Jeff Zaruba and I arrived in Umbria a few days before the workshop began to scout locations with our Italian assistant Lorenzo. Those first couple of days were busy, but they were nothing compared to the non-stop action once the workshop began.
We had 10 students in the group and one of the students brought along his wife. On our first day of shooting, we went to a bed and breakfast we’d scouted a year ago. The location is extremely picturesque and Eleanora was all ready for us: The kitchen was set up for us to shoot while she prepared lunch, and she’d planned a wonderful menu.
Fine art photographer Hendrik Paul is best known for his surreal black and white landscapes of the Marin Headlands, but he also likes to venture out at night to take ethereal images in both urban and rural settings.
Here our most accomplished night shooter shares his tips for night photography, from the best equipment to use to the best time to shoot, so you can start taking beautiful photos at night!
Ever get up at the crack of dawn and haul out of the hotel/condo/AirBnb with a cup of coffee and camera and haul down to a beautiful beach or center of a quaint Eastern European city ready to take the perfect sunrise photography, only to be overcome with the feeling that it’s already been done? Here, travel photographer Jeff Zaruba offers five tips for turning the ordinary into extraordinary.
The Image Flow headed down to Big Sur for an all-inclusive weekend photography workshop shooting nude models and the rugged California coast, not to mention a tour of Ansel Adams’ private darkroom and a behind-the-scenes look at the Edward Weston estate. Stuart Schwartz offers a few words:
This is the first time we’ve held Big Sur Landscapes & Nudes, and you never know how a new workshop is going to go, so there’s always a bit of apprehension. But as soon as we got to the Center for Photographic Art in Carmel, CA, on Thursday, for a presentation of work by instructors Michelle Magdalena and Ken Parker and a motivational talk with Artistic Director Brian Taylor, it was pretty obvious it would a special weekend.
Emerging nature and landscape photographer Mary D’Agostino is as homegrown as much of her work. A busy executive by day, Mary used to spend her vacations painting wildlife, but in recent years, she has developed a passion for photography. She put herself through a “school of photography” taking workshops and classes at The Image Flow and started working one-on-one with Stuart. “I was doing projects and shooting a lot, and I would routinely bring my work in for critique from Stuart.”
Mary has also sought critiques from experts in the field of nature photography, which have been met with increasing success. “I’m fearless when it comes to finding people in the field of photography to evaluate my photographs,” she says.
Our children’s childhoods are fleeting, but the images we take of them don’t have to be. In the age of digital photography, just about everyone has a camera around at any given moment, ready to capture the next adorable moment in their children’s lives. But the pictures don’t always turn out as well as they could.
Jock McDonald went to Cuba for the first time in 1990 with Bernardo Gonzalez, the son of Mexican Minister of Culture Juan Francisco Gonzalez. The elder Gonzalez had had become somewhat of a mentor to Jock on Latin American culture after giving him his first retrospective show in Mexico. “Juan Francisco said to me, ‘You’ll never understand Latin America if you don’t understand Cuba,’” Jock recalls.
“But he said, ‘I’m not going, I’m married. I’m going to have my son take you.’ I will never forget the look in his son’s eyes, the look that said, ‘I’m not taking a gringo to Cuba!’” Jock laughs.
Since 1990, photographer he has made some 50 trips to Cuba. What keeps him coming back, are the friendships he has found.
Acclaimed National Geographic photographer Catherine Karnow will present her lecture “The Art of Photographing People” on February 5 at The Image Flow, and a workshop in March. Known for her photographs of people, here, she discusses her teaching style, her existential search for “home,” and what drives her to keep on shooting.
“No matter whether I’m shooting on location or in a workshop, I have the faith that the magic will always happen,” she says.