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Transcript of PhotoHaus Fall 2012
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Increasing Real-Estate
Values with Great
Photography
byRICHARD HULBERT
You dont take a photograph, you make it - Ansel Ada
Quest for theRight Light:
Photo Tours to theAmerican Southwe
& Yunnan China
VANCOUVER PHOTO WORKSHOPS FALL COURSE LISTINGS INSID
How Its LitbyWAYNE HOECHERL
Plus
Issue 0Fall 20
Kids in the Frame:
byMARY JENSEN
CHRISTOPHER
MORRIStalks about inspiratio
his rise through
photojournalism &
shooting the
2012 LONDONOLYMPICS
The Download
Zooming into 100%
with Pro Retoucher
STEVE PINTER
Masters in the HauDouglas Kirkland
Greg Gorman
Don GiannattiFreeman PattersonEddie Soloway
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a letter from the director
t is with great excitement that I welcome you to this rst edition of PhotoHaus, the new
magazine produced and published by the team at Vancouver Photo Workshops (VPW) andPhotoHaus Gallery.
PhotoHaus Magazine is written by photographers for photographers. We at VPW and PhotoHaus
are passionate about photographic education, and we aim to infuse this same passion into each
and every issue of PhotoHaus Magazine with a carefully curated selection of information and
inspiration pertaining to the craft of image making. Well feature articles focusing on ne-art
and commercial photography alongside interviews with up-and-coming as well as seasonedphotographic professionals. Finally, our educational section will provide you with tips, tricks and
technical know-how to take your photographic skills to the next level.PhotoHaus Magazine is written for you. Whether youre a fresh beginner, aspiring amateur
or seasoned professional, were inviting you into our photographic family where we hope to
showcase new work, share valuable insights and nurture this creative community.
contents
04
08
09
10
meet the team
I
Marc and Xenija (pronounced Zen-yeah!) hail from a far-off land called Deutschland.
They opened the doors to VPW over 8 years ago and have been educating thecreative masses and throwing fabulous studio par ties ever since. Their kids Mila and
Max can often be found tearing the ofce apart with youthful abandon.
Marc is an award-winning ne art photographer, traveling the globe producing
beautiful nude and landscape photography. Hes a borderline photo gear hoarder, a
diet-coke-aholic and devoted family man.
Xenija keeps us all in line with an iron st and great big smile . Shes crazy about her kids, shes the glue thatkeeps us together and the way to her heart is with blueberry bread.
Christas checkered past in production and ar ts-related management lead her toVPW | Photohaus this summer, where she does a little bit of everything.
Shes a sailor, a foodie (but hates sushi) and is the trusted guardian of our faithful ofce
mutt Chewy.
A veteran editorial fashion & por trait photographer, Waynes been with us for 3 years and
rules the studio as our in-house lighting guru and all-around x-it master.
Wayne loves long walks and good green tea. He never cries at movies, has beennominated for a Juno, and wishes he could y.
Marc & Xenija Koegel Our Fearless Leaders
Christa LeCraw Business Development Manager
Wayne Hoecherl Studio Manager
New to the VPW team, Ronnie keeps the day-to-day in order and keeps smiles oneveryones faces by making sure the candy machine never runs dry.
She has a soft spot for the three Bs: Beers, Beards and Beaches(not necessarily in that order)
Ronnie Lee Hill Ofce Manager
vpw course l i s t ings
14quest for the
r ight l igh
18master class ser ies
Richard Amies We Dont Know What He Does HereA jack of all trades and a master at...most of them! Richard is our resident designer,
carpenter and one of the best photo assistants in town. He makes proper English tea,
loves sandwiches and is nearly incomprehensible on the telephone.
the interv iewwith Christopher Morri
the l ighwith Wayne Hoecher
the pro f i leKatie Huisman
by Christa Lecraw
16increase real estate
values wi th
photographyby Richard Hulbert
16k ids in the f rame
by Mary Jensen
17the download
with Steve Pinte
Cover Image Christopher Morri
All images contained with are Vancouver PhotoWorkshops and its contributor
...Well to be more specic the studio is.
We are currently improving our space to serve you better, so we apologize in advance for any minor renovation
mess. We can still accomodate small shoots in our studio space and workshops are running as usual.Please contact Ronnie with any questions or booking enquiries.
14 West 7th Ave, Vancouver, BC V5Y 1L6 | 778 898 5256 | [email protected]
Times they are a changin...
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When did you rst know that you wanted to be a
photographer?
In University I was going to be a lawyer. I wasdoing a history poly-sci undergrad degree at CarltonUniversity - the quintessential under-grad degreefor law school. I just realized that I hated school, so
I quit. I had been interested in photography in highschool. Then sports and girls became way moreinteresting than photography. When I was in universitypeople would ask what did I major in? and I saidI majored in beer and I minored in squash. Oneof the things that I never cease to see the humour
in is the fact that I failed math in high school and
now there are times, when it comes to the technicalaspect of photography, that I have to explain math
to people. So I tell them, if I can get this, you can
get this, because I have no capacity for math. So
my academic career was an inauspicious one to saythe least.
After I quit school, I went to work in my stepfathers
used bookstore. That gave me a little bit of money
to pay for lm. I had a darkroom in my basement
where I would process my own lm. My rst job
in photography was as an assistant. A neighbour of
mine had a commercial studio. I worked there for
about a year - just long enough to realize I didntwant to be a commercial photographer. Actually,going into it I knew I wanted to be a photojournalist.I saw this movie [Under Fire with Nick Nolte] thatdepicted a photojournalist and that sort of sealed
the deal for me.
Who were some of the rst photographers that
inspired you and are there any photographers
whose work you admire now?I look at a ton of photography. Two of the rst
photographers that I remember were Mary EllenMark and Annie Leibovitz. My stepfather used to
save photography books for me. Hed save anything
that looked remotely interesting. There was thisbook that proled Mary Ellen Mark and Annie
Leibovitz. I remember being just blown away by their
or local photojournalist
Christopher Morris, shooting
the 2010 Winter Olympics onhome turf was a triumphant
and well-deserved win in a twenty
ve year climb up the steep road to
a successful career in photography.
Two years later, his determination,
ambition and passion are taking
him across the pond to shoot the
London 2012 Games. We caught up with
Christopher shortly before he hit the
road for his second go at this dream
assignment.
F
the the interv iew
CHRISTOPHER
MORRIS
work - just loving it. And that was long before I knew
who Annie Leibovitz was. I had no idea. She wasnthuge then because we are talking, like, 1984 whenI would have been looking at that book. Anotherphotographer whose work I loved, and I still love,is Ernst Haas. Just really phenomenal work. Those
were some of the early inuences. Now, some of
the photographers that I think are phenomenal are
Dan Winters, Chris Buck, Gregory Heislerthoseare some of the photographers working now whose
photography I think is fabulous.
What was your rst assignment as a
photojournalist?
After I quit working at the studio, I started working
freelance - and I use the term loosely. I quit to go
work at a local paper. I worked there for free at
rst. When I was getting paid I was getting $10 per
assignment and that included expenses. I was usingmy darkroom in the basement. That was such agreat experience because it was my rst experience
where the pictures had to come out. I had never,before that, shot under pressure. I had to shoot
pictures where, if they didnt turn out, I was screwed.There was someone who needed results and theyneeded to be good! I tr ied to go to as many eventsaround the city as I could nd. Montreal was having
a mayoral race and I went to cover the debate. Imet a photographer there - he suggested that I gosee the photo editor at Canadian Press because hewas known for mentoring young photographers.
So I called him up and he said yeah how aboutwe meet Monday morning? That weekend therewas also the collegiate football championships and
I went to shoot them. There was a photographerfrom Canadian Press there and I talked to him and
he said why dont you come with me, well soupyour lm and see how it looks because I had told
him I was meeting with the photo editor the nextmorning. We processed my lm and I had a picture
that he liked so that went out on the wire. That wasa great introduction to the photo editor - when hecame in the next morning - I already had a pictureout on the Canadian Press wire! Thats really whatit took. And thats what I dont think some peopleunderstand, is how hard you have to work, and howmuch initiative you have to take. You really cant sit athome and wait for the phone to ring. The only way
youre going to get work is if you go out and chase
it down, wrestle it to the ground and make it yours.That was a great introduction for me and it showed
the editor that I had initiative - that I was going togo out and do things. He was probably the toughestboss Ill ever have but he was fair. I still talk to him
and hes probably the only one that ever sat medown and tried to teach me lessons in photography.
How did you come to shoot the 2010 Winter
Olympics and who were you shooting for?I shot the Vancouver Olympics for Corbis. Ive been
a Corbis contributor for about ten or twelve years
and before that I was with an agency called SABA
Press Photos. I think Id been with SABA for about
eight years when Corbis bought out SABA. It was at
a time when Corbis and Getty were going aroundbuying up every agency on the planet. SABA was
one of the small agencies made up of about fty-
ve photographers. It got bought up and suddenly
found myself as part of the collective. It was sort o
like wed been absorbed by the Borg. Thats the way
it felt at the time, but Corbis has been really good
for me. I worked for Corbis for the 2010 Olympics
and Im going to London for them in a couple o
weeks. Id say probably the reason why Ive had sucha good experience at Corbis is because Ive deal
with some really good people and r ight now, one othe best people Ive dealt with is my editor Seth. He
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and I are going to be working together in Londonand I am just over the moon. Im really pumped andexcited - I havent shot the summer games before.
Working with Seth, my editor, is just going to befabulous. This may sound ridiculous, and maybe
it is, but I would say that it is harder to go to theOlympics as a photographer than it is as an athlete.There are fewer photographers at the Olympics
than there are athletes. A lot of photographers thathave been there, some of them are on their tenth
or twelfth Olympics. Every Olympic games, probably
eighty percent of the athletes are new whereas
for photographers, probably seventy percent of
them have done it before, so the turnover of
photographers that shoot the Olympics is low. It ishumbling to be included in that group, because it isa really elite club and sometimes I question whetherI should be there. The Olympics is the Olympics
for the athletes but it is also the Olympics for thephotographers!
Was 2010 your rst experience shooting an
Olympic games?
Yes it was. As a freelancer at Canadian Press and
Reuters I was always so jealous of the photographer
going off to shoot the Olympics. It was only the bes
that were chosen to go and to go now is really aprivilege.
Were you with the same editor in 2010?Yes, but he was in LA, so I was just transmitting
The only way youre
going to get work
is if you go out and chaseit down, wrestle it to the
ground and make it yours
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pictures directly to him. In London hell probably beat half the venues Im at, so Ill just hand him cards and
that will give me the opportunity to shoot more. Imhoping to do the same thing that I did in Vancouver,
which is to shoot two events a day. Its grueling. Ithink the most sleep I got during the Olympics wasve hours a night. On more than one occasion I got
just two hours of sleep. Id nish transmitting pictures
at two am and then Id have to get up at four to get
the position I wanted at the venue. Getting throughsecurity with bags of gear is always a hassle - you just
have to resign yourself to the fact that its just a part
of the Olympics. Unfortunately, its the world we live
in now. I spend more time getting through securityand waiting for an event to start than I do shooting.
Shooting time per day is maybe three or four hours
and then the other fourteen hours is getting to and
from venues, through security, downloading cards,
editing, processing, FTPing themthats the vast
majority of it. The proportion of shooting to otherstuff is the same in all of photography. Whether its
talking to clients, billing clients, doing paper work,lling out insurance forms, permits...its all the same.
The photography is the fun par t and its all the other
stuff before and after that makes the photography
possible.
Do you choose the events that you shoot at the
Olympics?
That is something that Seth and I will discuss, but thecriteria is: what will make great pictures? Im already
thinking of ideas. I already have an idea - if I can
make it work - the logistics of this are horric, but I
would love to shoot a picture at Wimbledon centre-
court with a perspective control [tiltshift] lens just
focused on the base line, and that needs to be red
with a remote camera up in the top row. Thatsa picture that Im already visualizing in my mind. I
positioned some remotes at the 2010 games butIm hoping to position at least one remote at everyvenue I go to, which will be hard. Its really good togo into these events with an idea of what I want to
do because the best pictures are usually made - theyare planned in advance. But at the Olympics there
are a lot of restrictions about what I can do and
access, so that all needs to be negotiated.
And you have to do that yourself
[position your remote cameras]?Yes. I dont have any minions. [laughs] And the thingis, I wouldnt want someone to install a remotefor me because shooting a remote picture is no
different from looking through the viewnder and
pushing the shutter and I dont want anyone elsedoing that for me either. So, you know, you can
sleep when youre deadnobody gets any sleep
during the Olympicsits just one of those things.
Theyre eighteen to twenty hour days. You startinstalling remotes at 6 am but even before that, I go
and put my bag down to secure my spot. Youre notsupposed to do that but theres a sort of honour
among thieves - that if somebodys bag is there, you
dont move their stuff and take their spot. Not all
photographers honour that code but for the most
part its something that people respect. So, Ill putmy bag down and then wait for maybe three, four,
ve hours for the event to begin. We call that hurry
up and wait. Then I shoot. Hopefully Ill shoot some
great pictures. If there is any break in the action Il
download the cards or give them to my editor. Afte
the event is over, download the cards, back themup, then pack up and go to the next event and doit all over again. Ill maybe nish up at around eleven
oclock at night. If Im waiting for four or ve hours
at the next event, thatll give me some time to editmy pictures. There is no WiFi at the Olympics - youhave to go to the press centre to plug in to get an
Internet connection. So if Im not using my laptopIll take my stuff that I dont need, like my rolling
bag and my hard drives, and Ill stake out my spotin the press room and then go out and shoot theevent. But if I can, Ill do all that editing sitting in my
spot while Im waiting for the next event and get
everything queued up. That means selected, all thepost processing, cropped and captioned. Captioningis a pain in the ass because youve got to make sureeveryone is identied. Thats very time consuming
making sure that the captions are accurate becausea great picture is useless without an equally goodcaption. Sometimes it means hauling my computearound asking people at the event, Who is thisDo you recognize this athlete? In some sports the
numbers are really obvious but in others [theyrenot], or if youre doing something more artistic like
a pan or a blur, sometimes its hard to gure ou
whos who. So you try to track down a coach osomebody from the team who can help you identify
them.
Does your editor help you with that?
He will, yeah. Thats what Im looking forward to. Il
hand him the cards and say have fun Seth and go
off and shoot some more. Im hoping to get more
shooting in, but that may be offset by the additiona
security and the hassle of getting around London
Thats the thing - the Olympics is all about thelogistics. Its no different from a studio photographe
who spends three or four days pre-planning ashootand then another week or two on the othe
end working on all the other elements. Its the sameidea - its the logistics. People think its so glamorousand truth be told it is great - you get a front row
seat to history - but people dont understand theamount of work that goes into getting to the spo
where you are shooting - to where you have youhand on your camera.
So thatll be my Olympics. Some people say Awyoure so lucky you get to go to London and sit in thepub and drink beer! Yeah, thats exactly what Ill bedoing sitting in the pub and drinking beer, shootin
the odd picture as somebody runs by. [laughs
Which events are high on your priority list?
Events that I think will make cool pictures. Trackcycling, diving, gymnastics, BMX...I also like the
pictures from the white water events. The kayaking
is really coolI think that will make for some good
pictures. This will probably be my only opportunityto shoot at centre-court at Wimbledon. I donknow that I can make that happen but Im hopingI can work that in. The marathon. The marathon iwhere the Olympics started and its also one o
the few events where I will be able to situate the
games in London. Beach Volleyball is another one
that will be great because theyre putting a beach
The number one thing that affects
photographers is access...the correlation
between access and the quality of the pictures
is a straight line
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in front of the Royal Horse Guards Parade, which
is supposed to have a really spectacular backgroundand you can situate it in London. Triathlon - Ihave to shoot some triathlon because my wife is
a triathlete and if I dont shell kill me [laughs]. But
another reason I want to shoot triathlon is becausetheres a good story. The Brownlee brothers from
Britain are very likely to nish rst and second in
the mens triathlon. Another good story will be the
womens boxing. Theres an American woman whois slated to be the next Mohammed Ali. Shes set todominate the sport and thats agreat story. That means I need todo research going into the games,
to know whats important and toknow whats going to make for
interesting pictures. The picturesthat Im shooting are not for
the newspapers the next day.
these are for long term. I need
to take the long view on this, sothese have to be pictures thatwill sell between now and thenext summer games. Thats what
Corbis wants me to shoot, andwhat I want to shoot, because
to me thats more interesting- pictures that stand on theirown merit, as opposed to justa record of somebody who did
something on a specic day and,
really, the picture doesnt haveany photographic merit but ithas interest just because it wasinteresting at that particularmoment in time. Those kinds of
pictures Im not as interested inmaking. I want to make the kindof pictures that, a year from now,
two years from now, somebodywill look at and go Wow thatscool. I like that.
What gear is in your bag?
Everything. Everything but lightsand a tripod. You are not allowedto use ashes, so no strobes.
Tripods are not allowed at theOlympics - they take up toomuch space. I will be taking four
or ve camera bodies. Ill be using
two Nikon D4s, a D800, a D3and a D700 - probably shooting with two or threebodies in the spot that Im in, and another one or
two installed as remotes. Nikon has been fabulous.Theyre helping me out with gear. Ill need two 17-24mms because if one is stashed away somewhere
on a remote , I need to have one with me as well. Thelenses that I need doubles of are the 14-24mm and
the 70-200mm. There are certainly spor ts where a600mm is what I need - Nikon will be there with ahuge pool of equipment that I can borrow on a daily
basis. Of my own gear I will have two 14-24s, 24-70,
two 70-200 f/2.8s, 1.4x extender, 1.7x extender and
a 200-400. That will probably be my main lens for
the long lens stuff. When necessary I will borrow
from Nikon a 500 or a 600 or a 400 f/2.8. I wheel
it all around in a rolling Think Tank bag so I dont
severely compress my vertebrae. Ill also have abackpack to move that amount of gear around.
When youre working long days any unnecessarygear just makes your day longer and harder. Youreslower and it takes longer to get from place to place.
Youve got to be smart about what youre using. Itsounds like a lot of gear but Ive thought long and
hard about every piece of it.
Is there anything you learned from 2010 that willhelp you in London this time around?
Yes - how to manage the logistics. I was very fortunate
going into the 2010 Olympics, Ive got some very
good friends - Andy Clark and Nick Didlick who,between the two of them, have probably shot nearly
twenty Olympics. I sat down with both of them.
Nick was actually the Photo Manager for the entire
Olympics so hes over in London now. And anotherfriend of mine who is the Photo Venue Manager
is also in London now. So thats certainly helpful
because I can email them and they can give methe heads up about what to expect. But the biggest
unknown for me, the advantage that I had that Im
losing - and I know this isnt your question - but Ihad home eld advantage in Vancouver. I know how
to get around Vancouver, Id shot in all the venuesbefore because I shot all the test events. Id been
The Olympics is the Olympics for the
athletes but it is also the Olympics for
the photographers!
out to the Richmond oval, I know Cypress, I knowWhistler, I know BC placewhat Skytrain to ge
off at. Just getting around London I know Im going
to get on the wrong Tube and end up going in thewrong direction, so everything is going to take me
that much longer, but I am as prepared as possiblefor the logistics. I tell all my students that the numbe
one thing that affects photographers is access - the
access you have, meaning the access to location
and access to somebodys time. The correlationbetween access and the quality of the pictures is a
straight line. Its very difcult to get
access during the Olympics, to bewhere you want to be, to make thepictures you want to make and it canbe very frustrating. I have to work
hard to play well with the othechildren. I, like most photographersdont respond well to being told noI know where I need to be to make
the picture. So I guess the biggesthing that I learned in Vancouvewould be patience, which doesncome easily to me when Im working
Its hard to be patient. The reality isgetting worked up about stuff like
that is counter-productive becauseit makes the days harder and longeThe amount of energy you have in a
given day is nite and if you waste a
lot of it getting frustrated and upset
its not productive.
There is already enough pressure
on you to get the shots that you
are there to get
Yeah, absolutely. While its a privilegeto be among the worlds besphotographers, its a tremendou
amount of pressure. Their pictureare going to be out there instantlyand my editor can see those picturesand if Im sitting in the same spot as
where those pictures came from
I better bloody well have thosepictures. Thats why Im paid to be
there.
If there is one piece of advice thatyou could give someone wanting to
start a career in photojournalism
what would it be?
Shoot every single day. Go out and shoot. Probablythe best place to start is the local minor league
baseball eld, or soccer eld or something like thato hone your skills and just be out there shootingMy father was a creative director at a number o
different ad agencies and a writer came in to see
him one day to try to get work. My father said to
him what did you write today? and the guy said tohim well I didnt write anything because Im goingaround talking to people like you and my father
looked at him and said well youre not a wr iter todayIf you didnt write anything today, then youre not a
writer today. And if you didnt shoot any pictures
today then you cant call yourself a photographe
today.Check the VPW course listings for
Christophers upcoming workshops
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the l ight
the snapshot
Canon T3i body
Canon 50mm f/1.8 lens
shutter speed 1/200
aperture f/20
Profoto Pro-7b battery pack
beauty dish with grid
the bre akdown
the diagra m
This shot is a reminder of the importance of
thinking on your feet. We were shooting in studio
but when I saw this sky, I decided to go up on the
roof to take advantage of the natural drama.Westood the model on a platform draped in black
fabric to get her above the roof line and shot
from a very low angle to create that imposing,
powerful feel. I under-exposed the background
by stopping down my lens to f/20 [proper
exposure would have been approximately f/8]
and lit her with a single gridded beauty dish to
play up the drama and angular lines of the face.
This look can be taken further by adding a 2nd
or 3rd source for a rim light. If youre blessed
with the sun shining through the clouds, then
use it as a rim or backlight. I decided to work
with the single light and let all the drama comefrom the sky. Remember to keep an eye on your
background. I had to shift my angle of view to
ensure I had the best clouds in frame. Some
subtle post-production including contrast andcolour biasing as well as some retoucihng on the
model complete the effect.
HOW IT S L IT
BY WAYNE HOECHERL
Wayne teaches one-day fashion and creative
lighting workshops at VPW
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Katie Huisman is a photographer, lmmaker, curator and lecturer. She produces, directs and shoots video-based
work and short lms collaborating with choreographers, musicians and other artists.
Currently, she is producing a series of documentary lms exploring contemporary artists who have becomemasters in their elds. This work recognizes the importance of cultural documentation and preservation.
Katie has developed a series of ne art/photography workshops that facilitate critical thinking and constructive
dialogue while implementing knowledge of historical reference and contemporary ideas.
All of her workshops place a strong focus on style development and conceptual ideals.
the prof i le
KATIE HUISMAN
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For everybody looking for a great introduction to the
exciting craft of digital photography using SLR cameras.
Learn how to use your camera to its full functionality
along with the fundamentals of exposure, depth of eld,
composition and shooting in low light.
14/08/12 Tuesdays 1000 - 1300
21/08/12 Mon & Wed 1900 - 2200
06/09/12 Thur sdays 1400 - 1700
06/09/12 Thur sdays 1900 - 2200
12/09/12 Wednesdays 1900 - 2200
18/09/12 Tuesdays 1900 - 2200
24/09/12 Mondays 1830 - 2130
17/10/12 Wednesdays 1000 - 1300
29/10/12 Mon & Wed 1900 - 2200
19/11/12 Mon & Wed 1830 - 2130
10 Sessions
$300 daytime course
$350 evening course
DSLR Bootcamp
One Week Intensive
Designed for maximum immersion, this workshop will
get you producing high quality and repeatable resultsusing all the tools DSLR photography has to offer, in just
one fun creative week.
24/09/12 Mon to Fri 1000 - 1700
$395
Basic Photography Intensive Weekend
Our famous Intro to DSLR Photography course
condensed into one intensive weekend workshop toget you feeling comfortable and in control of your
camera. This is a great workshop for people looking
to refresh their skills and is a stepping-stone to further
photography training.
25/08/12 Sat & Sun 1000 - 1700
22/09/12 Sat & Sun 1000 - 1700
20/10/12 Sat & Sun 1000 - 1700
2 Days
$295
Canon/ Nikon DSLR Workshop
Ever thought about how much you could improveyour photography if only you really understood all the
powerful functions of your DSLR camera? Canonites
and Nikonians will each have their own brand-specic
workshop. Youll leave this workshop feeling encouraged
and empowered to get creative with your camera.
Canon
15/09/12 Saturday 1000 - 1700
Nikon
16/09/12 Sunday 1000 - 1700
1 Day
$150
The Beginners Roadmap to Adobe Lightroom
This workshop is designed for photographers, new to
Lightroom, who need a gradual learning experienceto fully explore all that this software has to offer. Youll
be guided through a streamlined approach to digitalworkow including capture, editing, image processing
and output.
17/09/12 Mondays 1900 - 2200
8 Sessions
$295
Adobe Lightroom Workow
Semi - Private (max 6 students)
This workshop, limited to six participants, offers an
in-depth, step-by-step system for organizing your image
les and streamlining your workow in a hands-on and
personal learning environment.
30/09/12 Sunday 1000 - 1700
24/11/12 Saturday 1000 - 1700
1 Day
$135
Intermediate DSLR Photography
This is the next s tep in rening your skills and expanding your
creative possibilities. This course takes you beyond the basicsof exposure, white balance and composition, to take on studio
lighting, post-production, lighting styles, direction, and in-depthdemonstration and exploration of digital workow using Light-
room, in a fun and relaxed environment.
22/08/12 Wednesdays 1000 - 1300
11/09/12 Tuesdays 1900 - 2200
27/09/12 Thursdays 1830 - 2130
8 Sessions
$295
VANCOUVERPHOTOWORKSHOPS.COM
Intermediate DSLR Intensive Weekend
Our Intermediate DSLR Photography course condensed intoone weekend for maximum immersion into photography, giving
you maximum learning potential.
03/11/12 Sat & Sun 1000 - 1700
2 Days
$295
On & Off Camera Flash
Speedlights are portable and powerful tools that can add a new
dimension to your photography. This hands-on course will teachyou the techniques to creatively use one speedlight to adddrama and impact to your images.
01/11/12 Thursdays 1900 - 2200
8 Sessions
$295
Creating with Light
This introduction to studio lighting will open the door to yourcreative potential by providing you with the opportunity to de-velop a working knowledge of the practical aspects of working
with lighting both in studio and on location.
11/09/12 Tuesdays 1900 - 2200
10 Sessions
$350
Practical Location Lighting
This one day intensive workshop is designed to provide youwith a basic understanding of the practical aspects of working
on location with professional lighting equipment. We will cover
technical concepts such as the inverse sqaure law and keyshifting and apply that knowledge right away by shooting models
in the afternoon.
22/10/12 Saturday 1000 - 1700
1 Day
$95
Level 1 - beginner
Getting Star ted With Your DLSR Crash Course
Go from snap shots to great shots in only 3 hour s
with VPW Director Marc Koegel. Understand yourcamera and the basics of photography and leave taking
better pictures with your DSLR.
13/08/12 Monday 1900 - 2200
3 Hours
$45
Nikon/Canon Speedlight Workshop
Adding ash to your bag of tr icks can take your pho-tography to the next leveland learning how to use
your speedlight can be tricky. Well ease you into ash
photography in this brand-specic workshop and shine
a light on this rewarding new skill.
1 Day
$150
Canon
29/09/12 Saturday 1000 - 1700
Nikon
30/09/12 Sunday 1000 - 1700
Adobe Lightroom Intensive Weekend
If youre short on time but big on getting your digital im-age workow streamlined, this intensive workshop is for
you. Well cover the entire Lightroom workow from
capture through to output and all the steps in between.
03/11/12 Sat & Sun 1000 - 1700
2 Days
$195
Level 2 - intermediate
Studio Lighting for Portraiture
This exciting one day workshop is a new approach to studiolighting using one light source to create stunning contemporaryportraits.
18/08/12 Saturday 1000 - 1700
17/11/12 Saturday 1000 - 1700
1 Day
$150
Introduction to DSLR Photography
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Adobe Lightroom Retouching
Semi - Private (max 6 students)
From portraits to landscapes to architecture, Lightroom hasamazing tools to help you get the most out of your images. This
semi-private workshop, limited to 6 par ticipants, will teach youhow to use the Lightroom Develop module to its full creative
potential with lots of hands-on and personal instruction.
13/10/12 Saturday 1000 - 1700
1 Day
$135
Adobe Photoshop for Photographers
Photoshop is a huge program with many applications. Wevedesigned this course specically for photographers, distilling
Photoshop down to focus on the key tools that will help you
enhance the quality of your images.
26/09/12 Wednesdays 1900 - 2200
10 Sessions
$350
Fall/Winter Course List ings 2012
Creative Lighting
This premium, intensive day of shooting is a format unique
to VPW and will have you creating interesting and intriguing,images using top models and lighting equipment underthe guidance of one of our most creative and seasoned
photographers, Wayne Hoecherl..
09/09/12 Sunday 0900 - 1700
24/11/12 Saturday 0900 - 1700
1 Day
$225
Small Strobes Bootcamp
This workshop, lead by acclaimed local photojournalistChristopher Morris, is designed for all you Strobists out
there, looking not only to practice your skills in a professional
environment but also to pick up additional tips and tr icks thattake your images to the next level.
20/10/12 Sat & Sun 0900 - 1700
2 Days
$350
Advanced Studio Lighting
Lighting is one of the most important characteristics that
can make or break a photograph. In a market ooded with
images, skillful lighting can take your images to the next level
and get you noticed. This course is designed to deepen yourunderstanding of how light works, both from a technical as well
as a creative approach.
31/10/12 Wednesdays 1900 - 2200
8 Sessions
$350
Advanced Lighting for Portraiture
This workshop is a continuation of Studio Lighting for
Portraiture. Demonstrations and a hands-on photo sessionwith professional models will help students build striking lighting
set-ups.
19/08/12 Sunday 1000 - 1700
18/11/12 Sunday 1000 - 1700
1 Day
$150
Level 3 - advanced 3rd Annual
OPEN HOUSE &
SEMINAR EVENT
Saturday September 8 201210:00 am to 08:00 pm
Join us in kicking off a new season!
10:00 - 1:00Indulge in gourmet coffee and pastries from
our friendly neighbours at Cocoa Nymph
12:00 - 7:00Enjoy delicious BBQ eats and cold dr inks
10:00 - 7:00Browse our community Photo GearGarage Sale
Choose from over 20 different seminars
presented by some of Vancouvers top
photo pros. Check our website for
seminar schedule and full event details.
Adobe Photoshop for Photographers
Intensive Weekend
Youll be surprised at how much you can learn in just oneintensive weekend. Youll leave this workshop with a betterunderstanding of basic Photoshop functions and how to apply
them to your images for impressive nal results.
17/11/12 Sat & Sun 1000 - 1700
2 Days
$195
EXCLUSIVE SEMINARS
RUNNING10:00 - 6:30
TICKETS JUST $35 FORUP TO 3 SEMINARS
BBQ COUPON
FOR SEMINAR
PARTICIPANTSpresent this coupon with
your seminar ticket and receive a
free lunch item and ice cold drink
Enter the rafe to win fabulous Grand Prizes
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Hands-On HDR
This workshop looks at how the process of HDR imaging can
improve your photography for many different subjects. We will
discuss how to know when HDR is the right technique for the
nal image you want to produce, and work through the process
of creating effective, jaw-dropping HDR images.
26/08/12 Sunday 0900 - 1700
27/10/12 Saturday 0900 - 1700
1 Day
$195
Exhibition & Critique
Photography is an exciting way of seeing & sharing your
vision with your audience. This course focuses on concept
development & critique while working toward having a
successful exhibition. You will be suppor ted in recognizing and
developing your visual integrity and will be rewarded with agroup exhibition at the PhotoHaus Gallery.
06/09/12 Thursdays 1700 - 2200
12 Sessions
$395
Architecture & the Urban Environment
Spanning the genres of Travel, Street and Architectural
Photography, this course will help propel your photographyto the next level. Whether you are interested in recordingand documenting buildings, or artistically interpreting urbanenvironments through photography, this course will be fun,
informative and will help you produce great work.
11/09/12 Tuesdays 0900 - 1200
10 Sessions
$595
The Business of Photography
We are proud to offer you what we believe is the most
comprehensive, informative and cur rently viable workshop on
business for photographers. Well cover all of the must-know
aspects of running a successful commercial photography to give
you your best shot at success in todays image creation industryand a leg up on the competition.
21/09/12 Fri 1900 - 2200 Sat & Sun 1000 - 1700
2.5 Days
$195
28/10/12 Sunday 0900 - 1700
Fashion Photography Workshop
In this intensive, one day workshop, youll learn how to createimpeccable lighting, to be a masterful director, and most
importantly, to rene your sensibility for current trends in the
industry. Be prepared for a jam-packed day of hands-on lighting
and shooting.
1 Day
$195
Fine Art Long Exposure
Take advantage of Vancouvers natural and urban landscapes
with this one-of-a-kind weekend workshop lead by VPW
director Marc Koegel. Youll learn how to make stunning blackand white images using long exposures, and more importantly,how to visualize a monochromatic composition.
13/10/12 Sat & Sun 1000 - 1700
2 Days
$295
Style & Portfolio Development
Discover and develop your style as a photographer with thislecture series. Well discuss the intricacies of compositional
language, how the human eye reads imagery and trends in thecontemporary visual world.
16/10/12 Tuesdays 1900 - 2200
10 Sessions
$350
Photographing Kids
Kids are impetuous, unpredictable and absolutely full of
energyso how do photographers get them to sit still for the
camera? This workshop is a glimpse at some tricks of the trade,with a hands-on BYOK (Bring-Your-Own-Kid) shooting session
to put your newfound skills to the test.
22/10/12 Mon 1900 - 2200 Tue 0900 - 1200
1.5 Days
$195
Femme Fatale
This workshop is designed exclusively for women who are
drawn to ne art nude photography. Through lectures and
workshops youll explore evocative lighting concepts with anemphasis on gurative language. Regular critique sessions will
encourage critical thinking and aesthetic awareness and help youto grow as an artist.
22/10/12 Mondays 1830 - 2130
9 Sessions
$350
Fine Art Black & White Nude & Figure
Photography
The goal of this workshop is not only to have you walk away
with stunning images; our aim is to introduce you to a different
way of seeing and to ignite your passion for the creative process
through the ne art nude.
27/10/12 Sat & Sun 1000 - 1700
2 Days
$350
Photographing the Nude
This course lays the foundation for photographing the nude by
building on traditional gure study to create contemporary nud
portraiture. Youll explore the intricacies of conceptualization,
direction and retouching to create arresting images thatcommunicate character and mood through visual design.
13/11/12 Tuesdays 1900 - 2200
6 Sessions
$295
Creative People Photography
This hands-on portrait photography workshop builds on thefoundation of traditional portrait lighting styles and posing
to explore more relaxed, candid contemporary portraiture.Students will be guided through the process of lighting, posing
and building rapport to produce creative and compellingportraits of our professional models.
22/11/12 Thursdays 1900 - 2200
5 Sessions
$295
Pinhole Photography
In this digital age of megapixels and megabites, a step back
into retro photographic processes can be a fresh and inspiring
perspective on creative photography. In this workshop the basicof photography will be explored through the construction of
a simple box camera. Youll be surprised and delighted by theunexpected images created using this historical process.
08/12/12 Sat & Sun 1000 - 1700
2 Days
$295
Macro Photography
Mini landscapes and colourful abstacts are limited only by your
imagination. Macro photography opens up endless possibilities forthe photo enthusiast.
15/09/12 Sat & Sun 1000 - 1700
2 Days
$195
Femme Fatale Intensive Weekend
Our ne art nude photography course designed exclusively
for women, condensed into an intensive and inspiring weekend
experience.
2.5 Days
$295
22/10/12 Fri 1900 - 2200 Sat & Sun 1000 - 1700
Peak Action & Sports Photography
This hands-on workshop focuses on capturing peak action with
perfect timing, clean composition and powerful lighting. After an
introductory evening lecture, youll spend the weekend shootingon location with skilled athletes using professional strobe lighting
and walk away with jaw-dropping images.
2.5 Days
$350
03/11/12 Fri 1900 - 2200 Sat & Sun 1000 - 1700
specialty workshops
http://www.vancouverphotoworkshops.com/workshops/hdr_workshop_with_richard_hulbert.phphttp://www.vancouverphotoworkshops.com/workshops/exhibition_and_crtique_course.phphttp://www.vancouverphotoworkshops.com/workshops/architecture_with_richard_hulbert.phphttp://www.vancouverphotoworkshops.com/workshops/business_of_photography_0310.phphttp://www.vancouverphotoworkshops.com/workshops/fashion-photography.phphttp://www.vancouverphotoworkshops.com/workshops/long-exposure-workshop-2012.phphttp://www.vancouverphotoworkshops.com/workshops/bw-nude-photography.phphttp://www.vancouverphotoworkshops.com/workshops/bw-nude-photography.phphttp://www.vancouverphotoworkshops.com/workshops/nude_with_aura_6week.phphttp://www.vancouverphotoworkshops.com/workshops/macro.phphttp://www.vancouverphotoworkshops.com/workshops/macro.phphttp://www.vancouverphotoworkshops.com/workshops/nude_with_aura_6week.phphttp://www.vancouverphotoworkshops.com/workshops/bw-nude-photography.phphttp://www.vancouverphotoworkshops.com/workshops/bw-nude-photography.phphttp://www.vancouverphotoworkshops.com/workshops/long-exposure-workshop-2012.phphttp://www.vancouverphotoworkshops.com/workshops/fashion-photography.phphttp://www.vancouverphotoworkshops.com/workshops/business_of_photography_0310.phphttp://www.vancouverphotoworkshops.com/workshops/architecture_with_richard_hulbert.phphttp://www.vancouverphotoworkshops.com/workshops/exhibition_and_crtique_course.phphttp://www.vancouverphotoworkshops.com/workshops/hdr_workshop_with_richard_hulbert.php -
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Photo Tour: World Heritage Urban Destination
Quebec City
Join photographers Richard Hulbert and Marc Koegel in le
Vieux-Qubec for a photographic experience steeped in history.
Imagine 7 days of visual delights in one of the select UNESCO
World Heritage Cities on the planet . . . Old Quebec City,Quebec, Canada
Sept 22 - 29, 2012
7 Days
$1695
Photo Tour: Southwestern USA
Follow veteran photographer Kaj R. Svensson through his fa-vourite photography destination. Kaj will guide you through oneof Americas most striking landscapes on a photographic journey
designed specically to maximize your shooting opportunities.
Youre sure to come away from this trip with the best travel
photos youve ever made.
Oct 14 to 21, 2012
7 Days
Contact us for pricing and itinerary details
Photo Tour: Yunnan, China
Yunnan, in southwestern China, is a region made famous for its
natural beauty and cultural diversity. This photo tour is a once-in-a-lifetime adventure to a land with natural features unlike
anything found North America, and a culture rich in history and
tradition. Your photo guide will help you capture the magic of
this place with travel photos as vivid as this exotic landscape.
Mar 17 to 31, 2013
14 days
Contact us for pricing and itinerary details
Check out our website for earlybird discounts
on select workshops and courses.
Register for any of our courses and work-
shops using our secure, fast and convenient
online registration system.
We accept Visa and Mastercard for online
registrations. Debit, cash and cheques are ac-
cepted in person at our Vancouver studio.
Hours of Operation:
Monday to Friday 12:00 pm to 5:00 pm
778.898.5256
Course details and dates are subject to change. Please visit
Greg Gorman
Vancouver Photo Workshops proudly presents this intensiveweekend workshop, Greg Gorman on Portraiture withinternationally acclaimed photographer Greg Gorman.
Set in beautiful Vancouver, British Columbia, this is an incredible
opportunity to expand your visual hor izons under the guidanceof one of the great masters in contemporary photography. Take
part and experience a renewed sense of energy, inspiration and
vitality in your photography.
31/08/12 See Website Fri, Sat & Sun
Weekend Workshop
$1295
Don Giannatti: Learn to Light
Vancouver Photo Workshops proudly presents this intensivetwo day hands-on workshop,Learn to Light with internationallyrenowned photographer and workshop leader Don Giannatti.After the great sucess of Dons workshop in 2011, we knew we
had to get im back to Vancouver!
This is really like no other workshop out there!
13/10/12 See Website Sat & Sun
Weekend Workshop
$650
Eddie Soloway: A Natural Eye
Vancouver Photo Workshops proudly presents this exclusiveweekend workshop, A Natural Eye with acclaimed photogra-pher Eddie Soloway from Santa Fe.
In this weekend workshop, youll have a chance to explorephotography and the natural world with master landscapephotographer Eddie Soloway.
Eddie is a respected educator with a great ability to inspire and
reinvigorate photographers.
30/11/12 See Website Fri, Sat & Sun
Weekend Workshop
$650
Douglas Kirkland
Vancouver Photo Workshops proudly presents this exclusiveweekend workshop, A Master Class with Douglas Kirklandwith iconic photographer Douglas Kirkland from Los Angeles.
This will be Douglass rst ever workshop conducted in Vancou-ver, and VPW is proud to be bringing him up here!
This workshop is for aspiring and professional photographers
that are looking to advance their photographic skills to a levelonly an iconic photographer like Douglas Kirkland can elicit.
During this weekend workshop, Douglas Kirkland will givestudents exposure into the mind of one of the photo industrys
most inuential artists.
18/01/12 See Website Fri, Sat & Sun
Weekend Workshop
$1100
Freeman Patterson
JUST ANNOUNCED! Freeman Patterson will be returnng to
Vancouver in January 2013. Check website for full details.
master classes photo tours
World Heritage Photo Tours
Quebec City, CanadaLe Vieux-Qubec has survived and thrived as an historic urban
destination that is today a travel photographers paradise.
Experience the Old City, and its four centuries of histor y, alongside international award-
winning Architect, Urban Designer, and Photographer Richard Hulber t MRAIC, FRAIC, RCA,
AIA and with the expert guidance of international award-winning Photographer, Educatorand Director of Vancouver Photo Workshop, Marc Koegel. This photo tour is designed for
avid travellers with a passion for photography, architecture and history.
Sept 22 - 29, 2012
Youll come away from this tour with enough memories,
stories and travel photos to last a lifetime.
7 Days
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SOUTHWESTP H O T O T O U R
A M E R I C A N
Its high noon and Im standing on the surface of the moon being buffeted by a hot cross-breeze. The vista that unfolds before me is
otherworldly. Red and white rock collides into a jagged layer cake of ancient history, and its so arresting that I cant look away.
This is the American Southwestspecically; the Valley of Fire State Park in Nevada, and its the last stop
on a week-long road trip that has taken me from Las Vegas, east to the South Rim of the majestic Grand
Canyon, then north to the awe-inspiring Bryce Canyon and nally to this wind-swept land so
ancient and arid that its like being swallowed by a classic western lm.
The sun, heat and wide-open space were a welcome respite from the long dreary Vancouve
winter, and as I drove in a wide arc around the Southwest Mountain States I was surprisedalmost hourly, at how much the landscape changed. Mocha-coloured atlands would
suddenly drop away into gaping canyons. Rolling ranch land would spring up into majestic
red spires reaching for the sky.
From a photographers perspective, the aesthetic appeal of the terrain is undeniable, but its
the history of the place that gives depth to the dramatic panorama. Prehistoric humans
occupied the Valley of Fire as early as 300 B.C
and their legacy is left behind in scores of
petroglyphs peppering the red rock formations
In recent history it was the early settlers whose
romantic tales of conquering this rugged
frontier were, until this journey, only the
stuff of Hollywood icks. The reality
is even more enchanting than thection.
By Christa LeCraw
Certain things catch your eye,
but pursue only those that capture your heart.
- Unknown
-
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Yunnan China is famous for its striking scenery, eclectic culture and diverse
ethnic population. Colours and textures are bountiful in this varied landscape,
providing endless inspiration for adventure-seeking photographers.
Yunnan
ChinaPHOT O T OUR
Photographers have unique travel habits. We like to take our time, and wait until the light is just right. We plan our days aroundthose magic sunrise and sunset hours and lug around heavy gear to capture the magic before us.
Vancouver Photo Workshops is partnering with Silkway Travel & Cruise to bring a new travel experience to photography
enthusiasts with tours designed specically to maximize photographic opportunities in some of the worlds most breathtaking
natural and urban settings.
Join our experienced photography guides in discovering new corners of the wor ld
while capturing it all in the best travel photos youve ever taken.
Visit www.vancouverphotoworkshops.com for full details.
-
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Did you catch the article in the Wall Street Journal
regarding how real estate listings with better photoscommand higher prices? There are teachable
techniques for increasing the bottom line for Real
Estate Professionals. One of the essential skills inreal estate photography is learning how to convey
the impression or illusion of 3-dimensional space
in a 2-dimensional image. If we turn to lessons
learned from the movie industry, we can glean
some valuable, simple-to-execute techniques. After
all, cinematographers have been exploring ways toportray the real world on the silver screen for well
over half a century. My passion for architecture and
photography has lead me to teaching, where I often
explore the notion of depth cues in buildings and
how to recognize them. Using these depth cues canhelp you better portray the interiors and exteriors of
buildings and land holdings in your photography.
Lets touch on three of these depth cues here :
Vertical and Horizontal Planes
Think of the walls and oors of buildings and rooms
as physical planes that, if composed appropriately, canmake a huge difference in creating a feeling of 3D
space. The location of the camera relative to these
planes has a signicant effect on the creation of the
sense of depth for the prospective buyer.
Subject or Object Overlaps
Overlapping objects add to the feeling of depth. The
staging or placement of furnishings in a photograph
can increase the perception of depth. Windows and
doorways can be used to further provide a sense of
depth. Photographing through portals from one room
to another can set up a great on-line or on-paperhome tour for a potential buyer.
Size Progression of Like Elements
When the viewer of a photo senses like elementsthat get progressively smaller or larger, the notion of
depth is enhanced. These elements might be columns,windows, light xtures,or patterns in the oor or
ceiling of buildings that can be used to advantage.
The only way to photograph children is to get
them to come to you. What I mean is, you
need to engage them and get them interestedin doing what you want them to do; Sit up
straight? Look at the camera? Smile? Get your
nger out of your nose? They have no interest
in doing what you want just because you want
it. You have to make them want it and I nd
the way to get kids to want what I want, is to
make it fun!
Its important to focus entirely on the kids
while youve got their attention, and thatmeans being set up and 100% ready for them.
Its no fun running after kids while dealing with
technical glitches. You have to plan ahead, beprepared, and do what it takes to make it
happen. Then, you can achieve great lighting,great backgrounds and great expressions, all in
one frame.
BY MARY L G JENSEN
-nationally accredited portrait photographerMPA, F/PPABC
KIDS IN THE
F R A M E
INCREASING REAL-ESTATE VALUES
WITH PHOTOGRAPHY
BY Richard Hulbert MRAIC, FRAIC, RCA, AIA Mary will be teachinga new workshopon photographingchildren in October.See VPW courselistings for fulll
details.
For a hands-onphotographyexperiencecovering real estate,architecture anddesign, check outRichards VPW cour selistings.
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here were you born?Vancouver. I always joke that I amone of three people actually born inVancouver.
When you were a kid, what did youwant to be when you grew up?
Race car mechanic. My parents taped an interview with mewhen I was two or three years old and I say I want to xrace car s. My insensitive dad asks 1969 Chevys? I say no, Iwant to x green ones. I now take that to indicate Lotus orAston Mar tin. You know, British racing green.
What is your absolute, can't live without, favoritePhotoshop tool?Curves
What is your most used/ useful Keyboard short cut?That's easy. Command Z [undo]
Canon or Nikon and why?The contrarian in me says why so narrow minded? Howabout Apple iPhone for snaps, Fuji X100 for serious snaps,Hasselblad and PhaseOne for serious work? I have a softspot for old Pentax glass so I use a Pentax K-5 for mypersonal work. There are bits of C and N gear that intrigueme....Canon's TS-E 17mm f/4 and Nikon's D800 come tomind. So, can I mount the TS-E 17mm on the D800? Ofcourse not.
Do you use any other software in your workow?Yes, Lightroom, Capture One, Phocus, Photomatix, Modo
What are your thoughts on CGI and how do you see itimpacting the photography industry?I see CGI as just another tool in the arsenal of image making.Does it really matter if the image was created entirely in CGIor shot in camera or a Photoshop composite of dozens ofimages? In the end if you create a compelling image, howyou got there is irrelevant. As far as how it is impactingthe photography industry - anything that needs to lookperfect - a car, bottle of beer, a wristwatch, or cosmeticproduct - these are already transitioning to CGI. It's thebest way to represent these objects. Now a photographercan lament the loss of work in these categories or see an
opportunity to be the visionary (read: Director or DOP)in the CGI studio. What is the photographer's number onetalent? Seeing light. It doent matter if its lm or digital orCGI - that eye for quality of li ght is what is needed to makethat great image.
Do you think there's still a place for darkroom and otherconventional processes?Yes. I have a lot of respect for B&W printing - seeing theimage come up in the developer. It's still magic to me. But,I nd that I don't have the precise control, the repeatabilitythat I have gotten used to with Photoshop....and I don'tmiss the chemistry.
What other types of media inform your work?I love to look at painting - the Dutch masters in par ticular. Itis amazing how they made such photorealistic images withthe careful application of dabs of paint. I nd it incredible tolook at a painting and see the detail, the brilli ance, and thenlook closely and see what tri cks they played on the eye.
Who are the photographers you'd absolutely love towork with? What photographers, dead or alive, inspireyou?Elliott Erwitt is my all time favourite photographer. I love hissense of humour. He is a keen observer of people and hends humour just about anywhere. Micheal Kenna, for hisbeautiful B&W work and his reserved style of presentation.Arnold Newman, for his portraits. And W. Eugene Smith,for some of the most compelling prints I have ever seen.
What's your favourite blog or website?www.aphotoeditor.comwww.macperformanceguide.com
Does the Mac or PC debate really matter, or does it allcome down to Adobe?This is the same as the C vs N debate. It is a religious warand you can not reason with fanatics. Either platform is aviable choice.
Whats your favourite visually inspiring lm?Crouching Tiger Hidden Dragon - some of the mosbeautiful cinematography in lm.
Any thoughts on the future of the photography industryAdapt or die. There will be even more rapid changethan what we have seen in the past ten years. We havto be open to changing expectations from clients seeing opportunities as change comes. Some kinds ophotography will be going away, but new opportunitiewith present themselves. Don't be average. The bottom pushing upwards. The low end is getting better and youhave to offer something extraordinary to not be drowne
in the rising tide.
Do you listen to music while working at the computer?Depends on the kind of work I am doing. Sometimes I neetotal silence to concentrate on the task at hand. Othetimes I have either instrumental music, vocal music, oeven podcasts like This American Life and Radiolab and ASongs Considered playing. Sometimes I have an audiobooplaying. That's how I " read" the Steve Jobs Biography.How else do you like to spend your time, when you'renot tethered to a computer screen?I am the current custodian two ne old Studebakers. Wasand drive.
Steve will be teaching a Photoshop course atVancouver Photo Workshops star ting September26. See VPW course listings for fulll details
Steve Pin terwith
the download
In this climate where the creative tides are rising, Pinter is staying afoat byadapting to new technologies & evolving his aproach to digital imaging
W
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7/28/2019 PhotoHaus Fall 2012
18/2018 photohaus magazine fall 2012 vancouverphotoworkshops.com
This workshop is a rare opportunity for aspiringand professional photographers alike, to advance
their photographic skills under the guidance of
one of the industrys most inuential artists.
Mr Kirkland lifelong commitment to the pursuit of
creative excellence is what drives our industr yforward, and to experience such vigor straight
from the source is an opportunity
NOT TO BE MISSED.
DOUGLAS KIRKLANDa master class with
See a master at work and gain a more intimate understanding of that
special connection between a photographer and his subject
January 18, 19 & 20 2013
learn to light with
DON GIANNATTI
October 13 & 14 2012
Real world information you can use immediately to increase
the level of your photography. And it is intensive... no sitting
around, no wasted time, we even shoot through lunch!
This is like no other workshop out there.
GREG GORMANon portraiture
August 31, September 1 & 2 2012
Be inspired and guided by a true Master. Shoot amazing
models, all cast by Mr Gorman himself, at incredible
locations. And because this is a true Greg GormanWorkshop experience, we have even thought about thewine.
Take par t and experience a renewed sense of energy,
inspiration and vitality in your photography.
for full details on our master class series, visit us online
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19/20 19vancouverphotoworkshops.com photohaus magazine fall 2012
STUDIOS
W7
O P E N I N G F A L L 2 0 1 2
A N E W C R E AT I V E S PA C E
W E S T 7 S T U D I O S
T E L : 7 7 8 . 7 3 4 . 0 2 2 2
1 4 W E S T 7 T H A V E , V A N CO U V E R B C
the natural eye with
EDDIE SOLOWAY
November 30, December 1 & 2 2012
Allow your intuition to guide your creative response and gainan enlightened perspective on landscape photography.
This workshop is a chance to transcend technical concernsand focus on the ar t and craft of ne image making. Youll
learn to respond to the essence of the landscape around you
and to translate that vision into successful imagery.
a master class with
Freeman Patterson
JUST ANNOUNCED FOR 2013
Set in beautiful Vancouver British Columbia, this master class
will expand your visual horizons and stretch your creative
potential.
Study under one of the great masters in contemporary
photography and walk away with renewed condence in your
potential as an artist and photographer
www.vancouverphotoworkshops.com/masterphotoseries
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7/28/2019 PhotoHaus Fall 2012
20/20
Fall|Winter Exhibitions
PhotoHaus Galler14 West 7th Avenu
Vancouver, BCV5Y 1L
Canad
PHOTO
H A U S
GALLERY
11|23|12 E X H I B I T - C
09|07|12 C H I C [Open Call for submissions]Elegant and stylishly fashionable. Submission deadline: 08.17.12
Visit us online for more details.
09|28|12 N U D E I N T H E H O U S EOne house. One Model. Twelve photographer s. Thirty minutes each.
11|02|12 U N A S S I S T E DA group show featuring work from Vancouvers past and present
photography assistants. Please contact us at [email protected] for
submission criterea
12|14|12 W I N T E R S A L O N [Open Call for submissions]
10|12|12 P H O T O C L U B VA N C O U V E R
A photographic exhibition featuring the work of ourexhibition and critique
students, curated by katie huisman at PhotoHaus gallery