Santa Fe Photographic Workshops

Educational Partners: HP and Nikon

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Escape the Routine with these new workshops in santa feBottom rowContemporary Color photography with Sam Abell ©

the essence of portraiture with Kwaku Alston ©

the fashion portrait with Andrew Southam ©

adventure photography with Michael Clark ©

the Creative pet portrait with Norah Levine ©

expressive photography for Young photographerswith Jennifer Spelman ©

top rowthe editorial portrait with Brad Trent © and Ronnie Weil

publish Your photography Book with Darius Himes © andMary Virginia Swanson

revitalizing Your photography with John Weiss ©

Digital Capture of Your mind’s eye with Michael Donnor ©

Creativity and travel photography with Nevada Wier ©

miDDle rowwet-plate Collodion: Back to the future with Jill Enfield © and France Scully Osterman

traveling light: location lightingwith small flashwith Joe McNally ©

refining Your stock photography with Patrick Donehue ©

nik software intensive: retouching techniqueswith Janice Wendt ©

the emotional moment with Jock McDonald ©

romancing the west with Bobbie Goodrich ©

HP SPREAD

All photography © Eric Kiel Photography/www.kielphoto.com. 1With i1 Color Technology from X-Rite. 2 HP Cash In & Trade Up promotion is open to U.S. residents only. HP Cash In & Trade Up cash back is provided by mail-in rebate for eligible purchases made during the during the promotional offer. Time frames for the promotion vary. Additional restrictions apply. Void where prohibited, taxed, or restricted by law. To access qualifying product options, full terms and conditions, and claim form, visit www.hp.com/go/cashin21. 3Mac and PC fully compatible. © Copyright 2009 Hewlett-Packard Development Company, L.P. The information contained herein is subject to change without notice.

GETTING YOUR WORK HERE ISN’T EASY. FORTUNATELY, PRINTING WITH HP IS.

HP DESIGNJET Z32003

24"–44" pedestal printer with 12 Vivera pigmented inks

HP DESIGNJET Z21003

24"–44" pedestal printer with 8 Vivera pigmented inks

HP PHOTOSMART PRO B91803

13" x 19" desktop printer with 8 Vivera pigmented inks

HP innovation helps you focus on photography—and your business. Time to capture, show and sell your photographs is essential for success. With special, time-saving features that make printing exceptionally easy, HP Designjet Z Series and HP Photosmart Pro B9180 Professional Photo Printers help you spend more time doing what you love—shooting amazing photos and building your business. With the HP Designjet Z3200 and HP Color Center, you can quickly and easily achieve accurate color through custom color profiles with its built-in spectrophotometer1. And you can synchronize custom color profiles with Adobe® applications, simplifying proofing and color management. Use HP Everyday Pigment Ink Photo Paper, and you’ll get the high-quality output you need every day—cost-effectively. In other words, you spend less time printing and more time focusing on your success.

Get a great HP Cash In & Trade Up rebate2 when you upgrade to a select new HP Designjet Professional Photo Printer—call 1-866-352-1080 or visit www.hp.com/go/cashin21 today!

Santa Fe ad (spread).indd 1 2/11/09 8:34:28 AM

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2010 SUMMER

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table of contents and instructor index

WORKSHOPS PROGRAMSIntroduction and Skills Overview ........................................................ 4Photography Mentorships ......................................................................... 5Custom Workshops ........................................................................................ 9

WORKSHOPS IN SANTA FECalendar ................................................................................................................ 7Descriptions ......................................................................................................12Application Form ...........................................................................................67

WORKSHOPS AROUND THE WORLD Calendar ................................................................................................................ 6Descriptions ..................................................................................................... 53Application Form ...........................................................................................67

GENERAL INFORMATIONCampus and Accommodations .............................................................60Registration Policies ....................................................................................61Portfolio Submission ...................................................................................63Technical Knowledge .................................................................................64Scholarship and Financial Assistance ...............................................65Application Form ...........................................................................................67Educational Partners ...................................................................................68

INSTRUCTOR INDEXSam Abell ................................................................... 18Rick Allred ....................................................... 31, 46Kwaku Alston .......................................................... 23Doug Beasley .......................................................... 46Allen Birnbach........................................................ 57Tony Bonanno ........................................................ 29Anne Cahill ............................................................... 49Keith Carter.............................................................. 28Michael Clark ......................................................... 15Tony Corbell ............................................................ 31Jerry Courvoisier .........................12, 50, 51, 59Jennifer Davidson ................................................ 30Patrick Donehue .................................................. 45Michael Donnor ........................................... 16, 33Seán Duggan ........................................................... 41Paul Elledge............................................................. 47Krista Elrick ............................................................. 57Jill Enfield ................................................................. 43Bobbie Goodrich .................................................. 37Cig Harvey ................................................................ 22Darius Himes .......................................................... 19Christopher James ...................................... 18, 25Karen Kuehn ........................................................... 35Bobbi Lane ............................................................... 48Sarah Meghan Lee .............................................. 53Norah Levine .......................................................... 36Cathy Maier Callanan ....................................... 24Norman Mauskopf .............................................. 40Jock McDonald ...................................................... 29Joe McNally ............................................................. 49Arthur Meyerson .................................................. 17Cotton Miller ........................................................... 51Daniel Milnor ......................................................... 37Frank W. Ockenfels 3 ....................................... 39Elizabeth Opalenik ............................................ 30Leasha Overturf .................................................... 47Chris Rainier ............................................................ 24David Samuel Robbins .................................... 55Bob Sacha................................................................... 34France Scully Osterman .................................. 43Andrea J. Sharon ................................................... 57Eddie Soloway.......................................36, 42, 54Andrew Southam .................................................. 41Jennifer Spelman......................................... 40, 45Craig Stevens .......................................................... 28Mary Virginia Swanson .................................... 19Carlan Tapp .............................................................. 48Alan M. Thornton ................................................ 16Jonathan Torgovnik ............................................ 21Raul Touzon ............................................................. 42Brad Trent ................................................................. 27Ronnie Weil .............................................................. 27John Weiss ........................................................ 33, 56Janice Wendt ........................................................... 13Nevada Wier ............................................................ 35Josh Withers ............................................................. 22

(505) 983-1400 www.santafeworkshops.com

P.O. Box 9916 Santa Fe, New Mexico 87504-5916

Phone (505) 983-1400 • Fax (505) [email protected]

YEAR-ROUND STAFF

Rick Allred, Digital Lab ManagerBrook Buxton, Media Coordinator

Reid Callanan, Director Dodie Ellis, Administration

Nerissa Escanlar, Operations AssistantAnne Fuller, Administration /Web

Facundo Garcia, Business ManagerRenie Haiduk, Director of OperationsCarrie McCarthy, Marketing AssistantCotton Miller, Digital Lab Assistant Deb Mindel, Director of MarketingMignon Ohmura, Administration

Jay Reisinger, Bookkeeper Laura Solomon, Administration

BOARD OF ADVISORS

Sam Abell, PhotographerCathy Maier Callanan, Photographer

Monica Cipnic, Photo EditorEric DuPaul, HP

Hal Eastman, PhotographerGreg Gorman, Photographer

Arthur Meyerson, PhotographerFred Roberts, Photographer

Eddie Soloway, PhotographerTrudy Kraljic-Teleisha, Nikon

John Weiss, Photographer /Educator

MAJOR EDUCATIONAL PARTNERS

Nikon and HP

Catalog Design: Linda Johnson / Swell DesignCopy Editor: Jo Ann Baldinger

Printing: American Web, Denver, CO

Cover Image: © Andrew Southam Courtesy of Santa Barbara Magazine

All Rights Reserved © 2010Santa Fe Photographic Workshops, Inc.

Santa Fe Photographic Workshops sets high standards to ensure forestry is practiced in an environmentally respon-

sible, socially beneficial, and economically viable manner. The catalog was printed on paper from well-managed forests which meets EPA guidelines for recommended use of recovered fibers for coated papers. All inks contain a blend of soy base. Our printer meets or exceeds all federal Resource Conservation Recovery Act (RCRA) standards, and is a certified member of both the Forest Stewardship Council (FSC) and the Sustainable Forestry Initiative (SFI). When you are done with this piece please pass it on to a friend, or recycle it. We can all have a better world if we choose it together.

SANTA FE, page 12

AROUND THE WORLD, page 53

top row: © Alyssa Bowers, © Eddie Soloway bottom row: © Eddie Soloway, © David Samuel Robbins

MY LOVE AFFAIR WITH PHOTOGRAPHY began when Iwas a junior in college — in retrospect, one of the finest years of my life. I was studying in London and used this great city as a springboard to travel throughout the British Isles, continental Europe, and the Soviet Union. As I packed for my year abroad, I thought it would be good to take a camera

along so I could make pictures of all the amazing places I would see. Little did I know that this simple decision to buy a camera would change the way I experienced the world and, on a larger scale, the way I lived my life.

During those first weeks in London, all my senses seemed heightened by my crude attempts to capture on film what I saw and felt. Speaker’s Corner, Portabello Road, Richmond Hill, and Kew Gardens became my picture-taking haunts. I enrolled in a photography class and learned how to develop film and make prints in the darkroom. Very quickly I was hooked, as this new interest consumed both my waking hours and my dreams at night. I wandered the streets of London, Edinburgh, Penzance, Dublin, Florence, Leningrad, and Moscow with my camera and a new appreciation for the sights, smells, and surprises of my surroundings. My passion for photography became deeply embedded in my body and soul, changing my lifeforever.

I witness a similar zeal in the people who come to the Workshops. I sense their desire to capture, now on a digital sensor, the moments in life that captivate and inspire them. I feel their commitment to learning how to better use the tools of photography— the cameras, computers, software, printers, and yes, film. I marvel at the joy they experience while exploring their creativity.

Photography deepens our connections to the world around us, to ourselves, and to one another. It adds meaning and delight to our lives. My own love affair with imagemaking is now 35 years young, and I have never stopped appreciating how fortunate I am to be able to express what I see and feel through photography.

Photography is a gift we give ourselves. Come to Santa Fe. You deserve it.

REID CALLANAN, Director

© K

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YEAR-ROUND STAFFfirst row, seated: Dodie Ellis, Nerissa Escanlar, Cotton Miller second row, seated: Mignon Ohmura, Facundo Garcia, Renie Haiduk, Reid Callanan, Carrie McCarthy, Rick Allred, Jay Reisingerthird row, standing: Brook Buxton, Anne Fuller, Deb Mindel, Laura Solomon

© Dustin Sammann

A PASSION FOR PHOTOGRAPHY!

4 5(505) 983-1400 www.santafeworkshops.com

2010 SUMMER 2010 SUMMER

PROGRAM OPTIONSYEAR-LONG MENTORSHIP

17 SESSIONS

SIX-MONTH MENTORSHIP8 SESSIONS

SINGLE SESSIONS

A session is a 60-minute phone consultation.

photography mentorshipsintroduction and skills overview

OVERVIEW OF SKILL LEVELS AND EXPERIENCEThe Workshops welcomes all levels of photographers, from beginners to professionals. We want you to find the workshop tailored to your interests and skill levels, so we collaborate with our instructors to pro-vide the details you need to make an informed decision. Each workshop description indicates who it is designed for (Who Should Attend), the technical skills participants are expected to have (What You Should Know), special details for that workshop (Special Notes), and if an image submission is required for acceptance (Portfolio).

Who Should AttendFour photography levels help identify the appropriate workshops for you: Beginners, Amateurs, Advanced Amateurs, and Professionals.

BEGINNERS have little to no experience with digital cameras, photography, or image editing software.

AMATEURS have been photographing for a while, have a working knowledge of the basic features on their cameras, and are familiar with digital workflow and image editing software.

ADVANCED AMATEURS have a working knowledge of manual mode on their cameras, have a working knowl-edge of digital workflow and image editing software, and are familiar with artificial lighting, digital printing, or other techniques as required in a particular workshop.

PROFESSIONALS earn a majority of their income from their photography, have a substantial body of work, and are proficient in all aspects of photography, as required in a particular workshop.

Regardless of your photographic skills, all participants are expected to have a working knowledge of how to use a laptop computer.For more information about manual mode, Adobe Photoshop knowl-edge, digital SLR guidelines, and computer requirements, please see page 64 in General Information.

What You Should KnowWe want to make sure that you feel confident working not only with your instructor, but also with other participants. The desire of staff, instructors, and participants alike is to maintain a consistent level of photographic proficiency in every workshop. Since each workshop has a unique set of technical skills, there are three standard phrases to indicate expected knowledge.

FAMILIARITY: You have a basic understanding

WORKING KNOWLEDGE: You are competentand can navigate comfortably

PROFICIENCY: You have in-depth experienceand are an advanced user

As an example, you might see: Working knowledge of your digital SLR camera; familiarity with digital workflow and Adobe Photoshop.

Special NotesThis area indicates unique details about a particular workshop. It is typically used to communicate special technology information, such as computer workstations provided to participants for workshops held in the digital lab.

PortfoliosMany of the workshops for Advanced Amateurs and Professionals require you to submit a selection of 20 images. Look for a portfolio icon and a description indicating the type of images requiredfor submission. For complete submission guidelines, see page 63 in General Information.

The Workshops staff is always available to answer your questions or help you find the workshop that best suits you. Give us a call at (505) 983-1400 x11.

Escape from the routine and indulge your passion for photography! Capture the soul of a portrait. Discover the spirit of place. Refine your personal style. Hone your technical skills. Free your imagination. Whether your desire is to break through creative barriers or learn the basics of composition, you will be inspired by some of today’s most influential photographers and instructors— in Santa Fe and Around the World. Treat yourself to one week out of the year where you are welcomed by others who are just as passionate about photography. You deserve it.

WORK ONE-ON-ONE WITH WORLD-RENOWNED PHOTOGRAPHERSMENTORSHIP PROGRAM

Mentorships OverviewLearning from a master through an apprenticeship has been a valued tradition throughout history. Even today, many experts recommend working one-on-one with a mentor to accelerate one’s path to success. Designed for advanced amateur photographers and professionals, our Mentorship Program connects you with our talented photographer instructors—from anywhere in the world.

A mentorship is often goal-oriented; it could focus on developing a business plan to start your photography career, building a stronger portfolio for graduate school, exhibiting in a gallery, printing in a mag-azine, publishing your book, or simply creating a memorable portfolio of personal images under the watchful eye of a photography master. Your mentor will champion your work—guiding and supporting your dreams and aspirations as a photographer.

© Jake Rutherford

Choosing a MentorshipMaking the decision to embark upon a mentorship to move your photography forward is a major decision. The first formal step is to speak with Reid Callanan, director of the Workshops. In addition to answering your questions, Reid will expect you to articulate your goals for a mentorship and to have reviewed the mentor biography’s on the Workshops web site.

Together, you and Reid will decide if you are ready for a mentorship and which mentor(s) would fulfill your goals. You can contact Reid at (505) 983-1400, ext. 15.

Learn more about the program and our mentors by calling (505) 983-1400, or visiting

mentors.santafeworkshops.com

Sam AbellTony CorbellJerry Courvoisier George DeWolfePatrick DonehueBobbi LaneNorman Mauskopf Arthur MeyersonDavid Middleton

OUR SEVENTEEN PHOTOGRAPHER MENTORS

Elizabeth OpalenikEddie SolowayMary Virginia SwansonCarlan Tapp Alan M. ThorntonRaul Touzon John WeissNevada Wier

© Memphis Barbree © Memphis Barbree

© David Middleton © Elizabeth Opalenik © Sam Abell © Alan M. Thornton © Carlan Tapp

© Bobbi Lane© Nevada Wier© Patrick Donehue© Arthur Meyerson

© Alyssa Bowers

(505) 983-1400 www.santafeworkshops.com 6 7See page 4 to learn more about WHO SHOULD ATTEND and WHAT YOU SHOULD KNOW*NOTE: Sales tax and additional fees will apply.

2010 SUMMERsanta fe calendararound the world calendar

2010 SUMMER

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Grab your gear and join us for photographic adventures Around the World.We handle most of the details so you can focus on exploring

the culture, people, wildlife, and landscapes of these remarkable places.

(505) 983-1400 www.santafeworkshops.com 7

WORKSHOPS IN SANTA FEWORKSHOPS AROUND THE WORLD

JUNE 27–JULY 3

JULY 4-10

JULY 11–17

JULY 18–24

JULY 25–31

AUGUST 1–7

June 4–6 Intensive: Digital Printmaking Jerry Courvoisier page 12

June 9–11 NEW! Nik Software Intensive:Retouching TechniquesJanice Wendt page 13

June 7–8 Nikon Capture NX 2 Intensive: The Ease of EditingJanice Wendt page 13

Lighting Portraits on LocationAlan M. Thornton page 16

The Color of LightArthur Meyerson page 17

NEW! Publish Your Photography Book Darius Himes and Mary Virginia Swanson page 19

NEW! Adventure PhotographyMichael Clark page 15

Alternative Photographic ProcessesChristopher James page 18

NEW! Contemporary Color PhotographySam Abell page 18

NEW! Digital Capture of YourMind’s EyeMichael Donnor page 16

Professional Photoshop Techniques: Layers, Masks, and BeyondJosh Withers page 22

NEW! The Essence of PortraitureKwaku Alston page 23

The Personal Photographic ImageCig Harvey page 22

Photographing PeopleCathy Maier Callanan page 24

In Search of Spirit: Its Land and PeopleChris Rainier page 24

Environmental PortraitureJonathan Torgovnik page 21

Advanced Alternative ProcessesChristopher James page 25

Perfecting the Fine-Art Digital PrintCraig Stevenspage 28

NEW! TheEditorial PortraitBrad Trent and Ronnie Weil page 27

Visual PoetryKeith Carter page 28

NEW! The Emotional MomentJock McDonald page 29

Northern New Mexico: A Photographic AdventureTony Bonanno page 29

Beginning Photography Using Digital CamerasJennifer Davidson page 30

Imagination and Dreams Elizabeth Opalenik page 30

The Powerof LightTony Corbell page 31

NEW! Creativityand Travel PhotographyNevada Wier page 35

Visual Storytelling with AudioBob Sacha page 34

Basics ofDigitalPhotographyRick Allred page 31

Mastering the PortraitKaren Kuehn page 35

Black-and-White Photography for Young PhotographersMichael Donnor page 33

NEW! Revitalizing Your PhotographyJohn Weiss page 33

The BookJourneyEddie Soloway page 36

NEW! Romancing the WestBobbie Goodrichpage 37

Looking Beyond the ObviousFrank W. Ockenfels 3 page 39

NEW! The Creative Pet PortraitNorah Levine page 36

Beyond the SnapshotDaniel Milnor page 37

Getting CloseNorman Mauskopf page 40

NEW! Expressive Photography for Young PhotographersJennifer Spelman page 40

The Creative Eye: Photography and Digital Darkroom EssentialsSeán Duggan page 41

NEW! The Fashion PortraitAndrew Southam page 41

A Natural Eye: The Summer LandscapeEddie Soloway page 42

Sharpen Your Photographic SkillsRaul Touzon page 42

NEW! Wet-PlateCollodionJill Enfield and France Scully Osterman page 43

NEW! RefiningYour Stock PhotographyPatrick Donehue page 45

Basics of Digital PhotographyJennifer Spelman page 45

Beginning Adobe PhotoshopRick Allred page 46

The Contemporary Black-and-White PortraitPaul Elledge and Leasha Overturf page 47

Zen and the Art of PhotographyDoug Beasley page 46

Seeing LightCarlan Tapp page 48

People and PlacesBobbi Lane page 48

NEW! Traveling Light: Location Lighting with Small FlashJoe McNally page 49

The Nikon Digital SLR CameraAnne Cahill page 49

August 13–15 Intensive: Panoramic Photography and HDRJerry Courvoisier page 50

August 16–20 Digital Imaging Essentials: Adobe Photoshop and LightroomJerry Courvoisier page 51

August 23–27 Beginning Digital Photography and Adobe Photoshop ElementsCotton Miller page 51

top: © Monica Chevalier bottom: © Pei Ketron

From top: © Andrew Southam, © Bob Sacha,

© Arthur Meyerson, © Norman Mauskopf, © Jake Rutherford, © Michael Clark

July 11–26

August 5–15

August 10–14

August 22–28

Aug. 28–Sept. 3

Aug. 28–Sept. 6

Oct. 17–Nov. 1

October 20–24

Oct. 29–Nov. 4

November 1–7

Nov. 30–Dec. 10

NEW! Ladakh: The Last True Remaining TibetDavid Samuel Robbins page 55

Ireland: Portraits of Western Ireland John Weiss page 56

NEW! Utah: The Figure in theWestern Landscape Allen Birnbach page 57

NEW! Southwestern Photographic JourneyJerry Courvoisier page 59

NEW! Alaska: The Glacier Bay ExperienceKrista Elrick and Andrea J. Sharon page 57

Peru: Lost City of the Incas, Machu Picchu John Weiss page 56

Bhutan: Land of the Thunder Dragon David Samuel Robbins page 55

A Natural Eye: Ghost Ranch, New Mexico Eddie Soloway page 54

San Miguel de Allende: Day of the Dead Sarah Meghan Lee page 53

NEW! A Natural Eye: Utah’s Canyon CountryEddie Soloway page 54

Australian Photographic Journey Jerry and Julie Courvoisier page 59

From top: © Jerry Courvoisier, © Allen Birnbach, © Jerry Courvoisier, © David Samuel Robbins, © Krista Elrick, © Jerry Courvoisier

JUNE

JUNE 20–26

AUGUST

9See page 4 to learn more about WHO SHOULD ATTEND and WHAT YOU SHOULD KNOW

2010 SUMMERcustom workshops

Fine-Tuning Black-and-White Techniques with Alan RossAlan Ross’s one-day “crash” courses and two- to five-day custom workshops in black-and-white photography are designed for individu-als or two persons enrolling together and are tailored to your needs and interests. As the only student, or working with a partner of your choosing, you have the opportunity to delve into the particular materi-als and techniques that interest you while working at the pace and level appropriate to your abilities and requirements. Courses range from an intense day covering film testing and the Zone System, or the techniques, tricks, and nuances of making a great print, to an extended five-day session during which you pull all the pieces together. Dark-room sessions include basic techniques as well as an introduction to selective masking. Working in Alan’s Santa Fe home and darkroom/studio, you have the chance to hone your skills in a master’s lab, so bring your favorite print-ing papers with you. If fieldwork beckons you, the great landscape and historic communities of northern New Mexico are at your doorstep.

ALAN ROSS, a well-known photographer, master printer, and educator, was Ansel Adams’s photographic assistant in Carmel from 1974 to 1979 and has been the exclusive printer of Adams’s Yosemite Special Edition negatives for more than 28 years. After operating a commercial photography studio in San Francisco for 12 years, Alan relocated to Santa Fe in 1993 to devote more of his energies to personal work and teaching. His work is featured in collections and galleries throughout the U.S. and internationally, and he has led workshop groups in loca-tions from Yosemite to China. This is Alan’s 13th year teaching for the Workshops.

WHO SHOULD ATTEND: Enthusiasts and Advanced Amateurs

WHAT YOU SHOULD KNOW: Working knowledge of basic darkroomtechniques. Medium to large formats are welcome. A phone interview with Alan is required for admission.

TUITION: Individuals: $550 per day, $2,475 for five days Two people: $875 per day, $3,950 for five days (Tuition includes darkroom use and chemicals. Application fee(s) and taxes are additional.)

Custom Photography WorkshopsIf you’re going to be in Santa Fe but are unable to attend a week-long workshop, we offer the opportunity to work individually with one of our many local photography instructors. We can customize a workshop for one or more days.

TUITION: $425 per day, per person (plus application fee and taxes)

Custom and On-Site Digital Training Santa Fe Photographic Workshops offers customized training sessions that meet your individual needs and fit your schedule and budget. From one-on-one to small groups, and from one-day to week-long workshops, Rick Allred and the Workshops’ staff will tailor a program for you in our state-of-the-art digital lab. On-site instruction for small businesses and corporations is also available.

TUITION: $425 per day, per person (plus application fee and taxes)Call the Workshops at (505) 983-1400 x11 for more information about individual, group, or on-location sessions.

Alan Ross in his darkroom

© Alyssa Bowers© Pei Ketron

© Dottie Lopez

Visit us at nikonusa.com/Learn-And-Explore

NIKON TECHNOLOGY At Nikon, we continually strive to develop advanced technologies that meet and exceed the ever-expanding demands of photography enabling all kinds of photographers to achieve the best images possible.

CAPTURE YOUR WORLDLearn from the experience and skills of world-class photographers as they share their insights and images in all the various fields of photography including travel, sports, nature and more.

INSIGHTS & TECHNIQUESNikon offers you both basic and advanced photography techniques to assist you in developing your photographic skills. Learn the basics of composing an image and using depth of field as well as advanced techniques like light painting, white balance and color settings.

SITE SEEING It’s New for You at NikonUSA

• At Learn & Explore you’ll find out what the pros are carrying into the field and into the studio. And we’ll give you the inside story of how you can do the same.

• You’ll be able to listen in as photographers talk about their images, and you’ll be able to view the moving images and multi-media productions they are creating with their D-Movie capable Nikon digital SLRs.

• You’ll be able to access how-to and behind-the-scenes videos. We’ll be discussing technology, from the perspective of how you can use the technology to take better pictures.

Nikon introduces a new section at the NikonUSA website called Learn & Explore offering photo enthusiasts a unique mix of imaging tips and techniques, inspiration and advice.

LEARN

LAUGHPHOTOGRAPH

© All images. Courtesy of staff and participants at the Workshops.


workshops in santa fe


workshops in santa fe2010 SUMMER

*NOTE: Sales tax and additional fees will apply.

2010 SUMMER

JERRY COURVOISIER

Intensive: Digital Printmaking June 4– 6 This two-and-a-half-day, hands-on workshop compresses and streamlines the digital printmaking process. Jerry guides participants as they discover how to craft images to perfection with Adobe Photoshop and HP printers, developing an in-depth understanding of managing color accurately and achieving smooth, subtle transitions when creating fine-art quality prints. Using Photoshop, we learn to build an image file that preserves excellent detail by adjusting images with maximum control. The workshop covers all the bases, including the best way to convert color to black-and-white, sharpening methods that enhance detail, and simple layering and masking techniques—everything necessary to successfully navigate the HP printer and software. We experiment with different kinds of printing papers to understand how they affect image presentation and quality. We also explore image size and its effects on tone, sharpness, and the overall character and impact of a printed image.

JERRY COURVOISIER is a photographer, educator, digital artist, world class Adobe Photoshop and Lightroom specialist, and inter-nationally recognized imaging technology consultant. He directed the digital program at Santa Fe Photographic Workshops for 14 years, building it into one of the most respected digital educational programs in the world. Jerry’s passion for photography, combined with his enthusiasm for sharing knowledge, makes him a popular workshop leader in photography, imaging application, and printmaking. He has worked with the National Geographic Expeditions series, and his teaching and consulting engagements have taken him to Great Britain, Italy, Germany, and Australia. In addition to teaching, Jerry works as an imaging workflow consultant, a beta tester for many software and hardware manufacturers, and has authored the book Lessons in DSLR Workflow with Lightroom 2.0 and Photoshop. This is Jerry’s 15th year teaching for the Workshops. His web site is www.jerrycourvoisier.com.

WHO SHOULD ATTEND: Amateurs and Advanced Amateurs

WHAT YOU SHOULD KNOW: Working knowledge of the computer, Adobe Photoshop, and digital printing

SPECIAL NOTES: Computer workstations are provided in the digital lab

TUITION*: $425 FEES: $135 Digital Lab

© Jerry Courvoisier

JANICE WENDT

Nikon Capture NX 2 Intensive: The Ease of EditingJune 7–8 This two-day workshop explores Nikon Capture NX 2, one of the most useful image editing platforms available today. With this pro-gram, photographers can streamline the way they work with digital files, from selectively editing light and color, to creating a simple method for color management. Workshop participants learn to utilize the nondestructive editing of Capture NX 2 to adjust and enhance their imagery, eliminating the large files often created by the multiple steps required in traditional software. We analyze images for optimiz-ing and retouching, set up raw adjustments to maximize image qual-ity and details, and practice using the intuitive editing options and tools offered by Capture NX 2. Participants acquire a strong basic knowledge of this program, allowing them to process images quickly and have more time to pursue photography.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow,digital printing, and your digital SLR camera

SPECIAL NOTES: Computer workstations are provided in the digital lab.


JANICE WENDT is one of the industry’s most respected retouch and image enhancement artists, one who “trains the trainers” on numerous techniques related todigital imaging. As an education and training manager at Nik Software, she instructs professionals across the country in all aspects of digital capture and digital workflow. Her practical approach to retouching features alternative, timesaving techniques for professional and beginning photographers alike. Janice is also a commercial and portrait photographer with more than 25 years of experience in film and digital photography. This is Janice’s second year teaching at the Workshops.

© Janice Wendt © Janice Wendt

© Jerry Courvoisier © Jerry Courvoisier © Jerry Courvoisier

JANICE WENDT

Nik Software Intensive: Retouching TechniquesJune 9–11 Have you ever wondered why your images do not always live up to your expectations? Although the exposure, the lighting, and the framing seemed right, somehow the image does not match what you saw and felt when you looked through the viewfinder. This work-shop explores retouching techniques that bring back that “alive” feeling—the mood, the light, and all the nuances that first inspired you to capture the image. Using Adobe Photoshop and the full suite of Nik Software prod-ucts, Janice demonstrates new techniques that do away with tedious selections and endless steps, thereby saving many hours in front of the computer. Topics include getting the most out of your workflow, opti-mizing raw images, noise reduction techniques, and global adjustments versus targeted adjustments. We also explore selective enhancements, bringing out detail, applying traditional techniques, creating black-and-white images from color capture, and developing a personal style through retouching. Janice energizes and inspires participants to see what is possible in the final steps of image enhancement.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow,digital printing, and your digital SLR camera



SPONSORED BY:

NEW




MICHAEL CLARK

Adventure PhotographyJune 20–26Adventure photography can be an adventure in itself, involving breathtaking locations, extreme conditions, and working with elite athletes in risky situations. It requires a host of skills, including technical excellence with the camera, familiarity with a sport, and the ability to be mindful of your goals and your safety at all times. Designed for intermediate to experienced photographers, this workshop concentrates on creating unique images of rock climbing, kayaking, mountain biking and trail running, as well as photographing on a working ranch. Using elite athletes as our models and northern New Mexico’s incredible landscape as our backdrop, we explore innova-tive ways to capture the essence of each sport and location. Topics covered during the week include research and preparation, composition and camera angles, equipment selection and use, using natural light, fill flash, and battery-powered strobes, and autofocus techniques. We also learn how to work with athletes who are putting themselves at risk and how to capture the intensity of the action. Each day finds us in a new location working with expert athletes. Classroom time includes daily editing and critiquing sessions and one-on-one meetings with Michael. In addi-tion, Michael shares his insights and experiences in the adventure marketplace, including career development, portfolios, and how to shoot for stock, editorial, and commercial clients.

MICHAEL CLARK is an internationally published outdoor adventure photographer. His intense, raw images of athletes pushing their sports to the limit in remote locations around the world feature unique angles, bold colors, strong graphics, and dramatic lighting. Balancing extreme action with subtle details, striking portraits, and wild landscapes, Michael creates photographs for editorial, advertising, and stock markets worldwide. His clients include Nike, Nikon, Red Bull, Gatorade, Patagonia, National Geographic, Sports Illustrated, Men’s Journal, Outside, Backpacker, Outdoor Photographer, and Climbing, to name just a few. Michael is the author of Digital Masters: Adventure Photography. His web site is www.michaelclarkphoto.com.

WHO SHOULD ATTEND: Advanced Amateurs and Professionals

WHAT YOU SHOULD KNOW: Working knowledge of digital workflow and manual mode on your digital SLR camera

Please see page 63 for your portfolio submission

TUITION*: $1,095 FEES: $125 Model and Location

© Michael Clark © Michael Clark

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Print/Export Time: 1-13-2010 6:16 PMPrint Scale: 100%User Name: ipgna\joe.congoProof #: 8PM: R. RamirezAccount: NoneInDesign Version: CS4Version Code: NoneColor Specs: 4/C

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MICHAEL DONNOR

Digital Capture of Your Mind’s EyeJune 20–26This workshop is for photographers who already know digital SLR basics and are ready for the next step—creating more compelling and personal images. Michael helps you master your camera, then introduces quick techniques in Adobe Photoshop and Lightroom that inform your photographic vision. The goal is to become com-fortable with the tools, freeing you to create the images you see in your imagination. Our mornings in the digital lab combine in-depth review of camera functions with post-processing techniques to enhance photographic style. We learn simple tools in Photoshop and Lightroom that add dra-matic effects, resulting in images that go beyond what you see in the viewfinder. We critique the previous day’s work and study images that emphasize creative vision and exploration. Afternoons are spent at stunning locations around Santa Fe, where we challenge and stimulate our creativity with our newfound knowledge. One-on-one meetings with Michael help clarify each participant’s goals and identify ways to overcome barriers. The camera is only a tool. Master it, and there is no limit to what you can capture through your mind’s eye.

MICHAEL DONNOR is a fine-art photographer whose work is in private collec-tions across the U.S.; his gallery representation includes Soulcatcher Studio in Santa Fe, John Cleary Gallery in Houston, and Gallery 291 in San Francisco. After earning a BA in Fine Art Photography from the University at Buffalo, he became a teaching assistant at the Workshops, where he worked alongside David Alan Harvey, Keith Carter, Joe McNally, and Karen Kuehn, to name just a few. Michael has helped students across the country attain their next level of photographic possibilities. His web site is www.michaeldonnorphotography.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand your digital SLR camera



© Michael Donnor

ALAN M. THORNTON

Lighting Portraits on LocationJune 20–26Location portraiture is one of the most rewarding and exciting pur-suits in photography—requiring us to interact with our subject, our location, and the light and atmosphere we find or help to create. It is about photographing life while it is happening, with a little creative control thrown in! Participants in this workshop learn to understand and apply the principles of location portraiture through the creative possibilities of location, light, and most importantly, the subject. Mornings are devoted to lectures, demonstrations, and critiques. The rest of the day we practice lighting techniques in a variety of inspiring locations around Santa Fe. Our subjects include hired mod-els, people we meet in town, and our fellow workshop participants. The focus of the week is on creating simple but expressive light-ing schemes with professional strobe lights, from mono lights to more complex multi-light power pack systems. We explore the use of soft boxes, grid spots, reflectors, and colored gels, and learn how to select those best suited to a particular subject and scene. We learn to adapt existing light, both natural and artificial, to intensify the effect we want our portraits to convey. Other topics include the rigging of lights, packing and preparing for location, various cameras and equipment, and creative ways to photograph a portrait. Alan also demonstrates large-scale location shoots and discusses how to break a few photo-graphic rules to make a stronger portrait.

ALAN M. THORNTON has been an advertising, editorial, and fine-art pho-tographer for 16 years, working with various editorial publications in Boston and advertising clients including Hewlett Packard, Apple, John Deere, Land Rover, Nike, and TV Guide and is one of Hewlett Packard’s Prestigious Photographers. He has also been an instructor for the Center for Digital Imaging Arts at Boston University in Massachusetts and the Hallmark Institute of Photography. In his fine art and travel documentary work, Alan’s most recent project took him to southeastern Turkey where he spent a summer exploring the mountainous regions and making large-format black-and-white portraits of the nomadic Kurdish people. This is Alan’s seventh year teaching for the Workshops. His web site is www.amtproductions.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand manual mode on your digital SLR camera


© Alan M. Thornton

© Arthur Meyerson

ARTHUR MEYERSON

The Color of LightJune 20–26

This renowned workshop is designed for both amateur and professional photographers who wish to strengthen their ability to see and work in color. Through daily shooting assignments, critiques and discussions, participants acquire techniques to become more sensitive to light and its effects on color, composition, texture, pattern, and design. While cover-ing the use and quality of natural and artificial light, the main focus is on investigating color from a personal point of view. Arthur guides and inspires participants to help refine an individual style for creative fulfill-ment as well as for commercial success. The workshop begins with an intensive review of each participant’s

images and a discussion of personal and career goals. In addition to addressing the aesthetics of color photography, Arthur leads group critiques and spends individual time with each participant addressing their photography. Daily assignments put classroom techniques into practice and take advantage of the stunning light and color of northern New Mexico. Participants leave at the end of the week with a greater awareness of their strengths and an enhanced sensitivity to light and color.

ARTHUR MEYERSON is an award winning photographer, a highly sought after workshop instructor and mentor who travels through-out the world photographing for advertising, corporate, and editorial clients. A three-time winner of Adweek ’s “Southwest Photographer of the Year” award, he is on Communication World ’s list of the world’s top 10 corporate photographers and was named one of the30 best advertising photographers by American Photo. In 1999, Arthur became a member of Nikon’s exclusive “Legends Behind the Lens”. Arthur’s photographs have been exhibited internationally and published in Communication Arts, Rangefinder, Nikon World, Zoom, Camera Arts, Digital Photo Pro, and Graphis. This is his 18th year teaching for the Workshops. His web site is www.arthurmeyerson.com.



Please see page 63 for your color portfolio submission

TUITION*: $1,375 FEES: $25 Location

© A

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CHRISTOPHER JAMES

Alternative Photographic ProcessesJune 20–26Investigate and experiment with an extensive menu of alternative photographic techniques in this hands-on workshop. Intended for creative people in all disciplines (especially those with a sense of humor!), Christopher helps participants jump-start their artistic energies or add to their artistic toolbox. Our goal is to inspire new directions, new options, and new energy for each participant’s unique vision and artistic development. Among the processes we explore are Cyanotype, Cyanotype murals, Kallitype, Argyrotype, salted paper, matte albumen, gum bichromate, platinum, palladium, and Ziatype, as well as process combinations and toning options. Other topics include large-format pinhole photography, simplified digital negative separations, histori-cal and contemporary alternative survey, the Lazertran Process, and alternative cameras. For those looking for extended instruction and additional processes, consider combining this workshop with the Advanced Alternative Processes Workshop the following week (see page 25).

CHRISTOPHER JAMES is an internationally known artist and photographer whose paintings and alternative process images have been exhibited in galleries and museums in the U.S. and abroad, including shows in the Museum of Modern Art, Metropolitan Museum of Art, George Eastman House, and Philadelphia Museum of Art. His book, The Book of Alternative Photographic Processes, receiv-ing unprecedented critical acclaim, was the winner of The Golden Light Technical Book of the Year award, and has become the standard reference text in alternative process image making. The Book of Alternative Photographic Processes, Second Edition, published in 2008, is the text for the workshop. Having taught at Harvard University for many years, Christopher is now professor and chair of Photography at the Art Institute of Boston at Lesley University. He is also a graphic designer and a professional scuba diver. This is Christopher’s seventh year teaching at the Workshops. His web site is www.christopherjames-studio.com.


WHAT YOU SHOULD KNOW: Familiarity with digital workflow anddarkroom techniques are helpful, but not required.

TUITION*: $1,245 FEES: $300 Materials

© Christopher James

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DARIUS HIMES and MARY VIRGINIA SWANSON

Publish Your Photography BookJune 20–26This workshop is for photographers interested in understanding the ins and outs of publishing a book of their work. Beginning with the question, “What makes a great photography book?”, we examine a variety of classic and contem-porary examples in order to gain a deeper understanding of editing and sequencing a body of work. Topics include an overview of the publishing industry, issues of design and typography, planning for production, and the marketing of your finished title. Print-on-demand and self-published books are discussed, with many examples shown throughout the week. The schedule includes demonstrations, guest speakers, and field trips to local publishers, photographers, and booksellers. Participants should bring a body of their own photographic work, either completed or still in progress, that they desire to see in book form. Seminar-style discussions of each participant’s work address conceptualizing, editing, sequencing, and possible book formats. Each participant has a private consultation with Darius and Mary Virginia and leaves with a checklist of priorities for publishing a photography book.

Darius and Mary Virginia are co-authors of Publish Your Photography Book, forthcoming in the fall of 2010.

DARIUS HIMES is a founding member of Radius Books, where he works as an acquiring editor. From 2000 to 2007 he was the editorof Photo-Eye, a quarterly magazine devoted to photography books. Darius is a lecturer, educator, and writer who has contributed toBlind Spot, PDN, BOMB, Bookforum, and American Photo. His web site is www.dariushimes.com.

MARY VIRGINIA SWANSON’s goal is to guide photographers toward the strengths in their work and to identify appreciative audiences. She is a respected marketing consultant whose workshops and lectures have helped countless photographers move their careers to the next level. Mary Virginia’s web site is www.mvswanson.com; her blog is marketingphotos.wordpress.com


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow

SPECIAL NOTES: Participants must bring a collection of images.

TUITION*: $1,450 FEES: $50 Location and Speaker

© Sam Abell

SAM ABELL

Contemporary Color PhotographyJune 20–26With Santa Fe as its inspiring and thought-provoking backdrop, this new workshop is about taking the permanent steps to making stron-ger, more involving photographs. The colors of Santa Fe come alive at every turn–in the surrounding landscape, the sky, the markets, and with the colorful personalities we encounter. As we immerse our-selves in this vibrant area and culture, Sam challenges participants to see beyond the beautiful scenery to create meaningful, contempo-rary color images. We start the week with a critique of existing work to create tighter, truer portfolios, then explore the local region to craft new, stronger images with a distinct modern sensibility. This is primarily accomplished by daily assignments that challenge and sharpen your photographic thinking and seeing. The emphasis is to explore, with sophistication, how to make great photographs of new places. There are also dynamic daily discussions about your new work and about what goes in to making lasting images. Importantly, there are also on-on-one sessions with Sam dedicated to clarifying your career and artistic goals. The design and purpose of this week is to take your work to a new level by strengthening the way you seeing both in the field and in the editing room. Generating new, thoughtful work is our primary goal. But the workshop is also rich in conversation. It is a conversa-tion about the world of photography and enlarging your place in it.

SAM ABELL is a gifted and insightful teacher, an expressive artist, and a sensitive photographer who learned photography from his father, Thad Abell. From 1970 to 2005, Sam worked for National Geographic as a contract and staff photographer and as a Photographer in Residence. In 1990, his work was the subject of a one-person exhibition at the International Center of Photography in New York. Accompanying the exhibit was a mid-career retrospective monograph titled, Stay This Moment. Since then he has published three collections of his work: Seeing Gardens, Sam Abell:The Photographic Life, and The Life of a Photograph. Sam’s most recent project focused on the headwaters of the Amazon. In addition, Sam maintains a career as a writer, teacher, and lecturer on photography. He is an active member of the Board of Advisors for the Santa Fe Photographic Workshops. This is his 21st year teaching for the Workshops.



Portfolio: See page 63 for your color portfolio submission


NEW




JONATHAN TORGOVNIK

Environmental PortraitureJune 27–July 3

The unspoken language and emotional connections between photographer, subject, and environment are the focus of this workshop. We navigate through the intimate and, at times, intense process of creating a successful portrait with an emphasis on photographing people in their personal environments, in and around their homes or workplaces. We learn how to meet the challenges of establishing a deep connec-tion with our subjects in a relatively short period of time. We address the different approaches required when photographing for an editorial client or a personal project. Working with a variety of equipment and locations, participants are encouraged to go beyond the technical and explore the aesthetic aspects of their subjects and surroundings. We explore a range of light sources including the use of available daylight and portable strobe, but always with emphasis on keeping it simple and

personal. In addition, we discuss the use of multiple camera formats including medium and 35mm. Through group and individual assignments, image presentations, and daily critiques, participants gain confidence and develop a solid foundation for further exploration.

JONATHAN TORGOVNIK’s photographs have been widely exhibited in the U.S. and Europe, and have appeared in such international publications as Newsweek, Aperture, GEO, The Sunday Times Magazine, and Stern, among many others. His work is in the permanent collections of the Museum of Fine Arts, Houston, and the Bibliothèque Nationale de France. A contract photographer for Newsweek since 2005, he is on the faculty of the International Center of Photography School in New York. Jonathan’s honors include the National Portrait Gallery’s Portrait Prize in Great Britain, the Open Society Institute’s Documentary Photography Project fellowship, a Getty Images Grant for Editorial Photography, Picture of the Year International, the 2008 Arnold Newman Prize, and an Emmy award nomination. He is the author of Bollywood Dreams and Intended Consequences, and is the co-founder of Foundation Rwanda. This is Jonathan’s second year teaching at the Workshops. His web site is www.torgovnik.com.



Please see page 63 for your portrait portfolio submission


© Jonathan Torgovnik

© Jo

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JOSH WITHERS

Professional Photoshop Techniques: Layers, Masks, and BeyondJune 27–July 3The use of layers is the backbone of creativity within Adobe Photoshop. From simple retouching to complex realistic or artistic compositing, layers and masks are essential. Participants in this workshop use their own images to learn the professional’s approach to non-destructive imagemaking. Topics include using layers and masks to develop the best strategies for advanced retouching techniques, color cor-recting and color enhancing, compositing complex image combina-tions, blending modes, and the advantages of channels and paths. Additionally, lessons incorporate the History Palette, creating custom actions, and learning how to optimize your computer to improve Photoshop’s performance. This workshop is for those proficient in Photoshop who are looking to learn advanced skills and capabilities, while focusing on creativity. The curriculum revolves around Josh’s expert demonstrations and one on one tutoring. Each topic is explained in detail with plenty of time for individual exploration.

JOSH WITHERS is a professional in Adobe Photoshop, with experience ranging from commercial work to fine art. He began his professional digital imaging career as assistant manager in the Workshops digital lab, working alongside many pre-eminent digital image makers. Josh’s work then led him to San Francisco where he honed his skills as a commercial digital artist working for top commercial photog-raphers. He then developed an in-house retouching and digital photography studio to support TBWA\Chiat\Day, one of the largest advertising agencies in the country. In the agency setting Josh uses Photoshop daily for high end, flawless commercial purposes. Additionally, his photographic vision for the agency’s Pedigree dog food campaign resulted in two Kelly Awards, recognition in Communication Arts, and a Lucie Award nomination. Josh is a master of Photoshop and is part of Adobe’s beta testing team. He is also an exhibiting fine artist, editorial/concert photographer, and educator who teaches at Pasadena College of Art and Design. This is Josh’s 11th year teaching at the Workshops. His web site is www.joshwithers.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow, Adobe Photoshop (please see page 64), digital printing, and your digital SLR camera


TUITION*: $1,050 FEES: $180 Digital Lab and Location

CIG HARVEY

The Personal Photographic ImageJune 27–July 3The powerful medium of photography allows us to manifest our personal stories. Stories told through photographs can come from a place of joy or pain, and they may be truthful or fictitious; the only essential factor is that they be intensely felt by their maker. The challenge is to avoid the universal and clichéd and to discover the unique by seeking out the specific and the personal. Using metaphor and symbolism, participants photograph across many genres—the found and the constructed, the landscape, the still life, the portrait, and the self-portrait—in order to visually articulate their narratives. We devote the magical hours of early morning and late afternoon to making images so that our stories are told in beautiful light. The rest of the day is spent as a group in the classroom, writing, brain-storming picture ideas, critiquing images from the previous day, and viewing work by other artists who have used personal experience as a vehicle. Cig meets individually with each participant to discuss how to push his/her work farther and avoid repetition.

CIG HARVEY is a working fine-art photographer and educator whose images are in numerous prestigious collections worldwide. Her work and her workshops have been highlighted in PDN, Popular Photography and American Photography.She is represented by the Robin Rice Gallery in New York and Joel Soroka in Aspen. Her commercial clients include Harper’s Bazaar, Kate Spade, Bloomingdales, andThe New York Times. A professor at the Art Institute of Boston, Cig has taught work-shops for the past seven years. She is known for her high energy, creative teaching style and brings a profound sense of optimism to all that she does. This is her fifth year teaching for the Workshops. Her web site is www.cigharvey.com.




© Cig Harvey

KWAKU ALSTON

The Essence of Portraiture June 27–July 3Thousands of good photographic portraits are produced every year. This workshop with Kwaku Alson is designed for photographers who wish to create exceptional portraits—portraits that stand out from the rest—that are original, inspiring, and provocative. During our week together, daily studio and location assignments emphasize enhancing a mood through the use of light, composing a compelling image, creative problem solving, on-the-spot lighting techniques, and working with high profile subjects. Results are reviewed and discussed the next morning. Our schedule also includes demonstra-tions and discussions of some of the issues facing professional photographers today in the portrait arena, such as self-promotion, portfolio development, seeking representation, and finding work. Special attention is devoted to ways to understand and capture the true nature of our subjects. Working with models and fellow participants, we practice creating images that penetrate deeply into character.

KWAKU ALSTON has been working steadily with a diverse roster of commercial clients for the past 15 years. After several years in New York photographing for The New York Times Magazine, Rolling Stone, Time, Sony Music, and Miramax, Kwaku opened his own studio in Venice, California. His recent portrait subjects include the President and First Lady, Clint Eastwood, Jennifer Aniston, and John Mayer; he has also photographed advertising campaigns for A&E, Blackberry, Target, and Verizon. Kwaku has a passion for social documentary photography and has worked with many charities over the years. In 2009 he traveled to Ethiopia, documenting a humanitarian trip with Toms Shoes. Other career highlights include photographing Nelson Mandela and Oprah Winfrey’s Legends. Kwaku’s web site is www.kwakualston.com.


WHAT YOU SHOULD KNOW: Proficient in digital workflow and custom functions on your digital SLR camera;working knowledge of artificial lighting

Please see page 63 for your portfolio submission of artificially lit portraits


© Kwaku Alston © Kwaku Alston

NEW

© Josh Withers






CHRIS RAINIER

In Search of the Spirit: Its Land and PeopleJune 27–July 3Learning how to identify the spiritual and sacred essence of a place, a person, or a culture is at the heart of this workshop. Participants explore the deserts and mountains of northern New Mexico, the traditions of the Native American culture, and the spiritual communi-ties of Santa Fe and Taos. Our focus is on the documentary approach to photographing cultures and their environments. Daily assignments emphasize tuning in to the land and its primeval energy, as well as listening and watching for a spiritual connection to unfold during a portrait session. Chris joins participants on field trips to help them find the link between what they see and what they feel, and then to capture their emotions with their camera. We look at personal documentary projects from the philosophical to the technical, the spiritual to the pragmatic, including magazine assignments, books, and fine-art exhibitions. Chris also discusses funding, publishing, exhibitions, and careers in travel photography, and meets individually with each participant.

CHRIS RAINIER is one of today’s leading documentary photographers, special-izing in wilderness areas and indigenous cultures. He has photographed numer-ous civil conflicts, wars, and natural disasters and has explored the North Pole, Antarctica, and the jungles of New Guinea. A National Geographic Society Fellow, Chris specializes in photographing endangered cultures and helps bring cameras, video, and computers to native communities around the globe. Chris is director of the National Geographic All Roads Photography Program. He is a contributing editor at National Geographic Traveler, specializing in indigenous cultures. Chris is the recipient of five National Press Association Picture of the Year Awards for his continued documentation of the disappearing tribes of the world. His latest book, Ancient Marks: The Sacred Origins of Tattoos and Body Marking, was published in conjunction with a museum exhibition now touring North America and Asia. This is Chris’s 14th year teaching for the Workshops. His web sites are www.ancientmarks.com and www.chrisrainier.com.





CATHY MAIER CALLANAN

Photographing PeopleJune 27–July 3Photographing people with skill and confidence, and having fun doing it, is the goal of this week with Cathy Maier Callanan. The workshop is for intermediate-level photographers who want to make stronger, more meaningful portraits, and who are hesitant about approach-ing people. Through daily assignments, we develop the awareness and sensitivity necessary to move beyond literal renderings to more intimate portraits. We learn effective methods for approaching strang-ers and putting friends and family at ease. Composition, lighting techniques, and forming a personal style are topics for discussion, investigation, and assignments. With a colorful and diverse population, Santa Fe and northern New Mexico provide stunning and creative environments to photo-graph and offer a wealth of portrait opportunities to test newly found skills and build confidence. Daily field sessions follow morning cri-tiques, lectures, and visits from several successful portrait photogra-phers. This is a spirited, insightful week of coaching, fun, challenges, and pushing beyond where you thought you could go in photographing people.

CATHY MAIER CALLANAN, co-founder of the Santa Fe Photographic Workshops, has run a successful commercial photography business for 29 years and is known nationally for her portrait and wedding photography. Her images have been published in Popular Photography, Rangefinder, Town & Country, Brides, Women’s World, Camera Arts, Studio Photography & Design, and Calumet Focus. Cathy is committed to making a difference as a photographer for the Heart Gallery and the AML Foundation, both helping youth in foster care. She has ongoing per-sonal photo projects in Mexico and Jerusalem, as well as documentary projects on the homeless and the wisdom of our elders; the Rosewater Network named her a “Compassionate Photographer of the Year.” Cathy is a dedicated and knowledgeable teacher. Her enthusiasm is infectious, and her sensitive and caring nature supports all her students through the learning process. This is Cathy’s 15th year teaching for the Workshops. Her web site is www.cmcphoto.com.




© Cathy Maier Callanan

© Chris Rainier

CHRISTOPHER JAMES

Advanced Alternative ProcessesJune 27–July 3This workshop offers photographers an additional week of processes, working time, dedicated working space, and materials with which to refine their skills and focus their energies on a specific project or technique. It is designed for visual artists who have attended one of Christopher’s alternative processes workshops or whose portfolios dem-onstrate a comfortable working knowledge of the subject. Christopher’s workshops provide a dynamic, hands-on, group experience in an energetic and supportive envi-ronment. Participants receive continual assistance and immediate feedback on works in progress, along with an open exchange of working concepts, ideas, history, and techniques. Individual process demonstrations are given on request, if there is a technique you’ve always wanted to learn, or if you need a refresher. Using Christopher’s The Book of Alternative Photographic Processes, Second Edition as the workshop text, we cover a comprehensive range of processes, including wet plate collodion, calotype, platinum, palladium, salted paper, albumen, Van Dyke, kallitype, argyrotype, cyanotype, gum bichromate & gum combination techniques, Ziatype, carbon, and hand-applied emulsions. We also have a digital negative production set-up in the facility. While most of our printing is done in the sun, UV exposure units are available for printing at night or on rainy days. Christopher’s workshops are a lot of fun; bring your sense of humor. A letter, with specific recommendations on what to bring, will be sent to all participants prior to the workshop.

CHRISTOPHER JAMES’s biography is on page 18.


WHAT YOU SHOULD KNOW: Working knowledge of alternative processes; familiarity with digital workflowand traditional darkroom techniques

Please see page 63 for your portfolio submission of alternative processes


All images © Christopher James




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BRAD TRENT and RONNIE WEIL

The Editorial PortraitJuly 4 –10What are the defining ingredients of an editorial portrait that makes the reader stop and take notice? Led by New York City-based photographer Brad Trent and Bloomberg BusinessWeek director of photography Ronnie Weil, this workshop explores the evolving world of magazine portraiture and the essentials of creating inspired photo-graphs in a variety of situations. Brad and Ronnie discuss ways to deliver fresh, modern, and exciting portraits while working under pressure. Daily studio and location assignments emphasize such fundamental production decisions as selecting subjects, scouting locations, and choosing props. Each day’s images are critiqued the following morning. Assignments focus on creating memorable photographs for magazine covers, editorial spreads, and portrait essays. Brad demonstrates his unique lighting and camera techniques and his signature Adobe Photoshop style. He offers advice on situations that can arise when photographing celebrities, businessmen, and “real people.” They also discuss ways to create an easy-going ambience on the set, establish a connection with the subject, and produce photographs that go beyond the obvious. Image presentations and discussions cover various technical and creative aspects of editorial photography. Ronnie shares her expertise as a photo editor and meets with each participant individually to discuss career goals and review portfolios.BRAD TRENT is best known for his stylized portrait photography for magazines like Time, LIFE, Sports Illustrated, BusinessWeek,The New York Times Magazine, Esquire, USA Weekend, and Barron’s. Since 1986 he has photographed celebrities, athletes, business-men, models, and even a couple of presidents. Brad’s advertising, entertainment, and corporate clients include General Motors, Pacific Bell, IBM, CBS, NBC, the NFL, Pepsi, and GlaxoSmithKline. Over the years, his work has been recognized by Communications Arts,the Clio Awards, the One Show, and the Black Book AR100. Brad’s web site is www.bradtrent.com.

RONNIE WEIL is the director of photography at Bloomberg BusinessWeek, where she oversees a staff of eight photo editors and researchers. Since joining BusinessWeek in 1984, she has collaborated with such influential editorial photographers as Dan Winters, Gregory Heisler, Karen Kuehn, Chris Buck, and Len Irish. Under her direction, BusinessWeek has won numerous awards from the Overseas Press Club, National Magazine Awards, the Society of Publication Designers, and the New York Press Club. Ronnie was the photo editor on two Random House books, Rainmaker and The Reichmanns, and serves as a judge in photographic competitions.


WHAT YOU SHOULD KNOW: Proficient in digital workflow, custom functions on your digital SLR camera,and working knowledge of artificial lighting



© Brad Trent © Brad Trent

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KEITH CARTER

Visual PoetryJuly 4–10Would you like to develop or enhance a personal style, strengthen your original vision, and broaden the way you think about photogra-phy? This workshop helps serious amateur and professional photog-raphers find more passion in their work by exploring the narrative, aesthetic, and emotional aspects of imagemaking, with an emphasis on simplicity and the use of natural light. Through practical demonstrations, field trips, individual port-folio reviews, and studying the work of both historically significant and little-known photographers, we refine our views on producing work and balancing the various aspects of a busy life. In addition to darkroom technique, digital fine art, and expressive printmaking, we discuss how to develop projects and exhibitions, and the ins and outs of the publishing world. Everyone is encouraged to bring a sense of humor and a sense of purpose; wise-asses, hotdogs, and burnouts are welcome!

KEITH CARTER is one of the leading fine-art/editorial photographers working today. His expressive images have been published in 10 books, including A Certain Alchemy. An internationally respected educator and workshop leader, Keith holds the endowed Walles Chair of Art at Lamar University in Beaumont, Texas, where he received the highest honor given to faculty: the University Professor Award. Other awards include the Lange-Taylor Prize from Duke University. In 2006, Anthropy Arts produced a DVD documentary on his work. Keith has had over one hundred solo exhibitions in 13 countries, and his photographs are in the permanent collections of the George Eastman House, the Art Institute of Chicago, and the San Francisco Museum of Modern Art, to name a few. This is Keith’s 15th year teaching for the Workshops. His web site is www.keithcarterphotographs.com.





CRAIG STEVENS

Perfecting the Fine-Art Digital PrintJuly 4–10Photography has changed dramatically in the past 15 years, especially in the area of printmaking. Today’s digital cameras instantly capture ranges of light that a Zone System user would have labored to achieve. High Dynamic Range (HDR) imagery rivals the primacy of our own eyesight, and digital printers produce technically precise archival prints in both color and black and white. What used to require blood, sweat, and tears, is now easily achieved. The magic now comes from your personal vision. If we know how we want an image to feel, we are on the path to crafting a print that mirrors that intent. In this workshop, we explore the subtleties that transform a print from a mere statement to a poetic expression of the photographer’s emotional intent. We begin with light—practicing techniques for modulating the range of light in terms of densities of light and dark, local and overall contrast, color, and tone. With Silver Efex Pro by Nik Software we learn how to further enhance black-and-white prints. In daily print-ing sessions, we output images on a variety of papers to explore the different possibilities for the look and feel of our print. We investigate the role of scale using large-format HP printers, and experiment with inkAID products to create custom alternative substrates. We also visit several top photo galleries to examine the work of exceptional con-temporary printmakers. Along with a collection of their own images, participants should arrive with a sense of humor and desire to move beyond the commonplace.

CRAIG STEVENS is a professor of photography at Savannah College of Art and Design and proprietor of l’Atelier, a fine-art digital printmaking service with an international clientele. A respected workshop leader and dedicated teacher for more than three decades, he has published numerous articles about photographic craft and vision. Craig’s expertise in a broad spectrum of media and styles is reflected in his personal work, which ranges from traditional black-and-white silver process, platinum/palladium, color process, and mordançage to the quickly expanding field of the fine-art digital print, which he began to explore when it first emerged eight years ago. This is Craig’s fourth year teaching for the Workshops. His web site is www.craigstevens.net.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow, Adobe Photoshop, digital printing, and your digital SLR camera


TUITION*: $1,095 FEES: $250 Materials and Digital Lab

© Craig Stevens

© Keith Carter

TONY BONANNO

Northern New Mexico: A Photographic AdventureJuly 4–10For more than a hundred years, the landscapes and cultures of New Mexico have inspired photographers and painters such as Ansel Adams, Eliot Porter, Laura Gilpin, Paul Strand, Georgia O’Keeffe, Marsden Hartley, and Peter Hurd. This field-oriented workshop is about creating photographs that challenge the viewer’s imagination and convey the beauty, drama, and feeling of the Land of Enchantment. Tony guides participants through some of his favorite photo-graphic treasures, from the incredible skies and red rock formations of O’Keeffe’s Ghost Ranch to the vast ranchlands, wildlife, and historic structures of Mora County. Tony shares an in-depth knowledge of the land and its diverse peoples acquired during his 17 years as a professional photographer in New Mexico, and previ-ously as the National Park Service’s chief ranger for the Southwest United States. This is a week to explore your creativity, expand your visual skills, and to enhance your understanding of the photographic process from capture to output. Lengthy days in the field photographing the scenic beauty of northern New Mexico provide invigorating experiences that are reflected in your images and work. Classroom sessions include discussions of composition, light, and color, and reviews of partici-pants’ images. The use of Adobe Lightroom for digital workflow aids in achieving your personal style.

TONY BONANNO is an internationally renowned photographer who has worked extensively throughout the U.S. and Europe, the Caribbean, Central America, Mexico, Africa, and Australia. His diverse subjects have ranged from the President and First Lady of the U.S. to indigenous peoples and their cultures, to capturing the beauty and rhythms of running horses in his acclaimed “Hooves & Dust” series. Tony’s clients include New Mexico Magazine, the National Park Service,Intel Corporation, and the Southwestern Association for Indian Arts, to name just a few. This is Tony’s second year teaching at the Workshops. His web site is www.bonannophoto.com.

WHO SHOULD ATTEND: Amateur and Advanced Amateurs



© Tony Bonanno

JOCK McDONALD

The Emotional Moment July 4–10Delve into a more intuitive realm of portraiture that goes beyond mere technical expertise to capture the emotional spirit of our sub-jects. On location and in the classroom, Jock demonstrates ways to approach and illuminate the human portrait that incorporate not only the character, but the emotional moment. We start the week by exploring the concepts of human relation-ships, risk-taking, and creativity. Under Jock’s guidance we discuss ideas of humanity, connecting with one another, and getting inside the “cultural bubble.” We examine self-trust and how our fears affect the creative process. We learn about the emotion of light, the differ-ence between seeing and looking, intuitive composition, and making intentional mistakes. Jock also introduces the “quick sketch” tech-nique which enables us to shape the creative intent while being open to capturing the moment. Throughout the week, we take advantage of the remarkable natural light and colorful surroundings of Santa Fe as our backdrop for making portraits. Participants who have a willingness to share and be open benefit from group discussions, critiques, and indi-vidual time with Jock—all resulting in taking their portraiture to a new level. Finding the emotional moment within the decisive moment is what this workshop is all about.

JOCK McDONALD has been a professional photographer for 28 years. His work, in both black-and-white and color, is distinguished by wit, humor, pathos, and quali-ties of mystery. Jock’s most recent exhibition, “One World Portrait,” was shown at the 2009 Havana Biennial and his portraits and depictions of rural life around the world have been widely published and exhibited in the U.S., Mexico, Russia, Ukraine, and Cuba. His clients include Absolut Vodka, Eastman Kodak, Gap, Levi’s, French and German Vogue, and Xerox. His web site is www.jockmcdonald.com.





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© Jock McDonald

(505) 983-1400 www.santafeworkshops.com 30 31See page 4 to learn more about WHO SHOULD ATTEND and WHAT YOU SHOULD KNOW




TONY CORBELL

The Power of LightJuly 11–17Light is the single most important ingredient in creating photographs with impact. Exciting applications of light make it possible to trans-form the mundane into the magnificent. This workshop is designed for photographers seeking a broad understanding of artificial lighting techniques in order to achieve greater control over their images. Light can be elusive. Often it’s too harsh or too soft. It may be non-directional or too directional; too warm or too cool; it can even be too dark or too bright. Tony presents a solid technical foundation for portrait lighting that enables participants to surmount these common lighting challenges. His hands-on teaching style offers a thorough understanding of light quality, light-shaping tools, and metering in any working situation. Through demonstrations, daily assignments, and critiques, we explore studio lighting in depth, covering such areas as light quality, light quantity, light direction, and working with mod-els and props. Going outdoors, we learn to apply these techniques by controlling the natural environment and lighting. Tony guides participants with a high-energy, fun-filled approach to the technical side of photography while keeping a close watch on the creative side as well. By the end of the week, participants are able to create well-lit, stand-out images with confidence and predictability.

TONY CORBELL has photographed three U.S. presidents, 185 world leaders and heads of state, more than 400 brides and grooms, and innumerable other recognizable faces. He has spoken at over 250 seminars and workshops nation-ally and internationally. His popular Basic Studio Lighting is the basis for numerous college lighting courses, and his articles have appeared in every major photo-graphic magazine. This is Tony’s ninth year teaching at the Workshops. His web site is www.corbellproductions.com.




RICK ALLRED

Basics of Digital PhotographyJuly 11–17Take that joyous first step into your future as a digital photographer. Designed to help you break through technical barriers and launch you into a new realm of creating great photographs, this workshop covers the technical side of resolution, downloading and re-sizing images, file management and archiving, and output/printing sources. Under Rick’s guidance, participants explore shutter speeds, aper-tures, and shooting modes. By the week’s end, everyone will be using the camera in manual mode with ease. Rick shares tips and techniques about composition, lighting, lenses, and creativity that help participants see the world with new eyes and capture images with impact. He creates an atmosphere in which learning the technical processes of digital photography is fun, and playful expression is encouraged. Field trips around beautiful Santa Fe and daily assignments encourage the deepening of your digital photography skills.

RICK ALLRED jump-started his digital career in 1996 when he helped launch the Santa Fe Photographic Workshops digital program. After a five-year span as head of the photography department at the Hui No’Eau Visual Art Center in Maui, he returned to the Land of Enchantment. Now the manager of the Digital Lab for the Workshops, Rick teaches Adobe Photoshop and digital photography while pursuing his creative projects as a freelance photographer, artist, and educator. Combining his knowledge of traditional photography and digital imaging, Rick expresses his creative vision through fine-art photography and portraiture. He is a patient and generous instructor, providing an environment where people can tackle technology with ease and break through creative boundaries. This is his fifth year teaching for the Workshops. Rick’s web site is www.rickallredimagery.com.

WHO SHOULD ATTEND: Beginners

WHAT YOU SHOULD KNOW: Working knowledge of your computer

SPECIAL NOTES: Participants must bring a digital SLR camera and a laptop with image viewing software.

TUITION*: $1,050 FEES: $40 Location and Materials

© Rick Allred

JENNIFER DAVIDSON

Beginning Photography Using Digital CamerasJuly 4–10P, Tv, M, Av, ISO …perhaps you’ve seen these symbols on your camera but don’t know what they mean or how to use them. A com-mon response is simply to put the camera on Auto, but too often the resulting photograph is not what you had envisioned. At times it seems the camera is in control of you, rather than the other way around. This workshop is designed to clear up confusion and open the door to mastering the technical features of your camera and exploring the creative aspects of photography. We begin the week by tackling all those buttons and menus, learning what settings mean, which ones are frequently used, and which only need to be set once. We discuss the elements of manual exposure, including depth of field, shutter speed, focus, and ISO. As we gain control of these principles, we explore creative ways to use them. Other topics include composition, white balance, use of natural light, and lens choice. Mornings are devoted to lectures and critiques. In the afternoons we practice our new camera skills exploring Santa Fe, with Jennifer on hand to provide one-on-one guidance. At the end of an exciting and inspiring week, participants are in control of their cameras and have produced images that illustrate increased confidence and creative vision.

JENNIFER DAVIDSON is a freelance photographer and photo-educator who uses her camera to convey emotion in portraits and to document life in the West. Her calm demeanor and courage with her subjects infuse her work with an honest intimacy. As an educator, Jennifer relays concepts with clarity while encouraging students to explore their boundless creativity. Since 2005, when she first came to the Workshops, Jennifer has worked with some of the country’s foremost photographers, including Keith Carter, Platon, Norman Jean Roy, and Joyce Tenneson. She is also a co-instructor with Lindblad Expeditions and National Geographic Expeditions. This is Jennifer’s second year teaching at the Workshops. Her web site is www.jdavidsonphotography.com.



SPECIAL NOTES: Participant must bring a digital SLR camera and alaptop with current operating system.


ELIZABETH OPALENIK

Imagination and DreamsJuly 4–10Elizabeth Opalenik has never forgotten the exciting moment, some 30 years ago, when she realized that she could convey her feelings and thoughts through her photographs. This workshop is about searching for that excitement and those images that move and sustain us. We learn to make photographs that express our ideas through various exercises designed to heighten awareness. From portraits to landscapes, images are stepping-stones that trace where the mind has been and they form the unique vision each of us car-ries through life. Our week includes daily assignments working with models and fellow participants. We also discuss such topics as print presentation, organizing a portfolio, digital infrared, and intimate handmade books. Good images don’t just happen. Most often, our best work lies just beyond our greatest failures. In the supportive environment of this workshop, we learn to use those failures to forge new ideas and new paths. Risk-taking is encouraged as we apply newly acquired skills and share our collective knowledge to take that next step in a supportive environment.

ELIZABETH OPALENIK conducts figure, portrait and alternative process workshops in the U.S. and abroad. As a photographic artist, her innovative work is exhibited, collected, and published internationally and has been featured in such magazines as ZOOM, Camera Arts, Silvershotz and Black and White, among others. Her first monograph, Poetic Grace: Elizabeth Opalenik Photographs, 1979-2007, chronicles her career in mordançage, including her signature veiled images and water imagery. She is represented by Verve Fine Arts in Santa Fe, Gallery 291 in San Francisco, David Weinberg Gallery in Chicago, Gallery DeForest online, and Corbis stock agency. This is Elizabeth’s 15th year teaching for the Workshops. Her web site is www.opalenik.com.

WHO SHOULD ATTEND: Amateur and Advanced Amateurs



© Jennifer Davidson

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© Tony Corbell




JOHN WEISS

Revitalizing Your PhotographyJuly 11–17You love photography. Making photographs is one of the centerpieces of your life. You thrill in exploring the visual world, capturing an amazing moment, and then sharing it with family and friends. Perhaps you’d like to exhibit and publish your photographs; you may already have done so and are eager for more. Perhaps you have found a way to keep photography’s flame flickering, but your photographs no longer inspire you. This workshop aims to help you find ways to keep your passion alive and thriving, and acquire the necessary skills to reach and sustain your goals. We begin with critiques of each participant’s current work. In both group and private sessions, we define short-term tactics and long-range strategies to rekindle the vitality that photography brings to your life. Daily individual shooting assignments are based on what was learned in our sessions; new images are critiqued the following morning. We finish our week by addressing specific goals for improving your technical skills, including the exciting options for online book publishing. You learn tactics for making time for your photography, improving the efficiency of your workflow, evaluating your own work, getting useful feedback on a continuing basis, and presenting your work to galleries and editors. This fun and inspirational workshop is designed to provide you with a plan to revitalize your joy for photography in the years to come.

JOHN WEISS, formerly a professor of art and director of photography at the University of Delaware, now leads travel photography workshops across the globe. His 2010 workshops include journeys to Morocco, Peru, Ireland, and Spain. His book, The Face of Baseball, was featured in LIFE magazine and on the “Today” show. Author of Venus, Jupiter & Mars, an authoritative monograph on the pho-tographer Frederick Sommer, John is currently at work on Portraits of PeopleWho Never Were, digitally enhanced close-up portraits of people in Ireland, and The Maasai of the Mara Rianta: Photographs and Legends of Africa. John’s work is widely published and is found in numerous collections, including the Museum of Modern Art, the Boston Museum of Fine Arts, and the Bibliothèque Nationale de France. An inspiring and gifted teacher, he received his university’s Excellence in Teaching Award as well as the 2006 Teacher of the Year award from the Santa Fe Center for Photography. John participates as a mentor in the Photography Mentorships program at the Workshops. This is John’s 19th year teaching for the Workshops. His website is www.gallery.me.com/jjdoublejj.




MICHAEL DONNOR

Black-and-White Photography for Young PhotographersJuly 11–17This is Photo Camp for teens! Spend a memorable week in Santa Fe living on campus and making new friends while practicing and improving your camera skills. Throughout this fun week participants learn the principles of black-and-white photography under the guid-ance of an experienced instructor and a supportive staff. Mornings are devoted to photographic field trips exploring New Mexican ranch life and small villages rooted in the Old West. Swimming, hiking, and sampling the local cuisine add relaxing interludes to daily critiques, demonstrations, and image presenta-tions. Afternoons and evenings find us in the darkroom developing film and producing great black-and-white prints of our own photos. By the end of the week, participants acquire a full understanding of their cameras, the confidence to go out and make creative images, and the desire to make photography part of their everyday lives. Michael creates a comfortable, challenging atmosphere that fosters friendships and constant support. Whether you are new to photography or want to push yourself in new directions, this hands-on workshop is an opportunity to experience photography in a pure form as you learn and practice the entire process —from composing an image to making a print.

MICHAEL DONNOR’s biography is on page 16.

WHO SHOULD ATTEND: Young photographers 13 to 17 years old

WHAT YOU SHOULD KNOW: Working knowledge of your SLR film camera

SPECIAL NOTES: This workshop focuses on black-and-white filmphotography only.

PACKAGE PRICE: $1,380; includes tuition, fees, most meals,and local transportation

© Michael Donnor

© John Weiss

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We help photographers bring their Works to completion and into the public eye via community, education and opportunity. to learn more: visitcenter.org

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BOB SACHA

Visual Storytelling with AudioJuly 11–17Storytelling is changing, thanks to the digital revolution. Great photographs alone are no longer enough; the new media-rich world of the Internet demands stories that take advantage of the power of the web. One of the simplest, quickest, and most powerful ways to make stories more compelling is to add audio. Ambient sounds and interviews are the perfect complement to documentary storytelling and photographic essays. Combined artfully, pictures and sound together are many times more powerful than either is alone. This workshop is for photographers who want to combine still images and sound for the web, DVD, or TV. We explore a new kind of storytelling by learning how to add music, voices, interviews, narration, and ambient sounds to our images. We start by studying and discussing examples of successful stories that use great images and strong audio. We investigate audio equipment, recording techniques, and editing and publishing programs. We practice interviewing, recording ambient sounds, and doing narration. Field trips provide opportunities to put this all into practice. Back in class, we edit our images and sounds together to create powerful multi-media stories, from simple slide shows with music to stories with audio tracks and interviews. Finally, we learn to quickly and easily upload polished projects online.

BOB SACHA has been in love with sound since he was a child. For the past 25 years, he has made his reputation as an award-winning photojournalist. Thanks to new media, he has combined these two loves into a new form of storytelling and has been winning awards since his first web documentary was published. As a globetrotting photographer, Bob has produced photo essays, portraits and covers for National Geographic, Life, TIME and Fortune, to name just a few. He photographed the first all-digital, around-the-world assignment for National Geographic, the January 2005 cover story “Caffeine.” His photographs have been widely exhibited and honored with numerous awards. In 2008, Bob joined the Emmy award-winning multimedia studio MediaStorm where his first piece, “Bearing Witness: Five Years of the Iraq War” won first place in the Online News Association Competition and the New York Photo Festival. Bob has been an audio producer at the annual Mountain Workshops in Madisonville, Kentucky, and was the 2006-07 John H. and James L. Knight Foundation Fellow at Ohio University. This is Bob’s fifth year teaching for the Workshops. His web site is www.bobsacha.com.


WHAT YOU SHOULD KNOW: Proficiency in digital workflow and manual mode on your digital SLR camera;working knowledge of Adobe Photoshop and Lightroom



© Bob Sacha © Bob Sacha

© Bob Sacha© Bob Sacha

NEVADA WIER

Creativity and Travel PhotographyJuly 11–17A lively blend of lectures, discussions, and outdoor assignments, this workshop with Nevada Wier is about tackling the challenges of photo-graphing with creative intent while on the move with a digital camera. We discuss ways to approach and photograph people, cross-cultural considerations in foreign countries, tips on equipment and digital concerns in different travel and outdoor environments, and using natural light as well as fill-flash. The week includes group and indi-vidual critiques, personal assignments, and great fun in the field. The emphasis is on elevating your creative vision and expanding your photographic technique. The historic town of Santa Fe and the surrounding countryside provide a spectrum of environments that serve as our photographic backdrops.

NEVADA WIER is an award-winning photographer specializing in the remote corners of the globe and the cultures that inhabit them. Her work has taken her to India, China, Mongolia, Nepal, Africa, New Zealand, and South America. Her images have appeared in numerous national and international publications, including National Geographic, Geo, Islands, National Geographic Adventure, Outdoor Photographer, Outside, and Smithsonian. Nevada is a Fellow of the Explorer’s Club and a member of the Women’s Geographic Society. This is her 15th year teaching for the Workshops. Her web site is www.nevadawier.com.


WHAT YOU SHOULD KNOW: Proficient in digital workflow and customfunctions on your digital SLR camera; working knowledge of Adobe Lightroom(or similar software)



© Nevada Wier

© Karen Kuehn

KAREN KUEHN

Mastering the PortraitJuly 11–17Put your fingerprint on your portraits! Designed for accomplished photographers who want to extract more from both their subjects and themselves, Karen challenges participants to break out of the routine, push the boundaries, and find new ways of seeing that uti-lize all the senses. Throughout the week, we discuss ways to evoke mood through human emotion, lighting options, and staying open to all the unex-pected possibilities. Karen guides participants through ways to approach a subject and the process of “reading” people in order to capture their essence. An exploration of the senses allows us to find deeper ways of communicating that result in a more soulful image. Participants practice how to formulate ideas prior to photographing, as well as learning when to abandon the best laid plans when a more inspired approach suddenly presents itself. When mastering the portrait you should expect the unexpected! If you are an intuitive thinker who has a penchant for following a more creative approach to portraiture, and are looking to step out of your comfort zone, then Karen will lead the way for you to amplify the evocative.

KAREN KUEHN has been a professional photographer for the past 24 years. Her work has appeared in national publications such as TIME, Newsweek, Garage, Reader’s Digest, More, People, and The New York Times. Her corporate clients include MasterCard, Northwest Airlines, Toyota, and Campbell’s. Karen’s portrait work, which ranges from celebrities to the homeless, conveys her natural way of seeing the story within the frame. Based in New York for 16 years, Karen now lives in rural New Mexico while continuing to travel the world on assignment. In her spare time, she works on her black-and-white fine-art work for exhibition. This is Karen’s seventh year teaching for the Workshops. Her web site is www.karenkuehn.com.





NEW

You can receive 10% off when you attend more than one workshop each calendar year. See “The Frequent Photographer” discount on page 61.

DID YOU KNOW?






EDDIE SOLOWAY

The Book JourneyJuly 18–24We are fortunate to live at a time when the tools to make a beautiful, personal book are well-honed and literally at our fingertips. Print-on-demand books have emerged as a practical way for every photographer to celebrate a body of work, a personal experience, or a creative idea. Open to anyone with a book concept and an edited set of images (and text if desired), this workshop takes participants from the initial idea to the finished book. Under Eddie’s guidance, we go through each step in the process: clarifying the idea, editing images and any text, learning the digital workflow to maintain the beauty of our images, designing a layout, and uploading the finished book. Throughout the week, we analyze examples of beautiful books for inspiration as we acquire the tools to bring book making into our repertoire.

EDDIE SOLOWAY’s photographs are the expression of his passion and com-mitment to the natural world. His eye has developed during a lifetime of exploring the earth’s wild places. Former positions in educational workshop design, wilder-ness program development, and custom fine photographic printing have further honed his expertise. In 1998, Eddie was the first recipient of the Excellence in Photographic Teaching Award presented by the Santa Fe Center for Photography. Today he divides his time between making fine-art prints, teaching, speaking on creativity and the photographic life, and furthering photographic publishing projects. He is the author of the book, One Thousand Moons, and the instructional DVD, A Natural Eye – Big Sur. An impassioned teacher, Eddie brings experiences in both nature and photography to his workshops. This is Eddie’s 16th year teach-ing at the Workshops. His web site is www.eddiesoloway.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand Adobe Photoshop (or proficiency in Lightroom)

SPECIAL NOTES: Computer workstations are provided in the digital lab. Participants must bring an existing collection of images.

TUITION*: $1,065 FEES: $110 Digital Lab

NORAH LEVINE

The Creative Pet PortraitJuly 18–24Enjoy a week in beautiful Santa Fe exploring a genre that is both chal-lenging and rewarding: photographing pets on location. Norah focuses on the commissioned pet portrait and on developing the skills needed to creatively capture the essence of pets and their owners. Sharing the tricks of her trade, she emphasizes forging a playful connec-tion between photographer and subject, using props, studying the details, and addressing techniques for problem solving on location. We learn to apply the many tools specific to working with a variety of animals, including domestic pets and horses. Participants work individually and collaboratively on daily assign-ments, followed by group critiques and discussions of lighting, compo-sition, and style. Classroom time also touches on creative approaches and troubleshooting technical issues. Assignments include photo-graphing horses on a local ranch, interacting with people and pets in their environments, and creating imagery at a non-profit animal organization. By the end of the week, participants acquire a unique set of people and pet skills and are able to translate those skills into compelling and sellable imagery.

NORAH LEVINE, a professional photographer for more than a decade, focuses primarily on commissioned portraits, editorial, and stock photography. She works actively with animal organizations to create awareness and support for their causes. Norah’s web site is www.norahlevinephotography.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand your digital SLR camera.


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DANIEL MILNOR

Beyond the SnapshotJuly 18–24Great images are not produced by accident; they require thoughtful-ness, openness, passion, awareness, and even a sense of humor. For many photographers, the goal is simple. We want to continue to explore, strive to improve, and learn how to go beyond the obvious. This workshop examines numerous ways of achieving this goal, inspiring us to move “beyond the snapshot” regardless of the sub-jects we choose to photograph. Daniel begins by discussing a wide range of images, from portraits to documentary, and inviting participants to think about and articu-late their goals and direction. Each participant chooses a topic to focus on for the entire week, returning each day to the same topic in order to produce an in-depth visual study. The week includes group critiques of images made both during and before the workshop, and individual meetings for each participant with Daniel. The primary intention of this workshop is to help participants improve on and enjoy one of life’s great pleasures: exploring the world with a camera and producing a many-layered body of work.

DANIEL MILNOR is a documentary fine-art photographer specializing in self-produced, long-term projects that have taken him around the world. His images have appeared in numerous books and publications and hang in the homes of many of his private clients. Daniel is a consultant for Blurb, Inc., a digital, print-on-demand book publisher based in San Francisco. He has taught at Art Center College of Design in Pasadena and this is his third year teaching at the Workshops. His web sites are www.milnorpictures.net and www.milnorpictures.com.



TUITION*: $1,100

BOBBIE GOODRICH

Romancing the WestJuly 18–24The American West has long attracted artists eager to record its majestic landscapes, enveloping light, and fascinating cultures. Romanticized or not, this land and its inhabitants are truly unique and spirited. Join Bobbie for a weeklong adventure exploring the myths, legends, and back roads of Northern New Mexico, while expanding your creative vision and personal horizons. We begin our week creating images that strive to capture the soul of the Southwest. We visit a 100-acre ranch on the banks of the Rio Grande, where we photograph the beautiful, smooth-gaited Peruvian Paso horses. We focus on equine portraiture while the horses graze or go through their training paces. Our itinerary also includes capturing the vibrant costumes, energy, and movement of traditional Native American dances. Back in the classroom, Bobbie demonstrates her acclaimed post-production techniques and style. Under her guidance, participants enjoy a hands-on opportunity to produce their own work of creative photography. Classroom sessions include discussions of composition, light, and color, and reviews of participants’ images. The use of Adobe Lightroom aids in perfecting your personal digital workflow, while NIK software enhances your creative style. This is a week to explore your creativity, expand your visual skills, and enhance your understanding of the photographic process from capture to output. Join Bobbie for an invigorating week photo-graphing the drama of the West.

BOBBIE GOODRICH has gained worldwide attention as a fine-art photogra-pher with her unique and stunning imagery. Her limited-edition works have been honored in several museum exhibitions, including “Cowgirl Up” at the Desert Caballeros Western Museum in Wickenburg, Arizona, the Phoenix Art Museum’s new contemporary wing, and her images are shown in several galleries. She is also a member of the NIK Software team. Bobbie’s passion for teaching has drawn students from around the world, many of whom have already gained recognition under her mentorship. Her web site is www.bobbiegoodrich.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand your digital SLR camera; familiarity with Photoshop is helpful

TUITION*: $1,200 FEES: $175 Location and Materials

© Daniel Milnor

© Bobbie Goodrich

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FRANK W. OCKENFELS 3

Looking Beyond the ObviousJuly 18–24

Designed for those who are passionate about light and the art of portraiture, this workshop takes advantage of the radiant light and people of Santa Fe, to challenge participants to let go of what is comfortable and easy, and move on to the next level. We discuss creative vision —where it comes from and where to find it when it seems to disappear. Light — what it is, where to find it, and how to create it — is our second major theme. Finally, the art of portraiture creates the focus that holds it all together. Frank meets individually with participants at the beginning of the week to discuss their work and what he feels may be keeping them from growing. Daily visual explora-tions on location offer practice in working with existing light and making light col-laborate with the subject to create the moment. Frank inspires participants to achieve moments of purity without being overly conceptualized or retouched and suggests new ways of approaching the subjects they have chosen.

FRANK W. OCKENFELS 3 has spent nearly two decades photographing musicians, celebrities, corporate heads, and maybe even your next-door neighbor. His images have graced the covers of Rolling Stone, Esquire, Premiere, Blender, Newsweek, Wired, Entertainment Weekly, Spin, New York Magazine, and Gear and have also appeared in W, Outside, and UK Condé Nast Traveler. Frank has worked with most of the major record labels and has done over 200 album covers and press shoots for musicians such as David Bowie, Willie Nelson, Melissa Etheridge, Joshua Redman, The Wallflowers, Don Henley, Indigo Girls, and Billy Joel. In addition to TV campaigns for all the major networks, he has photographed movie posters for Miramax, Paramount, Focus Features, and Warner Brothers. This is Frank’s fifth year teaching at the Workshops. His web site is www.fwo3.com.


WHAT YOU SHOULD KNOW: Proficient in digital workflow and custom functions on your digital SLR camera;working knowledge of artificial lighting



© Frank W. Ockenfels 3

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© Norman Mauskopf

NORMAN MAUSKOPF

Getting CloseJuly 18–24The vast majority of portraits produced by the great photographers of the past and the best photographers working today were taken with lenses of normal and moderately wide-angle focal lengths. Properly used, these focal lengths convey the feeling of being close, putting the viewer “in the scene.” This requires the photographer to engage the subject at close range, usually within five to ten feet. Often the photographer must assess the photographic potential in a fluid, fast-changing scene and synthesize the action and environ-ment. In other situations, an environmental portrait can be taken in a more relaxed, less active situation; in still others, the photographer gets to know his subject over a period of time and is able to work unobtrusively while the subject goes about his or her daily routine. This is a workshop for photographers seeking to develop or improve their ability to create photographs with a sense of imme-diacy, and to hone their skills in photographing people intuitively and with confidence. We explore such topics as knowing when and how to approach people; whether to direct them, and how; antici-pating action; composing quickly and controlling multiple pictorial elements in both indoor and outdoor settings. Emphasis is on photo-graphing a variety of people, including an afternoon on location with models. Daily classroom critiques are supplemented by one-on-one instructor/participant sessions and image presentations.

NORMAN MAUSKOPF has taught and inspired students of all levels during his 30-year career in photography. He has published three award-winning books; the most recent, A Time Not Here, documents the musical and spiritual traditions of African Americans in Mississippi. A fourth book, Descendants, on northern New Mexico Hispanic culture is scheduled for 2010. Norman has had two exhibitions at the International Festival of Photojournalism in Perpignan, France, and has been awarded a W. Eugene Smith Fellowship. He has completed a wide range of assign-ments for numerous magazines, including Wired, Islands, Travel & Leisure, Outside, and Rolling Stone. This is Norman’s 11th year teaching for the Workshops. His web site is www.normanmauskopf.com.




JENNIFER SPELMAN

Expressive Photography for Young PhotographersJuly 18–24Say you’re a young photographer who has already experienced the magic of dropping a blank sheet of paper into a tray of developer and transforming it into an image. Now you’re ready to push the boundaries of both your captures and your prints. This is not merely a workshop for teens wishing to advance their darkroom skills; it’s about finding a creative voice and exploring new techniques to express it. Our week is divided equally between film capture and the darkroom. We photograph with traditional 35mm cameras and the plastic-lens cameras known as Holgas. Daily assignments encour-age participants to expand their ability to see and respond to their world. In the darkroom we begin by advancing our basic printing techniques. We go on to experiment with solarization, sandwiching negatives, and Ziatypes, an alternative process involving the creation of a digital negative. All of these techniques support the focus of the week: finding new ways of expressing our creativity. Each day includes critiques, demonstrations, and photographing in and around Santa Fe. Evenings provide a mixture of local cuisine, inspirational presentations by leading photographers, and darkroom sessions guided by Jennifer and the Workshops staff. Within this sup-portive environment, participants enjoy a fun-filled week making new friends and advancing their creative abilities from capture to print. For an extended photo camp experience, consider starting with the Black-and-White Photography for Young Photographers workshop the previous week (see page 33).

JENNIFER SPELMAN is a freelance editorial and documentary photographer living in Santa Fe. From 2006-2008 she was an assistant at the Workshops, work-ing with some of today’s preeminent photographers, including Jay Maisel, David Alan Harvey, and Antonin Kratochvil. Her images have appeared in Food & Wine, Local Flavor, Rangefinder, The Sun, and B&W Magazine. Additionally, Jennifer is a co-instructor with National Geographic Expeditions. This is her second year teach-ing at the Workshops. Jennifer’s web site is www.jenniferspelman.com.

WHO SHOULD ATTEND: Young photographers 13 to 17 years old

WHAT YOU SHOULD KNOW: Working knowledge of your SLR film camera and darkroom techniques


PACKAGE PRICE: $1,380; includes tuition, fees, most meals,and local transportation

SEÁN DUGGAN

The Creative Eye: Photography and Digital Darkroom EssentialsJuly 25–31Join Seán Duggan for an inspiring week that combines digital pho-tography with presentation, artistic discovery, and the exploration of creative ways to improve photographs in the digital darkroom. Participants learn and practice essential techniques for enhanc-ing the straight photographic image as well as using it as a point of departure for personal images that are interpretive rather than literal. With our cameras and with both Adobe Photoshop and Lightroom, we search for the extraordinary in the ordinary. Location assignments focus on essentials such as composition, understanding how existing light affects the image, mastering the camera’s light meter, exposing two or more shots to extend dynamic range, and other methods for technical and creative control in the camera. In the digital lab, Seán shares his Photoshop and Lightroom techniques for transformations that include getting the most from Raw files, color and tonal manipulations, black-and-white conver-sions, toning, color tinting, masking techniques, creative layering, using texture and digital “lighting,” and making fine inkjet prints.

SEÁN DUGGAN is a photographer, author, and educator who joins a traditional fine-art photographic background with over 15 years of extensive experience in the field of digital imaging. An Adobe Certified Expert in Photoshop, he is a co-author of The Creative Digital Darkroom, Real World Digital Photography (2nd Edition), and Photoshop Artistry. Seán teaches photography and digital imaging atSan Francisco’s Academy of Art University and co-authors the “Digital Photography” column in Layers magazine. This is Seán’s fifth year teaching at the Workshops.His web site is www.seanduggan.com.


WHAT YOU SHOULD KNOW: Working knowledge of Photoshop(please see page 64) and manual mode on your digital SLR camera



© Seán Duggan

ANDREW SOUTHAM

The Fashion PortraitJuly 25–31A great fashion photograph, like any other portrait, is most successful when photographer and subject truly connect, creating an energy and experience that goes beyond the technical. In our image-conscious era, photographers must be knowledgeable about fashion, hair, makeup, and lighting, and aware of how the choice of location or studio will define their work. Photographers also need to create a great rapport with subjects and clients alike. Whether you are pho-tographing a fashion editorial for a magazine, testing models for your portfolio, or shooting images of your kids, your knowledge of style and your communication skills deepen your work. In this workshop, we review the masters of fashion and portraiture and discuss how their work can inspire our own imagery. Andrew discusses, with demonstrations, his extensive background in and knowledge of fashion portraiture and lighting techniques. In daily photography sessions with models, both on location and in the studio, participants explore the use of various light sources, including strobe, kino-flo, tungsten, and daylight. Working under Andrew’s guid-ance, this hands-on experience enables participants to expand their relationship to fashion photography and enrich their experience as photographers.

ANDREW SOUTHAM is an Australian photographer and director now living in Los Angeles. He began his career 25 years ago, photographing the Australian National Ballet and the Sydney Theatre Company. Andrew’s portraits have appeared in the American and British editions of Vogue, Esquire, Rolling Stone,US, French Elle, and GQ. His work has been exhibited in the Australian Portrait Gallery and garnered awards from The American Society of Publication Designers and Photo District News. Andrew’s web site is www.andrewsoutham.com.


WHAT YOU SHOULD KNOW: Proficient in digital workflow and custom functions on your digital SLR camera; working knowledge of artificial lighting



© Andrew Southam

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EDDIE SOLOWAY

A Natural Eye: The Summer LandscapeJuly 25–31At the heart of any good photograph is both the passion for the sub-ject and the ability to uniquely capture it. If you love photographing the outdoors yet find that your images still look like pretty post-cards, join Eddie Soloway for an intense week of viewing the natural world with fresh new eyes. This workshop develops your natural eye first, then improves your technical skills to match your vision. You will spend as much time changing your perspective, sharpening your senses, and immersing yourself in nature, as you will on developing new photographic skills. Northern New Mexico comes alive in summer. The high aspen forests are dotted with wildflowers, mountain streams are flow-ing, and the canyons display a wild palette of purples and greens, oranges and chalky whites. The end-of-day light has been a magnet for photographers, painters, and writers for centuries. During the week, outdoor experiences in diverse natural areas take you through key steps to enriching your photographs of the natural world as you find yourself focused less on objects and things, and more on the magic of moments and the essence of places. You stop chasing the light and learn to enjoy the fine art of wandering. We visit the same place in different light and different weather, getting to know it, and hence seeing it anew. As you hear more and touch more, you will photograph with more sensitivity. You are rewarded by the skills of patience, solitude, and emptying. This workshop weaves together eye-opening outdoor experiences, technical lessons, daily critiques, and Eddie’s one-on-one meetings with each participant.

EDDIE SOLOWAY’s biography is on page 36.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand manual mode on your digital SLR camera.


RAUL TOUZON

Sharpen Your Photographic SkillsJuly 25–31A great next step after basic photography is learning how to use color, light, and composition to create outstanding images. We begin each day by editing and critiquing each other’s photographs. Highly visual lectures and demonstrations cover digital camera settings and accu-rate metering and exposure, in addition to the rules of composition. Artistic use of light with special emphasis on creative flash tech-niques is also a significant element of this workshop. An important focus of the week is applying the key tools of image software for the development of an efficient digital workflow, including how to edit, catalog, adjust levels, sharpen, and clean images. We then learn how to present our work with lessons on sequencing, story development and bookmaking. Afternoons are spent on field trips in and around Santa Fe, Taos, including Tent Rocks National Monument, photographing assign-ments based on topics discussed during morning sessions. The inspiring light, architecture, people, and colors of New Mexico offer ample opportunities for practicing newly acquired skills. Raul and the workshop’s course coordinator accompany the group to provide hands-on support and advice.

RAUL TOUZON is a documentary and underwater photographer who special-izes in making images that convey what he calls “the eternity of a moment.” He has traveled extensively in Latin America, documenting its cultures. His photographs have appeared in National Geographic Traveler, National Geographic Magazine and TIME. His images are represented by the National Geographic Image Collection and Getty Images. During his many years working for Eastman Kodak, Raul developed marketing strategies, corporate advertising, and taught seminars and workshops around the world. This is his ninth year teaching for the Workshops. His web site is www.touzonphoto.com.



TUITON*: $1,175 FEES: $90 Model and Location

© Raul Touzon

© Eddie Soloway

JILL ENFIELD and FRANCE SCULLY OSTERMAN

Wet-Plate Collodion: Back To The Future July 25–31Take a trip back in time to the ethereal world of wet-plate collodion. Thanks to the unique beauty of the images it produces, this 19th-century technique is experiencing a passionate resurgence. Jill and France provide photog-raphers and artists the opportunity to explore one of the very first photographic processes, with two experienced artist-educators as your guides. Making primary images from scratch, wet-plate collodion offers nearly limitless possibilities, from one-of-a-kind positives on metal, glass and numerous other supports, to making negatives for any type of print imaginable. Our week begins with studying and discussing examples of 19th-century and contemporary ambrotypes, tintypes, and negatives, and the types of prints participants create during this workshop. Jill and France demonstrate how to use enlargers to make positives and photograms, and we learn how to make and use a portable darkroom in any situation—from an empty box to a car trunk. We then head off into the field with a variety of 19th-century and contemporary cameras, to make images in the beautiful surroundings of Santa Fe. Jill guides participants step-by-step through the process to make wet-plate positives such as ambrotypes and tintypes, while France focuses on the making of wet-plate negatives we then scan for digital printing. In addition to creating your own unique plates during the week, you also gain a thorough knowledge of the collodion process and a clear understanding of how to incorporate this time-honored process in your own photography and art.JILL ENFIELD uses historical techniques to enhance the textural and painterly effects of photography, creating images that feel simultaneously real and dreamlike. She has taught hand-coloring and non-silver techniques at schools and workshops throughout the U.S. and Europe. A recent project, funded by a New School Faculty Development Grant, involved photographing new U.S. immigrants using the wet-plate collodion process. Jill’s personal work has appeared in Camera Arts, Hasselblad FORUM Magazine, Nikon World, Camera & Darkroom, Archive Books, Step by Step, Shutterbug, Popular Photography, Digital Camera, and ZOOM. Her commercial clients include Fortune, Kodak, Hasselblad, Nikon, Penguin Putnam, St. Martin’s Press, LIFE, Vassarette Lingerie, National Geographic Magazine, The New York Times Magazine, American Heritage Magazine, AT&T, Johnson & Johnson, and Woman’s Day. This is Jill’s ninth year teaching for the Workshops. Her web site is www.jillenfield.com.

FRANCE SCULLY OSTERMAN is an artist, writer, teacher, and guest scholar at George Eastman House International Museumof Photography and Film. Well known for her extensive knowledge of the wet-plate collodion and salt print methods, she has presented lectures, demonstrations, and workshops throughout the U.S., Japan, and Europe. France’s writings have appeared in a large number of publications, and her work has been highlighted in numerous solo exhibits. Her “Sleep” exhibition was praised in Art in America, Paris Photo Magazine, and the Village Voice. France’s work is in the collections of the Museum of Fine Arts, Houston, the Harry Ransom Center at the University of Texas, The Art Museum of Western Virginia, the George Eastman House International Museum of Photography, and the Herbert F. Johnson Museum of Art at Cornell University, among many others. Her web site is www.collodion.org.

WHO SHOULD ATTEND: Amateurs, Advanced Amateurs, and Professionals

WHAT YOU SHOULD KNOW: Familiarity with darkroom techniques helpful, but not required


© Jill Enfield © France Scully Osterman

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JENNIFER SPELMAN

Basics of Digital PhotographyJuly 25–31Today’s digital SLR cameras offer endless creative opportunities—but only if you know how to use them. Whether you recently acquired your first digital camera or have owned one for a few years, this workshop empowers you to take control of its features and advance your skills. Designed like a hands-on user manual, you’ll acquire the knowledge essential to explore all the capabilities of the digital SLR. Jennifer patiently guides participants through the variables of aperture, shutter speed, and the various settings and shooting modes. We learn how to incorporate these tools with different lenses, and explore techniques of composition and lighting in order to create more interesting and powerful images. Mornings are devoted to lectures, discussions, and critiques of the previous day’s work, while afternoons are spent practicing newly acquired skills in the pictur-esque environs of Santa Fe. This promises to be an exciting week of mastering the basics of digital photography and cultivating our creativity in an energetic and supportive atmosphere. By week’s end, participants have acquired a solid understanding of manual mode on their camera, and return home with a collection of images that reflect their new expertise.

JENNIFER SPELMAN’s biography is on page 40.



SPECIAL NOTES: Participants must bring a digital SLR camera and a laptop with image viewing software


PATRICK DONEHUE

Refining Your Stock PhotographyJuly 25–31The market for stock photography is in the midst of a revolution and new opportunities are available to those who are able to navigate through the complexities. This workshop is designed to help experi-enced stock photographers identify those opportunities. We review what kind of imagery sells, how to shoot it, and how to sell it in today’s ever-changing marketplace. Personal vision, creative risk-taking, and a conceptual approach to producing imagery are stressed. The week begins with individual portfolio reviews, followed by a series of lectures, demonstrations, and assignments in which par-ticipants practice applying their personal vision while photographing subject matter that appeals to an international market. Topics include the common traits of best-selling stock photos, anticipating market trends, selecting the right distribution channels, and maximizing the photographer-distributor relationship. Royalty free, rights managed, and microstock licensing models are covered in depth. Throughout the week, we review and analyze case studies of successful stock photographers and how they grew their businesses. With Patrick’s expertise and guidance, this workshop provides the necessary tools to build and sustain a career in stock photography.

PATRICK DONEHUE has specialized in the production, marketing and manage-ment of stock photography since 1982. Well known as an industry expert, Patrick is a frequent lecturer on the creative and business aspects of stock imagery. He has most recently served as the VP/Chief Photographer of Corbis Corporation and is the former president of the Picture Archive Council of America. He is a member of the President’s Council at the International Center of Photography and is on the advisory board of Microsoft’s Icons of Imaging. A professional photographer since 1977, Patrick has photographed in over 20 countries and his images have been used worldwide by clients such as General Electric, Motorola, Nissan, and Jim Beam. This is Patrick’s 10th year teaching at the Workshops. His web site is www.patrickdonehue.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow, manual mode on your digital SLR camera, and a foundation in stock photography



© Patrick Donehue

© Jennifer Spelman

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RICK ALLRED

Beginning Adobe Photoshop August 1–7This five-day introduction to the concepts, language, and tools of Photoshop is one of our most popular workshops. Participants master the basics of navigation, selection tools, copy and paste functions, layers and photo compositing, image adjustment tools, and filters for interesting visual effects. Through discussion, demonstration, and hands-on application, we explore image adjustment and retouching techniques. We also investigate resolution as it relates to images originating from scanners and digital cameras. This solid introduction gives beginners and self-taught users a complete understanding of the basics of Photoshop, leading them to creative experimentation and project work. Evening lab hours ensure adequate time to practice new skills and complete individual and group projects. Over the course of the week, participants learn how to:

• Fine-tune the computer to best run Photoshop• Explore the tools within the Tool bar • Define and manipulate selections • Copy, paste, and use drag-and-drop editing • Adjust images for tone and color using levels, curves,

and many other enhancement tools• Explore features in menus, panels, and Adobe Bridge • Use Layers to enhance and composite images• Use photo-retouching techniques• Create image and type layers, and much more.

RICK ALLRED’s biography is on page 31.


WHAT YOU SHOULD KNOW: Working knowledge of the computer



DOUGLAS BEASLEY

Zen and the Art of PhotographyAugust 1–7Revitalize your photography while exploring your relationship to your subject, your camera, and yourself. Through daily field trips and exercises, participants in this workshop learn to deepen their visual awareness while simplifying and clarifying their approach. We expand the boundaries of our vision by discovering the unique in the commonplace and the creative potential in ordinary life. “Zen and the Art of Photography” provides a rare opportunity to rethink our expectations of what it means to see. Starting with the notion that a photograph is not “taken” but made, we learn to create powerful images through finding our own voice while remaining open to the possibilities of the present moment. We become better pho-tographers by staying in touch with our inner selves and by using that awareness to better connect with our subject, whether it’s a person, place, or thing. Inspiration will be sparked by a balance of conversation, medita-tion, readings, poetry, and any other means necessary. Much of our time is spent in the field on daily photo adventures with Doug. Site-specific exercises and assignments are concerned with both internal and external experience and growth. We pay attention to the most effective use of natural light as well exposure issues, but the ‘inner’ process of image making will be the main emphasis.

DOUGLAS BEASLEY explores the spiritual aspects of people and place andis concerned with how the sacred is recognized and expressed in everyday life. He hopes that his photographs act as prayer-like offerings meant as a departure point for the viewer’s own visual or spiritual journey. Much of his personal work, including “Sacred Sites of the Lakota,” “Disappearing Green Space,” “Sacred Places, Earth Meets Spirit” are supported by grants and commissions and have been widely exhibited and collected. His work has been featured in numerous magazines and published and exhibited internationally. This is Doug’s eighth year teaching at the Workshops. His web site is www.douglasbeasley.com.




PAUL ELLEDGE and LEASHA OVERTURF

The Contemporary Black-and-White PortraitAugust 1–7

The ability to create dynamic portraits requires knowing how to avoid clichés and discovering new ways of seeing that spring from the imagination. Designed for accomplished photographers who are ready for the challenge of overcoming the limited nature of traditional portraiture, the focus of this workshop is creating your own style of portraiture through nontraditional uses of lighting and envi-ronment. We discuss issues such as instinct, self-confidence, and trust in the creative process, as well as methods for collaborating with clients and subjects, handling difficult personalities, and working effectively under pressure. Through lectures, critiques, demonstrations, assignments, portfolio reviews, and study of their own work, Paul and Leasha inspire the class to forgo tradi-tional rules to define a more contemporary approach to making portraits. We also discuss all aspects of organization, production, and the business of photogra-phy, including the specifics of career management and self-promotion.

The aesthetic and emotional concerns of contemporary portrait making are at the core of all discussions and daily assignments in the studio and on location in the Santa Fe area. This is a week about possibilities, control, and style.PAUL ELLEDGE is a photographer and filmmaker whose clients include major advertising agencies, record companies, and corpora-tions. He has been honored with numerous national and international awards for work that melds photographic realism with painterly qualities of illustration. Paul has photographed such celebrities as AC/DC, Billy Corgan, Jennifer Hudson, Ministry, Willie Nelson, Trent Reznor, Luciano Pavarotti, and Oprah Winfrey. His work has appeared in such publications as Audubon, Fast Company, Life, Men’s Health, People, Rolling Stone, TIME, and Wired, among others. Paul’s book Luna, Bella Luna chronicles the people of Vesale, Italy, and he has collaborated on several books with chef Charlie Trotter. In addition to photography, he has directed music videos and television commer-cials. This is Paul’s 12th year teaching for the Workshops. His web site is www.paulelledge.com.

LEASHA OVERTURF explores childhood, teenage relationships, and her immediate family in her photography. She uses county fairs, public gathering spaces, city streets, and urban environments to find and explore her subjects. Leasha’s work has been published and exhibited nationally and internationally, and she leads workshops in the U.S. and Italy. In addition to her own projects, she has worked with Paul Elledge in all aspects of photographic production since 1993. This is Leasha’s 12th year teaching for the Workshops. Her web site is www.leasha.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow, artificial lighting,and manual mode on your digital SLR camera

Please see page 63 for your portfolio submission of black-and-white portraits


© Douglas Beasley

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CARLAN TAPP

Seeing LightAugust 1–7Light reveals. Light is warmth, mood, place, time, and spirit. Light separates, simplifies, and creates spatial relationships. It forms the frame of reference for photographs. It speaks many languages and presents many views. Novice photographers and professionals alike sometimes take for granted what light is about and forget its subtle-ties. The highest function of the photographer is to translate these elements of light and allow viewers to see things they have not seen before. This workshop is about taking the time to slow down, look at the light, and think about what it is we want to say through our pho-tographs. Whether our focus is on portraits, still lifes, or landscapes, we learn to adopt an open mind and a willingness to explore and experiment with light. We take the ordinary and allow ourselves to capture the extraordinary by reacting, interpreting, and expressing ourselves with the camera. Daily assignments in and around Santa Fe encourage participants to venture beyond their normal comfort zone. The workshop sched-ule includes time alone contemplating light and working with it, as well as time spent together discussing our work and what it is we see. Taking risks and breaking boundaries is a core element of our week together. Discussions, daily image reviews, and assignments fill the days as we see, frame, and translate light into photographs.CARLAN TAPP is a photojournalist, and educator dedicated to documenting the social and environmental issues that define our times. A sensitive eye and an intimate relationship to his subjects are the signatures of his work. He studied photography at Art Center College of Design. Between 1973 and 1976 he worked with the National Park Service and U.S. Forest Service to docu-ment social impact on public lands. Beginning in 1977 Carlan had the opportunity to work for three years as a teaching assistant with Ansel Adams in the Yosemite Workshops. Carlan’s photography focuses on social justice, environmental, and health themes. His photographs have been used by numerous clients including New Mexico Magazine, Associated Press, NPR–Living on Earth, Honor the Earth, and Sierra Club. His project work was nominated for the National Geographic All Roads Projects. He has received grants from the Evergreen Foundation and the Impact Fund for his social justice work. His photo essays are syndicated nationally and internationally by Redux Pictures in New York. He has taught at Seattle Central Community College, College of the Redwoods, Art Institute of Seattle, and Santa Fe Community College. This is Carlan’s eighth year teaching at the Workshops. His web site is www.carlantapp.com.



SPECIAL NOTES: Participants must bring a laptop computer withthe most recent version of Adobe Lightroom


BOBBI LANE

People and Places August 1–7Santa Fe is an enchanting place, famous for the diversity of its culture, the creative energy of its population, and the splendor of its landscape. This workshop is for photographers eager to explore their vision in location portraits and the natural world, as they experiment with a variety of styles. Making use of creative camera techniques and essential design elements, we discover how to produce compelling images that truly capture the heart and soul of our subject, whether it is a person, place, or thing. Topics include understanding and manipulating available light, using portable flash for professional results, adjusting for color temperature, and creating a mood. We also discuss composition and design, the relative merits of color and black and white, developing concepts, and approaching people with an understanding of human psychology. We learn to be more aware of what the environment has to offer visually, from the smallest detail to the entire scene. By the end of the week, participants have strengthened both their technical craft and their ability to pre-visualize concepts, resulting in stronger and more meaningful images.

BOBBI LANE is an award-winning portrait and commercial photographer who brings 30 years of experience to her fun-filled workshops. She photographs people on location for corporate and editorial clients as well as for stock. Bobbi’s clients include Warner Bros., PricewaterhouseCoopers, Aramco, GE, Neutrogena, Charles Schwab, Mattel, Sears Tower Skydeck, and the Morro Bay State Park Museum of Natural History. A contributing editor of Photo Techniques magazine, Bobbi is the author of Creative Techniques in Color Photography and co-author of Advertising Photography. She teaches at the International Center of Photography in New York and has made two instructional DVDs, Portrait Lighting Techniques and Portraits Unplugged. This is Bobbi’s 13th year teaching at the Workshops. Her web site is www.bobbilane.com.





© Carlan Tapp

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JOE McNALLY

Traveling Light: Location Lighting with Small FlashAugust 1–7Light is the language of photography; it is how we write the stories of our subjects. Understanding how to light well, especially on location, is an important skill for any photographer. The advent of small, bat-tery operated, sophisticated hot shoe flashes enables us to respond to the pressures, surprises, and twists of location work in fluid, intuitive, and sophisticated ways. We spend the week talking the language of light, both in the classroom and on location. We investigate natural light, learning to recognize when a scene should be left alone, when artificial light should be filtered in, and how to do it seamlessly. We explore tech-niques for taking control of a scene, re-creating the feel of natural light with flash. Improving with light is key, and we practice with flash, reflectors, softboxes, diffusers, fill boards, and found objects. This workshop is not about buttons and dials. It is about speak-ing with light, and crafting light that is appropriate to our subjects. At the end of the week, regardless of camera system, participants are adept in the use of small flash.

JOE McNALLY is a 25-year contributor to National Geographic and a former staff photographer at LIFE. Working in 54 countries and all 50 states, he hasphotographed cover stories for virtually every significant magazine of our times. One of his best-known series of photographs is the Giant Polaroid Collection, known as “Faces of Ground Zero,” shot immediately after 9/11. He also photo-graphed the first all-digital story in the history of National Geographic. This is Joe’s seventh year teaching at the Workshops. His web site is www.joemcnally.com.


WHAT YOU SHOULD KNOW: Proficient in digital workflow and custom functions on your digital SLR camera; working knowledge of small flash operation



ANNE CAHILL

The Nikon Digital SLR CameraAugust 1–7This introduction to the exciting world of Nikon digital SLR photog-raphy demystifies the digital realm and teaches participants how to get the most out of their camera. We begin by covering key concepts and learning the technical elements of the camera so that we can get to the heart of the matter: how to make great photographs. The digital workflow is explained, demonstrated, and practiced. We learn how to download images from the camera to the computer, how to crop, resize, and manipulate images in image software, and how to prepare images for printing or emailing. Most importantly, we learn how to save, organize, and archive our images for future use. We explore the influence that we, as photographers, have on the digital workflow and ways of getting the most out of hardware and software. We review how to achieve optimal images with the versatile Nikon NEF (raw) format and the use of various lenses and acces-sories, such as Nikon speedlights. All of these elements combine to make picture taking easier and more productive.

ANNE CAHILL is a professional markets technical representative for Nikon, Inc. She supports and assists Nikon Professional Services members involved in various segments of the photographic marketplace. In addition to working field events, including the Olympics and other national media events, Anne teaches and demonstrates the latest Nikon products at workshops and photographic imaging shows. She is keenly interested in nature photography and portraiture. This is her sixth year teaching at the Workshops.

WHO SHOULD ATTEND: Amateurs



SPONSORED BY:

© Joe McNally

®

© Anne Cahill

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You can borrow the latest Nikon camera and lenses during your workshop week — all free of charge!

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© Jerry Courvoiser

© Cotton Miller

COTTON MILLER

Beginning Digital Photography and Adobe Photoshop ElementsAugust 23–27Designed for photographers new to digital photography, participants learn to take control of their digital imaging and have their work stand out. We start by learning to understand our digital cameras, ensuring that proper settings allow seamless transfer of images from camera to computer. Cotton guides participants on photographic assignments, taking advantage of the amazing light of late summer. Back in the digital lab, we will critique photos taken on location, practice techniques for downloading, importing, organizing, editing, processing, and printing images using Photoshop Elements. In addition to basic image adjustments, we work with selections, layers, color enhancement, and retouching tools. We explore raw and JPEG formats, use the Text tool, create panoramas, and learn how to prepare our images for the web and email. At the end of the week, participants leave with a working knowledge of Photoshop Elements, and the confidence to enhance their images with skill and ease.

COTTON MILLER received a BFA in digital and photographic imaging from Texas State University, winning awards from the Society of Professional Journalists and the Texas Intercollegiate Press Association for sports photogra-phy. He joined the Workshops in 2008 as an assistant in the digital lab. His per-sonal work combines traditional, digital, alternative processes, and mixed media. Along with his infectious enthusiasm, Cotton shares a fascination with the future of integrating digital and traditional photographic methods. This is his second year teaching at the Workshops. His web site is www.cottonmiller.com.


WHAT YOU SHOULD KNOW: Working knowledge of the computer;familiarity with your digital SLR camera


TUITION*: $1,050 FEES: $130 Materials and Digital Lab

JERRY COURVOISIER

Digital Imaging Essentials: Adobe Photoshop and LightroomAugust 16–20Lightroom and Photoshop—the complete package has arrived! Now what do you do with it? In this workshop with Jerry Courvoisier, we cut to the chase and learn how these two applications function together to remarkably improve efficiency in the digital photography workflow by automating routine tasks. We explore the possibilities, limitations, essential shortcuts, and straightforward techniques for getting the most out of the digital photography process. We sort out the application tools and bring into play only the essential methods and techniques that take images to the next level. We learn to edit, catalog, enhance, automate routine tasks, and create output presentations across multiple media, includ-ing print, web, and digital projections. This workshop is designed for beginning digital photographers and serious amateurs who need to streamline the process of integrating all of the above into their work.

JERRY COURVOISIER’s biography is on page 12.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflow

SPECIAL NOTES: Computer workstations are provided inthe digital lab

TUITION*: $1,065 FEES: $130 Location and Digital Lab

JERRY COURVOISIER

Intensive: Panoramic Photography and HDR August 13–15When we look at a scene, the image formed in the mind’s eye is both taller and wider than the camera can capture in a single frame. By extending the range of the scene viewed, we can produce a more expansive and breathtak-ing image, creating a sense of place that transcends the single frame. In this workshop, we explore the technique of panoramic photography by recording scenes with overlapping segments which are then seamlessly stitched together into a panoramic image with Adobe Photoshop. Furthermore, by incorporating High Dynamic Range (HDR) photography and image processing, we can extend the values reproduced within the scene to better reflect the image in our final print. Participants in this two-and-a-half day workshop explore the composition and visual characteristics of pan-oramic imaging. Topics include the fundamentals for panoramic exposure, overlapping percentages, distance focusing methods, tripod selection and placement, image composition, and lens choices. We take advantage of visually inspiring locations in and around Santa Fe to create stunning panoramas. Back at the digital lab, using the Photomerge feature in Photoshop, we explore the range of choices relating to image processing, auto alignment, and auto-blending features— all essential elements of image compositing.

JERRY COURVOISIER’s biography is on page 12.


WHAT YOU SHOULD KNOW: Proficiency on the computer; working knowledge of digital workflow,Photoshop, and Lightroom


TUITION*: $585 FEES: $130 Location and Digital Lab

© Jerry Courvoiser

© Jerry Courvoiser

You can receive the latest tips, insights, and inspiration from our talented instructors on “A <priority> Blog.” Check out blog.santafeworkshops.com.

DID YOU KNOW?

You can receive a $1,000 credit towards tuition and fees through our Scholarship program. See Scholarship info on page 65.

DID YOU KNOW?

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2010 SUMMERworkshops around the world

workshopsAROUND THE WORLD

© Joann Puskarcik, participant

SARAH MEGHAN LEE

San Miguel de Allende: Day of the Dead October 29–November 4EXCLUSIVE TO SANTA FE PHOTOGR APHIC WORKSHOPS

Day of the Dead in Mexico is a uniquely beautiful and joyful three-day festival—a time when families come together, prepare special foods, and create colorful altars in celebration of loved ones who have died. Our week begins with photographing the various preparations for Day of the Dead and Halloween in San Miguel de Allende. In the classroom, we review the use of our cameras in manual mode, practice techniques for approaching and photographing people, and review how to employ flash unobtrusively. To deepen our understanding of what we are witnessing, a cultural expert joins us to discuss the significance of Day of the Dead, and we make our own class altar to honor loved ones. On the afternoon of Day of the Dead, we photograph the festivi-ties in San Miguel’s main cemetery, where families gather with food and drink, decorate gravesites with marigolds, play music, and dance. In the evening, we visit some of the private homes with altars that are open for public viewing. Additional topics include digital camera set-tings, composition, low light situations, and metering. Each day also includes an edit-and-critique session of the photographs taken the previous day.

SARAH MEGHAN LEE began her photography career as an assistant photo editor for USA Today in Washington, D.C. She was also a volunteer teacher for Shooting Back, a program that taught inner-city youth to document life in their neighborhoods. In 1996, Sarah traveled to Rwanda to pursue her dream of being a photojournalist. There she worked for several international relief agencies, newspapers, and the Associated Press, covering the returning refugees. Her first published photograph landed on the front page of The New York Times. Sarah has spent the past eight years working as a photojournalist in Latin America, based in Mexico City. Her photographs have been published in USA Today, The New York Times, the Los Angeles Times, and the Boston Globe. This is Sarah’s 10th year teaching for the Workshops. Her web site is www.sarahmeghanlee.com.


WHAT YOU SHOULD KNOW: Working knowledge of your computer and digital SLR camera

PACKAGE PRICE: $2,545; includes tuition, double occupancy hotel accom-modations for six nights Friday through Wednesday (single supplement available for $275 additional), breakfast and lunch daily, two dinners, and location fees. To register, please call the Workshops at (505) 983-1400 x11.

July 11–26 NEW!

August 5–15

August 10–14 NEW!

August 22–28 NEW!

Aug. 28–Sept. 3 NEW!

Aug. 28–Sept. 6

Oct. 17–Nov. 1

October 20–24

Oct. 29–Nov. 4

November 1–7 NEW!

Nov. 30–Dec. 10

Ladakh: The Last Remaining Tibet David Samuel Robbins page 55

Ireland: Portraits of Western Ireland John Weiss page 56

Utah: The Figure in the Western Landscape Allen Birnbach page 57

Southwestern Photographic Journey Jerry Courvoisier page 59

Alaska: The Glacier Bay Experience Krista Elrick and Andrea J. Sharon page 57

Peru: Lost City of the Incas, Machu Picchu John Weiss page 56

Bhutan: Land of the Thunder Dragon David Samuel Robbins page 55

A Natural Eye: Ghost Ranch, New Mexico Eddie Soloway page 54

San Miguel de Allende: Day of the Dead Sarah Meghan Lee page 53

A Natural Eye: Utah's Canyon Country Eddie Soloway page 54

Australian Photographic Journey Jerry and Julie Courvoisier page 59

NOTE: Unless otherwise indicated, Around the World workshops are not managed through Santa Fe Photographic Workshops.

© Eddie Soloway, © Allen Birnbach, © David Samuel Robbins

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DAVID SAMUEL ROBBINS

Bhutan: Land of the Thunder DragonOctober 17–November 1Visually astounding and culturally fascinating, Bhutan is unique in a world that seems to grow more homogenous with each passing day. It is a country of almost surreal natural beauty, graced with a tradi-tional culture deeply rooted in Buddhist values and practice. The government refers to the “Gross National Happiness” of the country as a more important measure of progress than their GNP. David Samuel Robbins guides photographers interested in devel-oping a more distinctive, personal style of imagery that transcends the boundaries of traditional “travel photography.” Our extended journey (12 full days in the country) allows us to experience Bhutan’s many charms. Touring through more than half the breadth of the country, we visit the most prominent dzongs (ancient fortress-monasteries), and take frequent, easy-to-moderate day hikes to rural villages and hilltop temples where millennia-old Tibetan Buddhist rituals con-tinue unchanged. We also attend the annual masked dance festival at Jambay Lhakhang Drub. The schedule includes frequent photo demonstrations and feedback on your own work in progress.


WHAT YOU SHOULD KNOW: Working knowledge of your computerand digital SLR camera

PACKAGE PRICE: $ 5,895; tuition and land cost only. There is a $500 discount off the tuition price for early registration (prior to June 15). For complete information, visit www.himalayanodyssey.net or call (800) 970-5904. Please mention that you learned about this opportunity through Santa Fe Photographic Workshops.

DAVID SAMUEL ROBBINS

Ladakh: The Last True Remaining TibetJuly 11–26Situated in the rain shadow of the Indian Himalaya, Ladakh occupies the westernmost edge of the Tibetan Plateau. Millenia-old traditions of Tibetan Buddhism have thrived here without the interruption or repression found in Tibet itself. In Ladakh, Buddhist culture is alive and well—vibrantly displayed through the dozens of spectacular monasteries, frequent festivals, and the warmhearted, open nature of the Ladakhi people. On our Ladakh adventure we traverse an amazing range of land-scapes, from the wind-swept desert and sand dunes, to brilliantly colored rock formations, lush valleys, and immense sapphire-colored lakes. These awe-inspiring vistas are dotted with traditional villages and ancient monasteries, which we explore both by road and on foot. David guides participants in developing a more distinctive, per-sonal style of imagery that transcends the boundaries of mainstream “travel photography.” Our discussions include the technical, aesthetic and cultural considerations that enable you to create more intimate and authentic images— both here and in other “exotic” locations. This journey is a true adventure and photographer’s paradise. There is an optional post-Ladakh extension to visit Agra and the Taj Mahal.



SPECIAL NOTES: Film cameras are welcome, although digital capture allows for frequent feedback and critique.

PACKAGE PRICE: $4,850; tuition and land cost only. For complete information, visit www.himalayanodyssey.net or call (800) 970-5904. Please mention that you learned about this opportunity through Santa Fe Photographic Workshops.

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© David Samuel Robbins

© David Samuel Robbins

DAVID SAMUEL ROBBINS is a fine-art and documentary photographer specializing in traditional cultures and adventure travel. He has worked on assignment throughout the world for many leading publications, including National Geographic Adventure and National Geographic Traveler. David has a particular expertise and affection for the Himalaya, a region he has visited more than 40 times as a photographer, cultural guide, and workshop instructor. His book, Himalayan Odyssey: A Visual Journey Across the Great Range, was the culmination of 10 years’ work and over 2,000 miles of trekking in Tibet, Bhutan, India, and Nepal. His web site is www.himalayanodyssey.net.

EDDIE SOLOWAY

A Natural EyeEddie Soloway takes his popular “Natural Eye” workshop on the road this autumn to two iconic southwestern landscapes—New Mexico cliffs and Utah canyons. For both excursions, the adventure begins late in the afternoon with an orientation, dinner, and a presentation of “Lighting Your Photographic Passion.” Over the next several days, Eddie weaves together many of the elements of his Santa Fe-based workshops, such as activities designed to open a natural eye and technical ideas that help participants capture what they see. The schedules include ample time to explore and photograph the beautiful surroundings. For a full description of “A Natural Eye”, please see page 42.

Ghost Ranch, New Mexico October 20 –24 The stunning scenery surrounding historic Ghost Ranch has inspired scores of painters, writers, and photographers, among them Georgia O’Keeffe, Paul Strand, Marsden Hartley, and Ansel Adams. The north-ern New Mexico countryside features some of the Southwest’s most spectacular cliffs, washed in a rainbow of colors and dotted with ancient twisted junipers, while stately cottonwoods line the banks of the Chama River. We find added inspiration on a specially arranged tour of Georgia O’Keeffe’s renowned home and studio in nearby Abiquiu. PACKAGE PRICE: $1,425; includes four nights required lodging (single supple-ment available for additional fee) at Ghost Ranch, all meals, and the O’Keefe tour.To register, or for more information, email [email protected]. Please mention that you learned about this opportunity through Santa Fe Photographic Workshops.

Utah’s Canyon Country November 1 –7Talk about location! Our base at Boulder Mountain Lodge is surrounded by easy access to the slot canyons of Grand Staircase-Escalante, the wild colors of Kodachrome Basin, and the amazing diversity of Capitol Reef. Optional longer drives reveal the wonders of Coral Pink Sand Dunes, and Zion and Arches National Parks. If you want to push your vision immersed in the heart of Utah’s can-yon jewels, this is both the experience and the location to consider.

PACKAGE PRICE: $1,925; includes six nights required lodging (single supple-ment available for additional fee) at Boulder Mountain Lodge, first and last dinners, and morning classroom snacks. To register, or for more information, email [email protected]. Please mention that you learned about this opportunity through Santa Fe Photographic Workshops.

© Eddie Soloway



SPECIAL NOTES: Film or digital cameras are welcome, although film processing will not be available.

EDDIE SOLOWAY’s photographs are the expression of his passion and commitment to the natural world. His eye has developed during a lifetime of exploring the earth’s wild places. Former positions in educational workshop design, wilderness program development, and custom fine photographic printing have further honed his expertise. In 1998, Eddie was the first recipient of the Excellence in Photographic Teaching Award presented by the Santa Fe Center for Photography. Today he divides his time between making fine-art prints, teaching, speaking on creativity and the photographic life, and furthering photographic publishing projects. He is the author of the book, One Thousand Moons, and the instructional DVD, A Natural Eye – Big Sur. An impassioned teacher, Eddie brings experiences in both nature and photography to his workshops. This is Eddie’s 16th year teaching at the Workshops. His web site is www.eddiesoloway.com.

© Eddie Soloway

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See page 4 to learn more about WHO SHOULD ATTEND and WHAT YOU SHOULD KNOW


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KRISTA ELRICK AND ANDREA J. SHARON

Alaska: The Glacier Bay ExperienceAugust 28– September 3A photographer’s paradise awaits you at Southeast Alaska’s Glacier Bay National Park, where mountain peaks soar 15,000 feet above the sea and provide a breathtaking backdrop for deep fjords, pro-tected coves, and tidewater glaciers. The park is home to a rich array of wildlife, including black and grizzly bears, wolves, mountain goats, humpback whales, and over 200 species of birds. Our adventure begins at Bartlett Cove and the rustic Glacier Bay Lodge for an orientation. On day 2 we board our home base for the next six days, the M/V Sea Wolf (www.seawolfadventures.net). This 97-foot charter, one of the few small vessels permitted to operate in the national park, is large enough to be seaworthy, yet small enough to slip into narrow coves and inlets. It has double-occupancy sleep-ing quarters and a galley where our personal chef creates healthful, palate-pleasing meals. Each day includes shore excursions and the opportunity to per-sonally paddle an ocean kayak among the coves and bobbing glacial ice. We explore and photograph areas of the park not normally seen by the casual tourist as we eat, sleep and photograph the “Glacier Bay Experience.” Escape the cruise ship crowds, and experience this natural wonder on an intimate scale—up close and very personal!

KRISTA ELRICK’s passion for mixing land conservation with the wisdom of traditional cultures has led her on photographic projects from Central America to coastal Alaska. She began teaching while earning her MFA. Thirty years later, she continues to offer workshops, exhibit her prints, and publish her work. Krista’s web site is www.KristaElrick.com.

ANDREA J. SHARON has been a nature and landscape photographer for 25 years. She worked for the National Park Service for 32 years, including two assignments in Alaska. Andrea shares her unique experiences and personal stories with workshop participants. Her web site is www.light-prints.com.



PACKAGE PRICE: $4,195. Limited to 10 participants. For complete details and to register, please contact Andrea Sharon at (505) 466-2585 or email her at [email protected]. Please mention that you learned about this opportunity through the Santa Fe Photographic Workshops.

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ALLEN BIRNBACH

Utah: The Figure in the Western LandscapeAugust 10–14The human figure has long been a favorite subject of artists in every medium, including photography. The elements of form, gesture, line, texture, light and shadow, and artistic intention all play vital roles in creating successful figure studies. By placing the human figure into a unique and inspiring landscape, we add the additional element of nature and open up countless new opportunities for exploration. Developing a personal vision and point of view is a key goal of this workshop. In daily field sessions, we learn how to work with models in a professional manner, to create an environment of trust and col-laboration. We also learn how to establish a rhythm to the shoot that encourages artistic feedback and active participation from the model. Classroom time is devoted to discussions, critiques of the previous day’s images, and one-on-one reviews. Our base for the workshop is a spectacular 5,000 acre ranch in Park City, Utah. The property includes large stands of aspen, streams, large rock outcroppings, and a lake. There will be a 3:1 ratio of photographers to models. A maximum of nine participants ensures there is plenty of time for individual attention and one-on-one time with Allen. More information on this workshop is available at www.nudephotoworkshops.com.

ALLEN BIRNBACH has been a widely recognized commercial and fine artphotographer for over 30 years. His long-term interests in landscape photography and dancers were first combined in his series, “Defining Eden,” which explores the spiritual connection of the human and the natural world. Working with members of some of the most renowned dance companies both in the U.S. and abroad, Allen’s goal was to elicit a primal response to extraordinary locations. His new series working with bodypainting evolves from his earlier work to focus on more iconic and mythological imagery. Allen’s images been exhibited in galleries around the world, and are represented in numerous private and corporate collections. His work has been celebrated by Communication Arts, PDN, Photo Design, DoubleTake, the Black and White Spider Awards, and appeared in numerous books and calendars, including The World’s Greatest Black and White Photography, No.1. Allen teaches photography at UCLA Extension in Los Angeles, for the Digital Photo Academy and through private work-shops. His web site is www.birnbachfigureworks.com.


WHAT YOU SHOULD KNOW: Working knowledge of digital workflowand manual mode on your SLR camera

PACKAGE PRICE: $1,195; includes model fees and daily lunches. Transportation, lodging, breakfast, dinner, snacks and beverages are extra. For complete details and to register, please contact Allen Birnbach at [email protected] or (303) 333-3316. Please mention that you learned about this opportunity through Santa Fe Photographic Workshops.

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© Krista ElrickJOHN WEISS

Ireland: Portraits of Western IrelandAugust 5–15Western Ireland is a land of remarkable light, rugged natural beauty, and warm people eager to share their rich heritage of music, folklore, literature, and history. From our home base in County Mayo, the last bastion of old Ireland where traditional culture still thrives, we travel south to Connemara and north to Achill Island, photographing tiny villages, hidden beaches, ancient abbeys, and druid woods. Days are spent photographing in two or three locations — special places you could never find on your own. One of the special aspects of our tour is what we call “unsched-uled stops.” A neighbor may invite us to a party, or a potter may show us around her studio. Or we may attend the Ballinrobe horse races, a cattle auction, a sheep shearing contest, or an outdoor farmer’s market. We discover a land and culture through living it, not just visiting it. Our guide is the well-known photographer and author, Ron Rosenstock. Ron has a long-standing love affair with Ireland and has guided tours to Ireland for the last 30 years. His affection for the land and the people is contagious. Accommodations are at Hillcrest House, a comfortable home used exclusively to host photography groups. Set in rolling green fields with a view of Croagh Patrick and a cook to prepare breakfast and dinner, our home base provides both respite and inspiration The tour concludes with a day and night in the charming village of Ennis, a remarkably beautiful hamlet of cobblestone streets and brightly colored storefronts in County Clare.



PACKAGE PRICE: $3,495; land cost. Group size is limited to 10. For complete information, please visit www.phototc.com, contact Strabo International Tour Company at (607) 756-8676, or call John Weiss at (410) 392-2929. Please mention that you learned about this opportunity through the Santa Fe Photographic Workshops.

JOHN WEISS, formerly a professor of art and director of photography at the University of Delaware, now leads travel photography workshops across the globe. His 2010 workshops include journeys to Morocco, Peru, Ireland, and Spain. His book, The Face of Baseball, was featured in LIFE magazine and on the Today show. Author of Venus, Jupiter & Mars, an authoritative monograph on the photographer Frederick Sommer, John is currently at work on two new books: Portraits of People Who Never Were, digitally enhanced close-up portraits of people in Ireland, and The Maasai of the Mara Rianta: Photographs and Legends of Africa. Widely published in the U.S. and Europe, John’s work is in numerous collections, including the Museum of Modern Art, the Boston Museum of Fine Arts, and the Bibliothèque Nationale de France. An inspiring and gifted teacher, John received his university’s Excellence in Teaching Award as well as the 2006 Teacher of the Year award from the Santa Fe Center for Photography. He is one of the instructors selected to participate in the Photography Mentorships program at the Workshops. This is John’s 19th year teaching for the Workshops. His web site is http://gallery.me.com/jjdoublejj.

JOHN WEISS

Peru: Lost City of the Incas, Machu PicchuAugust 28–September 6Nothing you may have read, no photographs or films you may have seen, can prepare you for the awe-inspiring moment when you visit Machu Picchu for the first time. It is a miraculous place, charged with the grandeur of more than six centuries of history and the legend of the Incas. We spend parts of three days on site, walking ancient pathways, surrounded by an astonishing visual landscape. We journey through the Sacred Valley, where we visit a grammar school set against a backdrop of the snow-capped Andes. In the nearby village of Willoq, we observe local craftswomen weaving their colorful textiles. We photograph in traditional outdoor markets and visit a private home to celebrate the festival of Mother Earth. Before sharing lunch with a local family, we participate in a sacred blessing conducted by a shaman. This travel workshop with John Weiss is a rare opportunity to witness Peruvian traditions from the inside, and to experience first-hand a series of unique cultural and photographic opportunities.



PACKAGE PRICE: $3,795; land cost. Group size is limited to 12. For complete information, please visit www.phototc.com, contact Strabo International Tour Company at (607) 756-8676, or call John Weiss at (410) 392-2929. Please mention that you learned about this opportunity through the Santa Fe Photographic Workshops.

© John Weiss© John Weiss

© Allen Birnbach


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JERRY COURVOISIER

Southwestern Photographic JourneyAugust 22–28This seven-day photographic journey is a once-in-a-lifetime trip through the visually extraordinary, enchanting, and spectacular land-scape of the American Southwest. The region’s diverse topography creates an interplay of light, shadow, and color that is unsurpassed anywhere. The breathtaking locations on the tour provide opportuni-ties to explore the beauty of this compelling landscape and culture. Discover why this enchanted landscape so inspired such artists as Ansel Adams, Eliot Porter, and Georgia O’Keeffe. Our journey begins and ends in Santa Fe, an international travel destination renowned for its history, unique adobe architecture, and vibrant arts and culture. From Santa Fe we travel to such scenic gems as Bandelier National Monument, Ghost Ranch, Chaco Canyon, Horse Shoe Bend, Monument Valley and Canyon de Chelly. Because the group is limited to six participants, you can progress at your own pace and expect individual attention. For more information visit www.jerrycourvoisier.com.



PACKAGE PRICE: $2,775; land only. Includes shared accommodations for6 nights ($600 single supplement, if available), private ground transportation, most meals, and all entrance fees. Limited to 6 participants. To register, contact Jerry Courvoisier at (505) 670-0910 or [email protected]. Please mention thatyou learned about this opportunity through Santa Fe Photographic Workshops.

JERRY AND JULIE COURVOISIER

Australian Photographic Journey November 30 –December 10Explore Australia on an extraordinary photographic adventure. This insider’s tour takes us to remote and exclusive locations, where Jerry and Julie Courvoisier share their deep knowledge of both Australia and photography. Our journey begins in cosmopolitan Melbourne. From there, we travel to one of the world’s most dramatic coastlines, the Great Ocean Road, where special boat access allows us to photograph the breathtaking rock formations of the Twelve Apostles. Next, we photograph a working sheep shearing station, picturesque Adelaide, and the famous vineyards of the Adelaide Hills. We then ferry to Kangaroo Island, one of the world’s last unspoiled refuges, noted for its outstanding natural beauty, rare and diverse plants, and wildlife. Our journey concludes with the Flinders Ranges, renowned for its mountain views and gorges. Accompanied by an Aboriginal guide, we learn the creation stories about mythical serpents that shaped the formation of this ancient colossus. Here we experience the true “Outback,” photographing the landscape and the local characters on which legends are based. Jerry guides our small group of adventurous photographers, providing expert advice on digital capture and work-flow. Julie, a native of Australia, enriches our experience with her local knowledge. For complete details please visit www.jerrycourvoisier.com.



PACKAGE PRICE: $5,775; land only. Includes shared accommodations for10 nights (single supplement is $750, if available), ground transportation, and some meals. Participants requesting double occupancy will be notified if a suitable roommate is not available, in which case the single supplement must be charged. To register, contact Jerry Courvoisier at (505) 670-0910 or [email protected]. Please mention that you learned about this opportunity through Santa Fe Photographic Workshops.



JERRY COURVOISIER is a photographer, educator, and writer whose passion for photography, enthusiasm, and patient instruction have made him a popular teacher and workshop leader. His photographic journey tours help photographers of all levels develop the visual elements that express a sense of place. Jerry complements the visual creative experience by inspiring participants to fully experience and interact with the local environment and culture. Jerry has led more than 160 workshops and maintains an active teaching and lecture schedule on photography and digital darkroom applications. He has taught with the National Geographic Expeditions series and regularly leads workshops in Great Britain, Italy, Germany, and Australia. Jerry directed the Santa Fe Photographic Workshops digital program for 14 years, building it into one of the most respected digital educational programs in the world and has authored Lessons in DSLR Workflow with Lightroom and Photoshop. This is Jerry’s 15th year teaching for the Workshops. His web site is www.jerrycourvoisier.com.

JULIE COURVOISIER, a native of Australia, is an interior designer and a photographer who is working on a project depicting the indigenous people and culture of Australia.

NEW


You can receive monthly updates, exclusive discounts, and workshop highlights via our enewsletter. Sign up at www.santafeworkshops.com.

DID YOU KNOW?

Visit us at nikonusa.com/Learn-And-Explore

NIKON TECHNOLOGY At Nikon, we continually strive to develop advanced technologies that meet and exceed the ever-expanding demands of photography enabling all kinds of photographers to achieve the best images possible.

CAPTURE YOUR WORLDLearn from the experience and skills of world-class photographers as they share their insights and images in all the various fields of photography including travel, sports, nature and more.

INSIGHTS & TECHNIQUESNikon offers you both basic and advanced photography techniques to assist you in developing your photographic skills. Learn the basics of composing an image and using depth of field as well as advanced techniques like light painting, white balance and color settings.

SITE SEEING It’s New for You at NikonUSA

• At Learn & Explore you’ll find out what the pros are carrying into the field and into the studio. And we’ll give you the inside story of how you can do the same.

• You’ll be able to listen in as photographers talk about their images, and you’ll be able to view the moving images and multi-media productions they are creating with their D-Movie capable Nikon digital SLRs.

• You’ll be able to access how-to and behind-the-scenes videos. We’ll be discussing technology, from the perspective of how you can use the technology to take better pictures.

Nikon introduces a new section at the NikonUSA website called Learn & Explore offering photo enthusiasts a unique mix of imaging tips and techniques, inspiration and advice.

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CAMPUS AND ACCOMMODATIONSThe Workshops campus is located on Santa Fe’s beautiful and historic Eastside in the IHM Retreat Center complex, less than three miles from the downtown plaza. It includes classrooms, studio, digital lab, administrative offices, campus housing, dining room, and the Workshops store. Our Educational Partners provide the latest and most advanced equipment and accessories for the studio, classrooms, and digital lab.

Digital LabWe are proud to offer workshops in our state-of-the-art digital lab. With the newest equipment and the latest software, participants harness the power of these systems to support their photographic goals. Each workstation includes an Apple Macintosh, 25 ½" NEC Multisync widescreen LCD, choice of mouse or pen tablet, and is networked to HP printers.

AccommodationsOn CampusThe Workshops offers on-campus housing for participants from June 20–August 7, 2010. Accommodations are available Sunday through Friday nights. Rooms are simple but comfortable and are adjacent to the Workshops center.

Double Occupancy $300 per week, per person with access to communal bath $370 per week, per person for private bath

Single Rooms $440 per week with access to communal bath $535 per week for a private bath and twin size bed $600 per week for a private bath and a queen-size bed

© Amber Terranova © Patti Schulze

Bed linens and towels are provided for the week. There are no phones, phone jacks, TVs, or air conditioning in these rooms. Wireless internet is available in the rooms and an Internet lounge with wired access is located on campus. Smoking and alcohol are prohibited in the on-campus accommodations. Please note that the majority of our rooms are located on the second level with stair access only. If you have mobility issues, please call to discuss housing options.

Check-in starts at 2pm on Sunday. Check-out time is before class starts on Saturday. Saturday night stays are prorated only for those staying consecutive weeks.

The Workshops accommodations are limited and are assigned on a first-come, first-served basis. Please call to check availability before sending in your application form.

Off CampusWe recommend the Residence Inn by Marriott for off-campus accom-modations. Amenities include fully equipped kitchens, living areas with fireplaces, daily complimentary breakfast, and light snacks served Monday through Thursday evenings. To receive a discounted rate, contact the Residence Inn Sales Office at (505) 988-7300 and identify yourself as a Santa Fe Photographic Workshops participant (promotional code Z5Q). Please make your housing arrangements in Santa Fe well in advance.

MealsThe meal plan is mandatory for participants in weeklong workshops held in Santa Fe from June 20–August 7, 2010. The convenience and variety of great food fosters the important group sharing and network-ing experience. The cost of $195 for the meal program includes a welcome dinner on Sunday evening at the Quail Run Club, lunches Monday through Friday, and dinner on Friday night. Friday evening we celebrate the week and its achievements with participant image shows. Coffee and tea are available every day.

The meal program does not include dinners Monday through Thursday. These meals can be shared with fellow participants and instructors as you wish. With over 200 restaurants, Santa Fe offers a wide variety of culinary delights.

Breakfast is available on campus Monday through Saturday for an additional $55. Vegetarian options are available at all meals. If you wish to order breakfast for the week or if you have special dietary needs, please provide details on the application form.

© Lauren Devon

REGISTRATION POLICIES* Since enrollment is limited, we encourage you to apply early. Call to check availability before registering. Please do not make travel plans before registering or being told a workshop is a “go.” We encourage you to choose more than one workshop in case your first choice is full. Assignments are made on a first-come, first-served basis. Alumni of the workshops may not repeat the same instructor’s workshop in the same location in consecutive years.

For Workshops in the Continental U.S.$300 deposit is required at the time of registration (includes non-refundable $45 application fee) $100 deposit is required to reserve on-campus housingBalance is due 30 days prior to the start of the workshop

For Workshops Outside the Continental U.S.$600 deposit is required at the time of registration (includes non-refundable $45 application fee) Balance is due 60 days prior to the start of the workshop

You can register online or over the phone by calling (505) 983-1400 x11 with your American Express, MasterCard, Visa, or Discover Card number, or by mail with a check, money order, or your credit card number. We cannot hold space in a workshop without a deposit. Once your deposit has been received you will receive an email confirma-tion. Additional information, including an invoice of total cost, will be emailed once the minimum number of participants is reached. Final payment of your balance may be made by check, credit card, or money order payable in U.S. funds. All costs associated with work-shops held in New Mexico are subject to Santa Fe taxes.

Cancellation and Transfer PoliciesWorkshops in the Continental U.S.CANCELLATIONSWe rely on your attendance to make important arrangements, so if for any reason you need to withdraw, please notify us 30 days or more before the start date of your workshop. At that time we will refund your deposit by check, less a $125 cancellation fee. If notification of cancel-lation is made 15 to 30 days before the start of the workshop, we must retain the $300 deposit. If cancellation of on-campus housing is made 15 to 30 days prior to the start of the workshop, we retain the $100 housing deposit. If notification of cancellation is made less than 15 days before the start of the workshop, we must retain the entire balance paid. Santa Fe Photographic Workshops reserves the right to cancel a reservation if full payment has not been received by 15 days before the start of the workshop. No refund of any fees will be made for with-drawal after the workshop begins. Santa Fe Photographic Workshops is not responsible for cancellations due to medical emergencies. We highly recommend purchasing travel insurance (please see page 63). In the event that a workshop must be cancelled due to inadequate enrollment, all fees and deposits are refunded in full or may be trans-ferred to another workshop within 12 months. Santa Fe Photographic Workshops is not responsible for reimbursement of non-refundable airline tickets in the event of a workshop cancellation. Please check on your workshop status before making travel arrangements.

Workshops Outside the Continental U.S.CANCELLATIONSWe rely on your attendance to make important arrangements, so if for any reason you need to withdraw from a workshop that takes place outside the continental U.S., please notify us at least 60 days before the start of your workshop. At that time we will refund your deposit, less a $250 cancellation fee. If notification of cancellation is made between 30 and 60 days before the start of the workshop, we must retain the $600 deposit. If notification of cancellation is made less than 30 days before the start of the workshop there will be no

refund. The Santa Fe Photographic Workshops reserves the right to cancel a reservation if full payment has not been received by 30 days before the start of the workshop. Santa Fe Photographic Workshops is not responsible for cancellations due to medical emergencies. We highly recommend purchasing travel insurance (please see page 91). In the event that a workshop must be canceled due to inadequate enrollment, all fees and deposits are refunded in full or may be trans-ferred to another workshop within 12 months. Santa Fe Photographic Workshops is not responsible for reimbursement of non-refundable airline tickets in the event of a workshop cancellation. Please check on your workshop status before making travel arrangements.

TRANSFERSIf for any reason you wish to transfer to a different workshop, please notify us at least 30 days (60 days for workshops outside the U.S.) before the start of the workshop you wish to withdraw from. You may only make one transfer at a charge of $30. We reserve the right to allow or disallow any transfer. You must register and complete a new work-shop within 12 months of the withdrawal. There are no exceptions to our Cancellation and Transfer Policy for workshops, inside or outside the continental U.S.

DiscountsThe Workshops is pleased to offer two discount opportunities.

The Next Generation discount is intended to instill a passion for photography in the younger generation. Any parent or grandparent who attends a week-long workshop in Santa Fe receives a $400 credit for their child or grandchild to attend during the same week. This discount may not be combined with any other discount or scholarship program. Other restrictions may apply.

The Frequent Photographer discount is offered to participants who take two or more week-long workshops in Santa Fe during the same calendar year. A 10 percent discount will be applied to the tuition of the lower-priced workshop(s). This discount may not be combined with any other discount or scholarship program. Other restrictions may apply.

* NOTE: Unless otherwise indicated, Around the World workshops are not managed through Santa Fe Photographic Workshops. Please contact the tour operator for registration policies.

© Memphis Barbree

© Karen Lenz

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TRAVEL InsuranceWhether you are traveling to Santa Fe or Around the World*, we strongly recommend that you purchase travel insurance to protect yourself against unforeseen circumstances that might prevent your attendance. We suggest a plan that offers coverage for medical/dental emergencies, lost baggage, missed connections, and trip cancellation, should you unexpectedly need to cancel.

The Workshops is registered with Travel Insurance Services of Walnut Creek, California. Please contact them for additional information at (800) 937-1387 or www.travelinsuranceservices.com/select/sfw.

The Workshops is not responsible for cancellations due to medical emergencies or reimbursement of non-refundable airline tickets in the event of a workshop cancellation.

* NOTE: Unless otherwise indicated, Around the World workshops are not managed through Santa Fe Photographic Workshops. Please contact the tour operator for your travel insurance needs.

TransportationIt is very important to confirm your workshop status before making travel arrangements.

Santa Fe Photographic Workshops is located 60 miles north of Albuquerque, New Mexico. Albuquerque International Sunport is the airport that serves the Santa Fe area. We suggest you rent a car or use a shuttle service from the airport. Shuttle busses make multiple roundtrips daily. Ask to be dropped off at the Santa Fe Photographic Workshops on Mt. Carmel Rd. Contact Sandia Shuttle Express to make a reservation at (888) 775-5696 or (505) 474-5696, or visit www.sandiashuttle.com.

FILM PROCESSINGParticipants in some photography workshops may photograph with C-41 print film, either 35mm or 120mm. All film processing is paid for by the participant on a roll-by-roll basis. All film users will be required to leave a credit card number with the Administration Office at Sunday check-in. Processing options and prices will be posted in each classroom. Unfortunately, we are not able to offer E-6 film or traditional black-and-white processing at this time.

PORTFOLIO SUBMISSIONOur sincerest desire is to maintain a consistent level of photographic proficiency, therefore many workshops for Advanced Amateurs and Professionals require a submission of images prior to acceptance. Your application and deposit will reserve a space in the workshop of your choice, but you are not officially accepted into a workshop that requires a portfolio until we review appropriate samples of your pho-tography. Images are reviewed by Workshops staff.

If we do not feel that your choice is appropriate, we will call you and discuss other possibilities. If you choose not to transfer to a suggested alternate workshop, we will refund the deposit, less the $45 applica-tion fee.

After applying for the workshop, submit your images using the follow-ing guidelines:

Portfolio RequirementsSUBMIT TWENTY PHOTOGRAPHS: Email is the preferred method of submission, but slides, printed materials, and other digital sub-missions are all accepted, including web sites.

Digital Guidelines • Images should be formatted as 72dpi JPEGs at 5" x 7"• Images can be sent via email to [email protected]• Images on a CD/DVD must include your contact information

on the label, and filenames must include your first and last name

Slides/Print Guidelines • Slides must be contained in a transparent sleeve(s)• Tear sheets, promo cards, and prints should be unmounted

and in a protective envelope or container

OPTIONAL RETURN POSTAGE: Include appropriate pre-paid ship-ping or mailing label, or sufficient funds, for return of your materials. Otherwise, we still store your portfolio and return it upon your arrival in Santa Fe.

Shipping AddressWe recommend you send materials by a carrier that provides track-ing abilities. Please use the following address:

Attn: Portfolio ReviewSanta Fe Photographic Workshops50 Mt Carmel Rd, F2Santa Fe, NM 87505(505) 983-1400

© Alyssa Bowers © Rick Allred

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TECHNICAL KNOWLEDGEDigital WorkflowDigital SLRs and laptops are required for most workshops, unless otherwise noted in the workshop description. You are expected to have a working knowledge of downloading images from your camera to the laptop, viewing and organizing files using your image editing software, and selecting images for critique. The only exceptions are for participants in beginning workshops with Rick Allred, Anne Cahill, Jennifer Davidson, Cotton Miller, or Jennifer Spelman.

The following indicates the minimum equipment requirements all participants should bring (computer workstations are provided for workshops in the digital lab):

Computer Equipment• Mac or PC laptop computer with up-to-date operating system

(OSX, WinXP or later)• Minimum 1.33 GHz processor (processing speed should meet

or exceed specifications of your image editing software)• 2 GB or more of RAM• Minimum of 15-20 GB of free hard drive space • CD/DVD burner• Mouse and mouse pad (highly recommended, not required)• Power adapters, battery, and cables for laptop• External hard drive, jump drive, and/or blank CDs/DVDs

for backing-up images• Current version of image editing software such as

Adobe Photoshop with Bridge, Aperture, Lightroom, or Photo Mechanic. Workshops’ staff is most familiar with Lightroom and Photoshop with Bridge.

Camera Equipment• Digital SLR and lens(es)

• Several 2GB or 4GB digital memory cards, with reader• Power adapters and cables for digital camera• Manuals for camera, flash, etc.• Batteries and charger for rechargeable batteries

Manual Mode on Your CameraWorking knowledge of your camera in manual mode means that you are capable and comfortable with evaluating your in-camera light meter and choosing the appropriate manual settings.

The following statements can help determine your comfort level with manual mode:

• You have a working knowledge of aperture priority, shutter priority, and manual mode, and understand the difference between each setting.

• You understand how to adjust the aperture and shutter speed to control the light your camera captures.

• You understand that in order to maintain the correct exposure, as aperture becomes larger, shutter speed becomes faster.

Working Knowledge of Adobe PhotoshopDesigned for Amateurs, Advanced Amateurs, and Professionals, the non-beginning Photoshop workshops require a certain level of proficiency on the computer and in Photoshop. Please ensure you have a working knowledge of the following skills.Computer Tasks

• Navigate to the desktop and use Adobe Lightroom and/or Bridge to locate files

• Download your images from a card reader, CD/DVD, or jump drive to a new folder on the desktop

Photoshop Tasks• Tools palette: Select and manipulate areas of an image,

add or subtract from selections, basic image enhancement

• Layers palette: Create, delete, view, re-order, merge, and flatten layers

• Adjustment layers: Edit levels, curves, color balance, and use related masks

If you have any questions or concerns, please contact Rick Allred, digi-tal lab manager, before registering for a workshop. He can be reached at [email protected] or (505) 983-1400 x 24.

SCHOLARSHIPS AND FINANCIAL ASSISTANCESanta Fe Photographic Workshops is committed to creating opportu-nities for photographers of all ages and skill levels. We offer six $1,000 scholarships for workshops June through December — two awarded by Nikon and four by the Workshops. The $1,000 scholarships are provided as credit towards tuition and fees for the recipient’s work-shop of choice, subject to portfolio approval.

NIKON ScholarshipsIn recognition of the personal vision that inspires great pictures, Nikon awards two $1,000 scholarships to amateur and profes-sional photographers. The scholarships are available for week-long workshops in Santa Fe through December, 2010. The scholar-ships program is an extension of Nikon’s partnership with Santa Fe Photographic Workshops to refine and reward excellence, and share it with the photography community.

Santa Fe Photographic Workshops ScholarshipsIn consideration of special financial circumstances of some of our participants, we award four $1,000 scholarships to those who show financial need.

Passionate Photographer: two $1,000 scholarships areavailable to anyone wanting to engage their passion for photography

Emerging Photographer: one $1,000 scholarship is available to 18-25 year olds

New Mexico Resident: one $1,000 scholarship is availableto a full time New Mexico resident

Application Requirements1. LETTER OF INTENT: Indicate the scholarship for which you are

applying, include a statement about your development as a photog-rapher, the name of the workshop you wish to take, and how the workshop will help you reach your goal(s). If applying for a Santa Fe Photographic Workshops scholarship, please include a statement about your current financial need.

2. RESUMÉ: Include your education, work history, and contactinformation.

3. TWO LETTERS OF RECOMMENDATION: Provide two letters from individuals who are familiar with your photography work and can comment on your education, work history, and financial need. Please exclude family members as references.

4. TWENTY PHOTOGRAPHS: Slides, prints, and digital submissionsare all accepted.

Slide/Print Guidelines • Slides must be contained in a transparent sleeve(s)• Prints should be unmounted and in a protective envelope

or container

Digital Guidelines • Images must be on a CD or DVD• CD/DVD label must include your contact information• Images must be formatted as 72dpi JPEGs at 5" x 7"• Filenames must include your first and last name

The Workshops will not accept web sites, emails, books, posters, or any format other than those indicated above.

5. APPLICATION FORM: Complete all areas of the application form, except pricing. Indicate the top THREE workshops you are inter-ested in. The application form for workshops in Santa Fe is on page 67 or available on www.santafeworkshops.com.

6. APPLICATION FEE: Non-refundable application fee of $15 for each submission. Please make check payable to Santa Fe Photographic Workshops.

7. OPTIONAL RETURN POSTAGE: Include appropriate pre-paid ship-ping or mailing label, or sufficient funds, for return of your materials.

Important DatesIn order to facilitate the awards process, the scholarship deadlines are condensed to one week:

May 10, 2010 All materials must be received by the Workshops

May 17, 2010 Scholarships are awarded to recipients, all applicants are notified.

Submission InfoWe recommend you send materials by a carrier that provides track-ing abilities. Please use the following address:

Attn: ScholarshipsSanta Fe Photographic Workshops50 Mt Carmel Rd, F2Santa Fe, NM 87505(505) 983-1400

Scholarship PoliciesAll scholarships are awarded as credits that apply to workshop tuition and fees only. Recipients are responsible for additional expenses such as meals, accommodations, supplies, and travel. Cash awards are not issued.Applicants can submit work to a maximum of TWO scholarships for the June through December 2010 season. A separate set of submis-sion materials, including a $15 fee, is required for each application.

The Workshops makes every effort to place scholarship recipients in their workshop of choice. Due to the popularity of many workshops, we suggest you guarantee a place in your desired workshop by apply-ing in the formal registration process. This requires a $300 deposit for workshops in Santa Fe (please see page 61 for deposit and reg-istration policies). Please call (505) 983-1400 x11 to check workshop availability before applying.

© Alyssa Bowers

© Pei Ketron

© Memphis Barbree

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hotoshop tips issue

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N E W S , R E V I E WI SA N D O T H E RRC O O L S T UC O O L S T U F F

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“HOW-TO” MAGAZINE

A Decade of Diligence:

DISPLAY UNTIL DECEMBER 1, 2009DISPLAY UNTIL DECEMBER 1, 2009DISPLA

NAPP_PhotoshopPros_SFW_0110.indd 1 1/13/10 11:26 AM

SANTA FE PHOTOGRAPHIC WORKSHOPS

P.O. Box 9916 • Santa Fe, NM 87504-5916(505) 983-1400, ext. 11 • fax: (505) 989-8604 APPLICATION FORM

* Indicates required fields

* * Subject to change.

PARTICIPANT INFORMATION

Name _______________________________________________________

Mailing Address 1 _____________________________________________

Mailing Address 2 ____________________________________________

City, ST ZIP _________________________________________________

Email ________________________________________________________

Gender: q male q female Age _________________

Primary Phone ________________________________ q cell q day q eve

Other Phone _________________________________ q cell q day q eve

Occupation __________________________________________________

If your employer is sending you, please indicate company name:

____________________________________________________________

How did you first hear of the Workshops?

_____________________________________________________________

If you are an alumnus, which workshops have you taken?

_____________________________________________________________

q Add me to the Workshops enewsletter

PHOTOGRAPHY INFORMATION

Years in photography ______

Camera make/model ___________________________ q film q digital

Personal laptops are strongly encouraged for almost all of our workshops.

* Will you be bringing a laptop? q yes q no

If you have a roommate preference, please indicate attendee’s name:

__________________________________________________________

DOUBLE OCCUPANCY

q $300 with communal bath

q $370 with private bath

SINGLE ROOMS

q $440 with communal bath

q $535 with private bath

q $600 with private bath and queen bed

HOUSING AND MEALS available June 20 – August 7, 2010

If you are taking a workshop between June 20–August 7, 2010 and want

on-campus housing, please indicate type. (See page 60)Between June 20–August 7, 2010, the meal plan is required. The $195 fee

includes two dinners, five lunches, and beverage service. (See page 60)

Do you want to add breakfast for $55? q yes q no

Do you require vegetarian meals? q yes q no

Indicate special dietary restrictions ______________________________

____________________________________________________________

____________________________________________________________

q Visa q MasterCard q Discover Card q American Express Exp. Date: _____________________

Credit Card # ___________________________________________________________________________

Credit Card Billing Address q Same as above

______________________________________________________________________________________

______________________________________________________________________________________

Signature ______________________________________________________ Date _______________________________

Application Fee: (required)

Subtotal

Tax 8.0625%** (required)

TOTAL DUE

Less Deposit Enclosed

$45

TOTALWORKSHOP INSTRUCTOR START/END DATES TUITIONADDITIONAL

FEES

WORKSHOP INFORMATION

BREAKFAST $55 HOUSING

* *

**

*

*

*

*

*

MEALS $195

Available June 20– August 7, 2010

68 (505) 983-1400 www.santafeworkshops.com

2010 SUMMEReducational partners

National Geographic Traveler and Photo District News present

CATEGORIES• PARKS AND SAFARIS

• PLANTS, ANIMALS,INSECTS AND GARDENS

• BEACHES, ISLANDS AND UNDERWATER

• SCENES OF THE NATURAL WORLD

• OUTDOOR SPORTS AND ACTIVITIES

PRIZESPRIZES FOR AMATEUR (NGT) AND PROFESSIONAL (PDN) CONTESTS WILL INCLUDE:

PROFESSIONAL GRAND PRIZEST. KITTS MARRIOTT RESORT 7-NIGHT LAND STAY FOR 2 PEOPLE WITH SPA

AMATEUR GRAND PRIZEEL DORADO ROYALE, A SPA RESORT7 NIGHT GOURMET INCLUSIVERESORT STAY FOR 2 PEOPLE

ENTRY FORMS ONLINE: www.TheGreatOutdoorsPhotoContest.comFor additional questions, see FAQ online or email: [email protected]

ENTRY FEESPRO: $35AMATEUR: $12

Late? For an extendeddeadline of May 10, 2010, an additional $10 perentry will be charged.

To obtain Official Rules go to www.TheGreatOutdoorsPhotoContest.com. Employees of National Geographic Society, Photo District News and their affiliates, subsidiaries, and agents, and theirimmediate families or persons living in the same household of such individuals are ineligible. Entry fee of $12 for amateurs and $35 for professionals applies to each entry received on or before11:59 PM PST on April 26, 2010. For the extended deadline, an additional $10 will be added to each entry received between 12:01 AM PST on April 27, 2010 until 11:59 PM PST on May 10,2010. Only digital entries will be accepted. Dates of prize trips are subject to black-out dates at discretion of sponsor. Excludes by law residents of Arizona, New Jersey and Vermont. CONTESTVOID WHERE PROHIBITED. See official rules for details.

EntryDeadlineApril 26,2010

© WHIT RICHARDSON

CATEGORY WINNERSEACH CATEGORY WINNERWILL RECEIVE:

• $100 B&H GIFT CARD

• GOLD PASS - PDNPHOTOPLUS INTERNATIONALCONFERENCE + EXPO

• CANSON FINE ART PAPER

PDNGreatOutdoorsCFE_SanteFe 1/15/10 5:14 PM Page 1

The Santa Fe Photographic Workshops is fortunate to have the support

of many businesses in the imaging industry. The following companies are partners

of our programs because they believe in supporting education and

regard our participants as important customers for their products and services.

With additional equipment and materials support from these companies:

®

HDR soft

Fome-Cor® Board

Educational Partners: HP and Nikon

2 01 0 s u m m e r

Escape the Routine with these new workshops in santa feBottom rowContemporary Color photography with Sam Abell ©

the essence of portraiture with Kwaku Alston ©

the fashion portrait with Andrew Southam ©

adventure photography with Michael Clark ©

the Creative pet portrait with Norah Levine ©

expressive photography for Young photographerswith Jennifer Spelman ©

top rowthe editorial portrait with Brad Trent © and Ronnie Weil

publish Your photography Book with Darius Himes © andMary Virginia Swanson

revitalizing Your photography with John Weiss ©

Digital Capture of Your mind’s eye with Michael Donnor ©

Creativity and travel photography with Nevada Wier ©

miDDle rowwet-plate Collodion: Back to the future with Jill Enfield © and France Scully Osterman

traveling light: location lightingwith small flashwith Joe McNally ©

refining Your stock photography with Patrick Donehue ©

nik software intensive: retouching techniqueswith Janice Wendt ©

the emotional moment with Jock McDonald ©

romancing the west with Bobbie Goodrich ©

Santa Fe Photographic Workshops

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