|
With a month of 2009 under our belts we are off and running. Our Weekends season is in full swing and has a great line up of instructors and cities. We have begun our Workshop season as well. Lightroom® for Photographers and Basic Photography with Doug Johnson both just took place. To see the slide show from the Basic Photography workshop that just finished last week click here.
This month Neil gives great advice on how to choose the right workshop for you. He’s participated in almost as many workshops as he has taught and has unique insight on this process.
Gallery Saintonge just had its opening Friday Feb 7, for its final show Finale, exhibiting work from Tim Cooper, Elizabeth Stone, Doug Johnson and Tony Rizzuto. To read more about the show and the exciting future of the gallery please click here.
Thank you to everyone who submitted work for our December/January Assignment, Photography Projects. The images are beautiful, as always, and each person’s answers shed some light on the process of personal projects.
If you are interested in our next assignment, Exploring a Subject click here.
|
|
|
|
Tips for Choosing a Photography Workshop
I’ll be the first to admit it: I’m a glutton for education. In my 35 years of teaching, I have planned innumerable classes and workshops; taught more than 15,000 students from the United States, Africa, Canada and New Zealand; and taken as many classes and workshops to hone my own skills when possible. While many of the classes I have taken have been great, if not excellent, I have had my fair share of disappointments too, and learned that not all schools and companies are created equal. So it is from these experiences that I offer the following suggestions to help ensure that the next workshop or class you sign up for is a memorable one (and memorable in a good, not a bad, way!).
Two things before I begin. First, seeing as I co-own RMSP with my wife Jeanne, I cannot feign objectivity; I am biased. RMSP offers high quality programs throughout the year that fit all of the criteria for a successful workshop and/or class recommended below. That said, there are many schools around the country and abroad that offer strong and successful programs, and this article is not meant to be read as an exclusive plug for our school.
Second, I want to address some questions that may be tugging your attention away from the computer screen. “Why do I even want or need to take a class or workshop?" "Can’t I read, practice or learn on my own?” Of course you can! However, as with any skill or hobby, spending time with a group of like-minded enthusiasts and a great instructor can do wonders to reinvigorate interest and dedication. Also, learning new photographic techniques while simultaneously practicing them in the field with experts will so thoroughly and quickly boost your skills, that there is really no comparison to learning on your own. This last point is especially true given the exponential rate at which photographic technology is growing. What may have been a self-taught set of skills 50 years ago is nearly impossible to learn on your own today.
Important Elements to Consider When Choosing Workshops. There are so many photography workshops out there that I have narrowed down the important elements you should consider before making your choice. The following list is geared towards workshops for hobbyists, not for photographers looking to make a full time living from their work. I will address training for the latter in the March newsletter.
| 1.
|
The Instructor(s). For me, the most exciting thing about taking a class is the opportunity to be with an enthusiastic teacher. I have seen workshops under adverse conditions (pouring rain, blizzards, stubbornly flat light) where the teacher was so enthusiastic that the students loved the workshop anyway and even returned for subsequent classes. Unfortunately, I have also seen the opposite. Wherein all external variables were perfect (location, weather, light) but the teacher was not and the workshop was unsuccessful as a result.
| • |
Famous vs. Unknown. It should also be said that how well known an instructor is doesn’t necessarily guarantee he or she can teach a group of students—especially if that group has a wide range of skill levels. Some of the best workshop instructors I have experienced have been virtually unknown in the world of photography. Their objective during the workshop was to make sure everyone learned the techniques and to provide the students with a great experience. Of course there are exceptions to this observation. There are famous photographers who have a gift for teaching. I simply recommend you do not rely on a flashy resume as an indication of teaching ability. |
| • |
Attentiveness. You will always get more out of a workshop when the instructor is not photographing. I feel that during any given field shoot when an instructor is looking through student’s lenses and not their own, helping them with composition and light, the students learn exponentially more from the workshop on a whole. When instructors are working on their own projects or portfolios students are less likely to ask them questions. This is one of the main differences between a photo tour and a workshop. On photo tours participants shoot along side the main photographer. Photos tours can vary but many do not include instruction or in the field assistance. |
| • |
Student-Teacher Ratios. At RMSP workshops don’t exceed a 1:8 student-teacher ratio. While this may be lower than most, look for a class or workshop that maintains an intimate atmosphere with low student-to-teacher ratios. This is a way to ensure individual help that is more geared towards your learning style. |
| • |
Rolling With It. A good instructor can make class content jive with whatever is happening during the workshop. He or she can fly not only with weather issues, but personal and group-dynamics as well. |
| • |
Scouting. Additionally, the instructor should thoroughly scout all the locations that you will be shooting close to the dates of the workshop. Things change, of course, and students shouldn’t be disappointed with locale. |
| • |
Giving Direction. A good instructor helps students find focus, direction and inspiration. This is a huge part of what makes students return to a good workshop program. | |
| 2. |
Great Assistants. Most of what was said about good teachers holds true for assistants. In my opinion, an assistant should be able to answer questions as well as or nearly as well as the lead instructor.
|
| 3. |
Course Content. A workshop should not just consist of shooting. A well-round workshop should have time in and out of the classroom to shoot, discuss, lecture, demo, critique, and, if appropriate, give students an opportunity to work individually with their teachers and/or assistants.
| • |
The Daily Schedule. Consider the hours of the workshop. If it runs from 9 am to 5 pm and is a landscape workshop, for example, you might miss the best light conditions of the day—sunrise and sunset. Many of our own workshops last 12 to14 hours. Sure, you are tired at the end, but you have learned so much and captured such great images that you can also take home with you, that the length of each day is well worth it. I suggest looking for those schools that are willing to head out early to a shoot and stay late, even if it means eating three meals in the field! |
| • |
Ample Critiques. Critiques are incredible learning opportunities and should absolutely be a part of any class or workshop during which you take photos. Additionally, all critiques of student work should be honest, consist of constructive criticism and occur often. The last workshop I taught we did a thorough and hard critique after shooting everyday. Because of the extensive critiquing, every student’s work improved throughout the week. They all left with images they were proud of.
| |
| 4. |
Location. Location. Location. In this case, what’s true for real estate investments is also true for photography workshops. That’s not to say you always need to be in a beautiful national park, but you do need to be in places that lend themselves to good landscape, architectural, portraiture, macro photography, etc.
| • |
Shooting Relevance. When you arrive to a field location any lectures leading up to the location should prepare you to photograph the subject matter onsite. For example, if you arrive at a sunrise shoot the instructor should have discussed proper ways to expose a sunrise and other compositional elements so you are technically prepared for the scene at hand. After a field shoot, there should be ample time to return to a classroom and critique those photos taken.
| |
| 5. |
Quality Facilities. The facilities where a workshop is held should have adequate (if not excellent) lodging, meeting rooms and close proximity to restaurants. A well-organized school or company should also provide this information to students ahead of time so that arrangements can be made for special needs.
|
| 6. |
Reasonable Prices. Be sure that the cost of a class or workshop reflects the quality of the itinerary, teaching staff, location and equipment (if provided). If the workshop costs more than most, be sure that you are getting enough extra mileage to make the investment worthwhile—as these opportunities are investments and should be considered as such. Additionally, keep in mind that a school’s name shouldn’t set the price alone—quality must be excellent and should be the ultimate factor that sets the price.
|
| 7. |
Organized Administration. As best they can, a school should be able to base students’ skills, knowledge and experience from pre-workshop surveys well enough to place them into appropriate classes.
| • |
Timely Help. Additionally, such schools should be available and willing to answer questions before the workshop. All needed equipment should be explained and questions should be answered in a timely and friendly manner. |
| • |
Evaluations. Post-workshop questionnaires should always be distributed and consist of questions that solicit honest answers. This is the best way for teachers and/or schools to evaluate their classes and improve. Programs should always be analyzing how and what they teach and be up-to-date with current trends. | |
|
8. |
Reputation. It’s likely that a school with a strong reputation has it for a reason. They’ve earned it! Consider the length that the school has been in business as well as what past students and teachers say about the quality of the programs. It is certainly worth asking around. |
Workshops present excellent opportunities to learn new material, photograph outside your comfort zone and explore new ways of seeing the world—as well as the perspectives of this world captured in your work. They give the chance to be around others who love photography and, with the longer ones especially, carve out time and space to do nothing but think, talk and practice photography. That said and though there are many excellent programs out there, there are also many disorganized programs. It is my hope that the tips above will help you discriminate between the two.
Next month I will offer my advice for photographers interested in making a fulltime living in photography and are in the market for workshops and/or classes to build their skills.
| |
|
FINALE
Gallery Saintonge is announcing its last and final exhibition, Finale, featuring four of Rocky Mountain School of Photography’s long-standing, treasured instructors: Tim Cooper, Doug Johnson, Tony Rizzuto and Elizabeth Stone.
With this exhibit we are announcing the closure of Gallery Saintonge and the emergence of the new face of RMSP. This exhibit marks a transition for what the gallery has been, while giving a glimpse of what is to come.
In 2002, Neil and Jeanne Chaput de Saintonge opened Gallery Saintonge. Having started Rocky Mountain School of Photography in 1989, the gallery was a natural extension of their beloved medium. Until now, they have existed as separate businesses, with somewhat different missions. Bringing the two entities together, the strengths of each are being celebrated.
The new Rocky Mountain School of Photography Gallery will mainly feature the work of RMSP instructors, with additional outstanding student and juried exhibitions. The gallery will serve as a gateway to RMSP. Having a street-front main entrance to the school will bring a greater, more accessible presence in the community, as well as the opportunity to share the range, breadth and quality of the instructors – the folks who make RMSP what it is. We want to recognize and support the work being done, in addition to the education we provide. It is important to us to maintain a face for the school that is fresh and current, while also rooted in the history and technical depths of photography as a medium.
Shows will hang for an approximately two-month period, and the new gallery will continue to remain open on First Fridays and be part of the downtown art walk. March will be a revamping time. And then in April, the new business model and appearance will take shape and come to life.
With all new seasons comes change, and with change comes new growth. We extend our deep gratitude and appreciation to a most supportive and inspiring community. Thank you. We look forward to embarking on this new journey with you.
We will continue to notify you of RMSP Gallery exhibits in the RMSP newsletters.
Please go to www.gallerysaintonge.com and click on Current Exhibit to read about the exhibit.
|