the camera obscura was known since it was first described in 400 BC in China (Mozi) and 350 BC in Greece (Aristotle) and again in more detail by Leonardo da Vinci in 1550. Artists caught on to the usefulness of the camera obscura in the 15th Century, using the device to make drawings and paintings of landscapes, cityscapes, and portraits. There is evidence, though, suggesting pinhole images were used by prehistoric humans to make art as far back as 15,000 years ago. Light sensitive substances, such as chlorophyll from plants and other chemicals, were explored in the 16th Century, but it wasn’t until 1614 that an Italian chemist named Angelo Sala showed that silver nitrate, when coated on paper, darkened in the light of the sun. But, even though the camera obscura was in wide use by then, the two were not brought together until the 19th Century. So, the use of light sensitive chemistry to accurately record scenes and objects from the visible world is relatively new compared to other art forms like painting and sculpture.

The word photography was coined by Sir John Herschel, in 1839, from the Greek words photos, meaning “light”, and graphe, meaning “to draw or write”. As soon as the first permanent (more or less) image was made in 1839 (the date and maker of the first photograph is still debated today), photography became a much-argued technology. It continues to be debated today, regarding what constitutes photography or a photograph, and whether a photograph is actually art. For me, photography and the photograph are interconnected as part of a whole, an integrated process that includes both philosophy and practice, the metaphysical and the physical. But each can also stand on its own, separate from the other; photography doesn’t need to conclude as a photograph, and the photograph can be devoid of all but the technical and mechanical aspects of photography. Photography, capital P, is both art and science and can be a Way of life (in a Zen sense, as I describe in my podcast from a few years ago), or as Brooks Jensen, editor of Lenswork, describes in his podcast; a way of “living the Art life.”

This should provide a good foundation so far. I think this will be a three part essay. The general format will be to give an overview of the ideas of two or more individual’s thoughts on both the process of photography and the object of the photograph. These individuals will be photographers and non-photographers and will hopefully offer a broad look at how photography and photographs have been, and continue to be viewed in the world’s society. I’ll begin next time with philosopher Vilem Flusser (1920-1991) from his 1984 book, Towards a Philosophy of Photography, and critic, novelist and poet John Berger (1926-2017) from the 2013 book of his essays edited by Geoff Dyer, Understanding A Photograph. The remaining parts of this series will explore the thoughts of Edward Weston, Alfred Stieglitz, Ansel Adams, Ted Orland, David Bayles, Henri Cartier-Bresson, Paul Strand, Minor White, Gary Winogrand, Jay Maisel, John Paul Caponigro, Jerry Uelsmann, and others. In the end, I hope you might have an appreciation of photography in a different way than you may now, and maybe a deeper understanding of the history of photography as well as something to think about regarding your own exploration of this art form and practice.

2022 Washington Coast Photography Workshop

Washington Coast Photography Workshop, Oct 11-17, 2022

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.

The Astrophotographer’s Log Book

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.

More information and to purchase at blueplanetphoto.com/product/the-astrophotographers-log-book-25-sessions/:

The Astrophotographer's Log Book front cover
APLB-session page-1000

White Sands National Monument Photo Workshop & Giveaway

White Sands National Monument photography workshop, March 20-27, 2018

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).

Iceland Hot Springs & Northern Lights special Icelandair deal + one-on-one instruction – deadline July 31

Icelandair Hot Springs & Northern Lights

Here’s a special deal offered by Icelandair: 5 days, 3 nights, hotel, some meals, some activities, and airfare, starting at $685. I’ll sweeten the deal in that if you pay my way (double occupancy or single), I’ll provide you with one-on-one photo assistance during the trip. I’ll pay my own transportation to Seattle as the departure city, meals and other expenses. You pick the dates (for Northern Lights, go with February or March). I will depart from Seattle. Here’s the link with info. The catch is the deadline for booking this deal is July 31.
Icelandair Hot Springs & Northern Lights travel deal

Contact me for more information and to make arrangements.

Scotland : Senses & Perception Kickstarter Project

https://www.kickstarter.com/projects/mikeshipman/scotland-senses-and-perception

Today I launched a Kickstarter project to create a photo book (and other rewards) about how our senses & perceptions influence our photography and art (not just for photographers), showcasing the stunning and mysterious landscape of Scotland, which I’ll be visiting this summer.

Rewards for backing this project range from postcards mailed from Scotland, photographic prints, one-on-one photography instruction time with me, an 80+ page signed and numbered limited edition hardcover book, to a 4-day Idaho photo trip.

Please have a look at the project and support it if you can, at whatever level. If you can pass it on to your friends and any others who would be interested, I would appreciate it. Thank you!

Project Backers to date

A thank you to the supporters of this project. Unfortunately, it did not get fully funded. I initiated a second round at Indiegogo.com, and set it up to receive all funds contributed. I’ve detailed that effort in another post.

Steve
Michael Rolig
Barbara McClain
James Bishop
Betty and Ken Rodgers
David Young
Robert Vestal and Jyl Hoyt
Ben and Marcia Cartledge
Michael D. Margulies
Linda Lantzy
Marcia Morris
Bader Alawadhi
Diane Ronayne
Shari Hart
James R Cummins
Connie Gibbons
Kathleen Fitzgerald
Clarence H King III
Leslie & Gary Green

Month of Photography – Boise schedule

Month of Photography-Boise
Month of Photography-Boise

Month of Photography – Boise schedule:

March 6, Artist Reception, Boise Creative Center, 1204 Front St, Boise, 4 – 8pm

March 6 – April 29, Photography Show, Boise Creative Center, 1204 Front St, Boise, M-TH noon-7pm

March 7, Ami Vitale, Photojournalist, sponsored by ASMP Mountain West and ASMP Foundation, Hotel 43, 981 Grove St, 6:30 – 9pm. http://asmp.org/education/event/register?venue_id=1183. Portfolio reviews available March 8 (see registration page)

March 15, Practical Smartphone Photography, Boise Creative Center, 9am – 4pm. http://www.blueplanetphoto.com/dir/workshops/practical-smartphone-photography.html

March 22, PhotoCrawl, Bruneau Dunes State Park, 5pm – 9pm

April 5, Cyanotype Photography, Boise Creative Center, 9am – 4pm. http://www.blueplanetphoto.com/dir/workshops/cyanotype-photography.html

April 11 – 12, Boise Squared photo contest with live judging, sponsored by ASMP Mountain West. The Rose Room, 718 W Idaho, Boise. http://boisesquared.com/

April 19, Sean Duggan, Creative Masking & Compositing with Adobe Photoshop, Brown Mackie College, 9050 W Overland, Boise, 9am – 1pm. http://seanduggan.com/training/creative_compositing_boise.html

April 26, PhotoCrawl, Shoshone Falls, Twin Falls, Idaho. 5pm – 9pm

Upcoming Photography Classes

Here are my upcoming classes for July and August. Classes are held in Boise in a classroom setting or outside. click on the class title to register. Most classes and modules are also available on an “On Request” basis if you would like to schedule a class on a different date. Please Contact Me to arrange it.

Photography 101
8/5 – 26
8/22 – 9/12

Composition 101
8/8 – 14

The Business of Photography I
8/6 – 27

Before You Buy
7/16
8/1

Basic Camera Operation

8/3
8/24

Light & the Light Meter
8/7

Aperture & Shutter Speed
8/21

The Exposure Equation
8/28