PhotoHaus Fall 2012

7/28/2019 PhotoHaus Fall 2012

1/20vancouverphotoworkshops.com photohaus magazine fall 2012

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


2/202 photohaus magazine fall 2012 vancouverphotoworkshops.com


3/20 3vancouverphotoworkshops.com photohaus magazine fall 2012

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...



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



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



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



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



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



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



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
http://www.vancouverphotoworkshops.com/workshops/digital-photo-boot-camp.phphttp://www.vancouverphotoworkshops.com/workshops/basic-intensive.phphttp://www.vancouverphotoworkshops.com/workshops/canon-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/nikon-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom_6week_course_0111.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-high-volume.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-high-volume.phphttp://www.vancouverphotoworkshops.com/workshops/intermediate-course-8week.phphttp://www.vancouverphotoworkshops.com/workshops/basic-intensive.phphttp://www.vancouverphotoworkshops.com/workshops/flash_photography_8_week_course.phphttp://www.vancouverphotoworkshops.com/workshops/studio-lighting-10week.phphttp://www.vancouverphotoworkshops.com/workshops/location-lighting.phphttp://www.vancouverphotoworkshops.com/workshops/Digital_SLR_Getting_Started_2012.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/studio-lighting-intro-pooya.phphttp://www.vancouverphotoworkshops.com/workshops/digital-photo-boot-camp.phphttp://www.vancouverphotoworkshops.com/workshops/studio-lighting-intro-pooya.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/Digital_SLR_Getting_Started_2012.phphttp://www.vancouverphotoworkshops.com/workshops/location-lighting.phphttp://www.vancouverphotoworkshops.com/workshops/studio-lighting-10week.phphttp://www.vancouverphotoworkshops.com/workshops/flash_photography_8_week_course.phphttp://www.vancouverphotoworkshops.com/workshops/basic-intensive.phphttp://www.vancouverphotoworkshops.com/workshops/intermediate-course-8week.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-high-volume.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-high-volume.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom_6week_course_0111.phphttp://www.vancouverphotoworkshops.com/workshops/nikon-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/canon-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/basic-intensive.phphttp://www.vancouverphotoworkshops.com/workshops/digital-photo-boot-camp.php



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

[email protected]

Enter the rafe to win fabulous Grand Prizes
http://www.vancouverphotoworkshops.com/workshops/lightroom-retouch-semi-private.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-retouch-semi-private.phphttp://www.vancouverphotoworkshops.com/workshops/photoshop-10week.phphttp://www.vancouverphotoworkshops.com/workshops/creative_lighting_workshop.phphttp://www.vancouverphotoworkshops.com/workshops/small_strobe_bootcamp.phphttp://www.vancouverphotoworkshops.com/workshops/studio-lighting-advanced-pooya.phphttp://www.vancouverphotoworkshops.com/workshops/photoshop-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/photoshop-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/photoshop-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/photoshop-workshop.phphttp://www.vancouverphotoworkshops.com/workshops/studio-lighting-advanced-pooya.phphttp://www.vancouverphotoworkshops.com/workshops/small_strobe_bootcamp.phphttp://www.vancouverphotoworkshops.com/workshops/creative_lighting_workshop.phphttp://www.vancouverphotoworkshops.com/workshops/photoshop-10week.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-retouch-semi-private.phphttp://www.vancouverphotoworkshops.com/workshops/lightroom-retouch-semi-private.php



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



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

[email protected]

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.


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.


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
http://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/workshops/greg-gorman-2012.phphttp://www.vancouverphotoworkshops.com/workshops/learn_to_light_master_workshop.phphttp://www.vancouverphotoworkshops.com/workshops/eddie_soloway.phphttp://www.vancouverphotoworkshops.com/workshops/douglas_kirkland_workshop_2012.phphttp://www.vancouverphotoworkshops.com/workshops/douglas_kirkland_workshop_2012.phphttp://www.vancouverphotoworkshops.com/workshops/eddie_soloway.phphttp://www.vancouverphotoworkshops.com/workshops/learn_to_light_master_workshop.phphttp://www.vancouverphotoworkshops.com/workshops/greg-gorman-2012.phphttp://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/phototours.phphttp://www.vancouverphotoworkshops.com/phototours.php



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



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.



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.



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



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



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


20/20

Fall|Winter Exhibitions

PhotoHaus Galler14 West 7th Avenu

Vancouver, BCV5Y 1L

Canad

[email protected]

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

PhotoHaus Fall 2012

Documents

Transcript of PhotoHaus Fall 2012