With Christmas and New Year behind us, the summer travel season is only a few short months ahead. It’s not too soon to be thinking about the capturing the best travel images of your life. As a photographer, the chance to travel and immerse myself in another culture while working to capture the essence of a place is a challenge I simply cannot turn down. But creating compelling travel pictures is no easy task. I’m sure you have all had the tortuous “pleasure” of sitting through a friend’s travel slide show, where each image is accompanied by the phrase, “This is us in front of the [insert name of well known travel icon]”.

When a professional travel photographer decides to cover a destination, the first thing they do is research the location. Travel books, Travel web-sites, both commercial and those of the government tourist agencies are all good sources of information. Learn about what may be going on at your destination when you arrive. On what day of the week is the local farmer’s market? When are the local holidays? If possible, plan your trip to coincide with local festivals: these are excellent opportunities photograph people when they are out and about. Google your destination to death! To see how professionals cover your destination, search the web-sites of the major stock photography sites: Corbis, Getty and Masterfile.

Now that you have a good idea about what you will encounter when you arrive at your destination, think about letting your images create a story of what the place is like: what it’s like to visit there, perhaps even what it’s like to live there.

Good Travel Photography and Film Making share many of the same attributes. This makes sense, since both disciplines are essentially story telling mediums. Film Makers think in terms of three basic types of images: Establishing Shots create the overall view of a location. “This how the location looks”: is it set near the mountains, or the sea? Is it an urban or rural environment? Higher points of view can be useful in creating establishing shots… look for balconies, hillsides or observation towers.

Image 1: Establishing Shots create the overall view of a location

Medium Shots provide the substance of your story; this is where you get right into the locale: street scenes, architecture and portraits shot with normal lenses or so-called “street zooms” are good examples of this type of image. This is also where you should let your compositional creativity loose: use these as an opportunity to look for patterns and colours to enhance the impact of your images.

Image 2: Medium shots provide the substance of your travel story

Detail Shots (Film-makers would refer to these as “close-ups”) are in many ways the most important type of travel image: as human beings we are all the same: it’s only in the details that we are different from one another. While they need the other two classes of images to provide context, details provide the visual vocabulary needed to define a culture. Without them you’re missing the most important part of your story. Used in a slide show, or album of your travels, detail images may not occupy the screen for as long as other images, or they may be smaller and collaged together with other images, but be sure to include at least a few in every show.

Image 3: Details are an essential part of your travel story

With a bit of planning and some thought about what you want to communicate to your viewers, you can tell a story that will convey volumes about your subject; often with almost no need for words. Suppose you wanted to create a story about the life of the small independent lavender farmer in Provence. One of the larger lavender growing regions in this part of France is on the high plateau above Valensole in the Alpes de Haut-Provence. The four images below encompass an establishing shot, (the landscape), medium shots of two brothers in the fields where they work. The details of sun burned faces and weathered hands tell a story of years of labouring under the hot Provencal sun.

Start planning now to make this year’s vacation trip the most photographically rewarding one ever, be sure to plan for establishing and medium shots, and keep your eyes open for those telling cultural details.

Best wishes for the New Year to all of you!

“Heading to Provence in June”

 

Response to our workshop in Provence has been gratifying.  There are now only a few spots left for this photographic adventure.  If you have been thinking about joining us, don’t leave it much longer.  Email me at workshops@pacificlight.ca, or just call +1-604-307-2451
Still can’t make up your mind?  To help you along, here are my TOP TEN reasons NOT to join a photographic workshop in Provence… and why I think you should ignore them.

1. It’s too expensive

It’s true that travel to Europe is more expensive than a day at the beach. But a little creative planning can significantly reduce your costs. For example, booking a ticket on a regular scheduled airline from your nearest major airport to Marseille probably represents the most expensive way to get there. This is particularly true of your itinerary forces you to change airlines along the way. On the other hand, travel to the major centers in Europe, such as London or Paris, is often available at very competitive prices. "So what?" you say, the workshop is out of Marseille! Well, here’s the deal… air travel within Europe is incredibly cheap by North American standards. Ryan Air (www.ryanair.com), and Easyjet (www.easyjet.com) fly out of the airports around London, to Marseille.  Fares on these airlines are often less than $50 each way.  In Paris, AirFrance considers itself in competition with the railway system, and prices tickets to locations like Marseille very competitively. Choosing to fly into London or Paris for a few days (or more) ahead of time can potentially save you hundreds of dollars. On top of that, you will have the opportunity to see another great destination in Europe and recover from the inevitable jet-lag.

A good travel agent can help you sort through the various options, but just by way of comparison, let’s look at a few examples.

From my home town of Vancouver, Canada, the lowest scheduled airfare currently available (for travel next June) on Expedia or Travelocity is about $CAD 1,600. However, these flights require stops in one of Calgary, Ottawa, or Toronto as well as Frankfurt, and they take between 14 and 22 hours to complete. Another option avoids multiple connections and gets you there in about 14 hours… but costs over $CAD 2,000!!  These fares may drop in the next few months as the airlines sharpen their pencils for the summer travel season.  But they at least serve as an example for now.

In contrast, flying Air Transat (a great charter airline) to Paris direct costs $CAD 1,110, and you arrive in just over 11 hours. Spend a few days in the "City of Lights", then board a $CAD 170 return Air France flight to Marseille, and an hour and half later I’ll be welcoming you to the warmth of southern France. Total cost From Vancouver to Marseille – ($1,110 + $170) $1,280, a savings of $320 to over $700!

Of course if you prefer, the train from Paris (Gare de Lyon) to the TGV station in Aix-en-Provence is a pleasant trip of about three hours, and costs about the same or a bit less than the fight to Marseille. I will pick you up in Aix if this is your preference.

Similar comparisons can be made out of most US cities as well.

2. I’m not good enough as a photographer

I love this one. It’s compete non-sense of course. Photography is a journey, not an Olympic event. We are all at different places along the path of that journey, and there are no medals for first place.  Becoming a better photographer happens only through practicing your craft. In my workshops it’s always a source of pleasure for me to see how quickly photographers improve their craft and their vision when they take the time to immerse themselves in a supportive learning environment with other like minded individuals.  So, if practice is the only way to improve, why not practice in an area that has inspired artists for centuries?

3. I don’t speak the language

Not an issue. It would be difficult to find yourself in a situation where absolutely no one spoke English in any major center in France. Perhaps not so much in smaller rural towns; but even there, a smattering of high school French will help, and most all people I have encountered in my years of travelling to France have been more than willing to help out a confused traveler. Sometimes this was accomplished by a combination of a few words of broken French, combined with a lot of arm waving and pointing, but the outcome was always positive. Many people in Europe are not just bi-lingual, but multi-lingual. This is a necessity forced on them by their close proximity to many different cultures and languages. As a result, and this is something we in North America often fail to appreciate, the seeming unwillingness of some Europeans to speak English to us, arises not from arrogance or contempt, but because they are linguistic purists; if they cannot converse fluently in a language other than their own, they would rather not suffer the embarrassment of trying and speaking poorly. They do however seem to appreciate a visitor’s attempt, however poor, to speak a few words of French.

4. I don’t have the right equipment

Another one I love. If you think this is so, I want to you to write this on a big piece of paper and tape some where you will see it every day:

"The only piece of equipment that really matters is six inches behind the camera".

Fancy equipment is nice to have; but developing your vision will help you create far stronger images than newest camera or whiz-bang accessory ever will.

All you need for this workshop is an SLR camera (film or digital) and one or two lenses that will carry you from a reasonable wide-angle to a moderate telephoto, and a tripod. With this I guarantee you will return home with amazing images!

5. I can’t take the time away from work

Time is the one thing that none of us can create more of. Our busy twenty-first century lives seem to leave us with less and less time for the truly important experiences we have always promised ourselves – - – "some day". If you have ever taken a course on time management, you may recall one of the first things you learned: "you have to schedule time to do the things that are important to you."  At the end of our lives, no one will say, "Gee, I wish I had spent more time at the office!"

6. I’ve never been to Europe; it might be difficult to find my way around.

Europe is used to tourists; it’s a significant part of the economy. Airports, Bus and Train Stations are all set up to assist non-native speaking visitors. In all my travels throughout Europe, I have yet to find myself in a situation where I could not find someone willing to help me find where I needed to go. People are people no matter where you travel, and are almost universally willing to help a visitor.

7. I’m an accomplished photographer and I probably won’t learn anything new

After more than 30 years, I think I have only just scratched the surface as an image maker. As a more advanced photographer, you are no doubt looking for new challenges. Provence is such an incredibly image rich environment, I know you will find your inner creativity satisfied in new ways as never before.

8. I’ve heard that pick-pockets are everywhere in Europe; my gear or my wallet is likely to be stolen.

You are no more likely to be the victim of crime in Europe than in any comparable North American city. In fact, violent crime is far less common in Europe than in North America.  In Europe, as in North America, if you simply use common sense and remain aware of your surroundings, you are very unlikely to have any problems.

9. The trip there and back is too long.

Depending on where you are travelling from it can take the better part of a day to get there. At 6’2", getting comfortable on a long plane ride is something at which I have never been very successful. Those inflatable neck cushions available from travel stores can help. It’s also important to drink lots of water – to stay hydrated. An aisle seat is a better choice for a taller person, as it will give you a chance at a bit more leg room.  Breaking the trip up into manageable segments, such as a stopover in Paris or London, as I described in Reason 1 above, can also reduce the wear and tear of trying to accomplish the entire journey in one go.

10. I’ve got lots of time… I’ll go someday (just not right now.)

Much wiser people than I have have the best advice for you on this one:

 

Carpe diem quam minimum credula postero
("Seize the day, trusting as little as possible in the future.")

Horace, Roman poet, 23 BCE

Enjoy yourself.  It’s later than you think. 

Chinese Proverb

Dream as if you’ll live forever.  Live as if you’ll die today.

James Dean

And in the end, it’s not the years in your life that count.

It’s the life in your years.

Abraham Lincoln

You will never find time for anything.  If you want time, you must make it. 

Charles Buxton

As you grow older, you’ll find the only things you regret are the things you didn’t do.

Zachary Scott

Most of us spend our lives as if we had another one in the bank.

Ben Irwin

When your life flashes before your eyes, make sure you’ve got

plenty to watch.

Author unknown

Life moves pretty fast.

If you don’t stop to look around once in a while you could miss it.

Ferris Bueller

How did it get so late so soon?

It’s night before it’s afternoon.

December is here before it’s June.

My goodness how the time has flewn.

How did it get so late so soon?

Dr. Seuss

We’re fools whether we dance or not, so we might as well dance.

Japanese Proverb

"All you have to decide, is what to do with the time

that is given to you"

Gandalf

I hope you will join us in Provence, it’s going to be an amazing trip!

 

Along with all the conflicting approaches to image sharpening, the choice of an appropriate print resolution has more well intentioned but ill informed opinions that just about anything I can think of.  Print resolution is important because we want our prints to display all the fine detail our camera captured.  If your chosen resolution is too low, your print will look like a highway billboard viewed from three feet; if it’s too high you’ll waste ink, and might even end up with a lower quality print.

First off, don’t confuse print resolution with the dot patterns laid down by your printer:  the promotional literature for your printer might proclaim that it can lay down 2880 dots per inch, but this is not the same as print resolution.  Your printer lays down ink dots of varying sizes in complex patterns to achieve the perception of fine detail, using many ink dots to represent a single image pixel.  When we talk about setting print resolution, we’re talking about the numbers and settings in the Image>Image Size dialog in Photoshop.  Choosing the settings in this dialog will be one of the last decisions we make prior to sending an image to our printer (just before we do our final round of sharpening for our specific image size, resolution and output device).

If you were to open the Image Size dialog, you might see something like this:

This dialog is telling us that if we take the 5281 pixels making up the long side of our image, and spread them 240 to the inch across the page, we have just enough pixels to produce an image about 22 inches on the long side.  Now, if you use the same number of pixels to produce a smaller print, you would obviously end up with more pixels to the inch… go larger and you would end up with fewer to the inch.  And it is here, when we try to pick the appropriate number of pixels for a particular size of image, that all the confusion arises.  Some say that you should always print at 300 ppi, others say to print at 360ppi or some multiple of this (but only when the moon is full and Jupiter aligns with Mars!)

So how many pixels to the inch do you need to create an image that appears sharp and detailed?   Think about this for a minute, and you’ll realize that there isn’t much point in creating a print with detail finer than the human eye can see.  It’s also intuitively obvious that if you hold a print closer you can perceive finer detail than if you hold it farther away.  The "flip-side" of this is that a print that you would naturally view from a greater distance can have a lower resolution than one that you would naturally view close-up, and appear just as sharp.  (This is of course why that highway billboard can get away with golf ball size dots.)

When we view large prints we have a natural tendency to stand back and view them from a greater distance.  For most people a comfortable print viewing distance is something between one and two times the length of the diagonal of the print.  If you combine a comfortable viewing distance with the limits of the average person’s visual acuity, and translate all this into print resolution, you end up with ideal resolution numbers for prints of different sizes.

 

Let’s go back and look at Photoshop’s Image Size dialog:

Notice that the “Resample Image:” box is checked.  When this is so, I can change any of the Pixel Dimensions (Width and Height), the Document Size (Width and Height), or the Resolution.  If I change any one of them, the the number of pixels in our image will change.  When the Resample Image box is checked and we change the Size or Resolution of our image, Photoshop must either make up or remove pixels in our image to match the changes we make in this dialog.

Now, uncheck the “Resample Image” box.  The “Pixel Dimensions” boxes immediately becomes greyed out, and cannot be changed.  If we now change the size of the Document (say, for example I decide to print this image at 10” X 15”).  I am now taking the same number of pixels and spreading them over a smaller image, with the result of course that the number of pixels per inches increases.

“So what?”, you might say.  Well, the difference here is that when the “Resample Image” box is unchecked, Photoshop only sends the original “native” pixels to your printer, without making any up, or taking any away.  And here’s the kicker: it’s always better to send the native pixels to your printer, rather than having Photoshop make any up or take any away.  “Made up” pixels are just Photoshop’s best guess at the pixel information need to fill in the gaps, and will never equal the sharpness and detail of the original pixels in your image.  Your printer does a much better job at deciding how to arrange the pixel information on your print for maximum detail than does Photoshop (this is the opposite of the decision we make with color management, where there is no way we want the printer to mess with the colors in our images!)

So, go back to the table above relating different print sizes to optimal print resolution.  Turns out, with cameras of about 10 Megapixels and above, leaving the “Resample Image” box unchecked and using just the “native pixels” of your image will generally result in a print with resolution that falls within the guidelines of table.  For example, a 12.8 Megapixel Canon 5D (4368 X 2922 pixels) can produce an 8 X 12 print with 364 pixels per inch, and a 16 X 24 @ 180 pixels per inch, using just “native pixels” … both within the guidelines for producing images with all the detail that the average person can discern at a reasonable viewing distance.

Here’s the “Rule of Thumb”:

1. Start by un-checking the the “Resample Image” box when you set your final output size.
2. Set your print size as desired and have a look at the Resolution box, if you are between 180 and 480 pixels per inch at your final print size, you’re good to go!
3. One caution:  don’t be tempted to “push the envelope” beyond 480 ppi: your print will not improve, and most print drivers will have difficulty with this much data, possibly resulting in a less than perfect print.

Can’t get to 180 ppi with the native pixels in your image file?  That’s a topic for another day… and Lesson 3 in my course “The Art of Printing and Selling Your Art”.

This is consistently the most common first question I am asked in my Digital Printing course at www.ppsop.com. This is true even among photographers who understand the need, and have taken the time to calibrate and profile their monitors.

Your monitor is THE device you use to judge the progress of editing your images and preparing them for printing. Unfortunately, you cannot rely on your eyes to calibrate and profile it for good colour reproduction; your eye-brain visual system is just too good at to adapting to different lighting conditions to be a good objective judge of colour. To do this properly, you have to use a good hardware-software calibration tool such as the X-rite Eye-One Display (available from Adorama.com for about $200, (follow this link.)

Even when used properly a monitor calibration and profiling solution like the X-rite is not a big help when it comes to choosing the proper luminance level (brightness level) for your monitor. (see note below) The reason for is that the proper luminance level for your monitor is largely dependent on the illumination level in your work area. If you work under typical residential lighting, you will find that a lower luminance level for your monitor is best. If you work in a typical office environment, a higher luminance level will be needed. What will seem too bright in a darker work area will seem just right when the room illumination is higher (Ever try watching TV in a completely darkened room? Usually we are more comfortable watching TV with at least some room illumination.

So why is the luminance level of your monitor so important? For the simple reason that when it is too high, we tend to adjust our images darker to compensate. When these images are sent to a printer in an otherwise properly colour managed system… dark prints result.

Setting a correct luminance level for your work area

When you calibrate your monitor with a tool like the X-rite Eye-One, you get to choose a target for the luminance of your monitor. This is measured in candelas per square meter (cd/m2), but we will simply refer to it as a “luminance number”. In most residential environments, I recommend a starting target of 110 – 120; in brighter office environments – 140 will be a good starting point. The X-rite will measure and display the luminance number of your monitor… you can then adjust the brightness controls to achieve the target you have chosen.

Once you have completed the process of calibrating and profiling your monitor using the X-rite Eye-One, you still need to determine if the luminance level you have chosen is appropriate for your work area illumination. The easiest way to do this is to check it visually using a step-wedge: an image you can create in Photoshop using a series of squares from pure black through dark grey, such as the one illustrated here (a downloadable version is provided as part of the course).

(Note that all the steps here may appear either as all black in your web-browser, or not; the difference between each step is very subtle, and web-browsers are generally not capable of good colour management). The idea is to load this image into Photoshop, and then turn all the Photoshop UI elements off by hitting the “F” key twice. You will be looking at a pure black screen with the step-wedge image in the center. You should NOT be able to see a difference between the black square (marked with a “0”, on the left) and the background of your monitor. If you can, your luminance level is too high. Dial the brightness down until the black square just merges with the background, and re-profile your monitor. If you can’t see all of the steps to the right of pure black, don’t despair. Many consumer level LCD monitors are not capable of distinguishing between very dark tones. You can try increasing your monitor’s luminance level in an effort to see more of the steps, but just don’t go too far an lose your pure black.

This problem of overly bright monitors has become more of an issue of late as we have all been converting to LCD monitors from the older CRT (tube-type) monitors. LCD monitors are capable of FAR higher luminance levels than any CRT monitor could ever hope for; in fact the latest iMAC monitors are so bright that many people are finding it difficult to get down to anything approaching a reasonable luminance level. There is a shareware utility available known as “shades” which will readjust the video card levels so than your can get down to a reasonable level, but I don’t recommend it for colour critical work as it tends to mess with the tonal gradations of your monitor. If you are having difficulty achieving a reasonable luminance level with your iMAC, the only thing you can do is to boost the ambient illumination in your work area.

from “The Art of Printing and Selling Your Art” at www.ppsop.com

(Note: The X-rite can measure the ambient light in your work area and tell you how far off your work area is from ISO norm 3664 (the international standard for workplace illumination for photography and graphic arts)… the average home will be a long way away off this standard.)

Two of the most common ‘mistakes’ a see among beginning photographers are; shooting at the wrong time of day, and choosing a boring point of view.

The best time of day to shoot pictures is in the warm light of early morning, or late afternoon. Unfortunately, when we travel with family or non-photographer friends we can’t always control the time of day when we will find ourselves in an attractive area. We can however spend a minute or two considering the best vantage point for our images.

Most beginners and casual shooters never go farther than the “tour-bus shot”. You’ve all seen these I’m sure: those pictures that were obviously shot from a standing eye-level position, from the first spot the photographer landed on as they stepped off the “tour bus”.

Boring!

Why not try a different point of view? Drop down on your knees. Look for an elevated vantage point… a flight of stairs or a balcony, perhaps. Is there something interesting you can place in the foreground to provide more visual interest and tell the viewer something more than they would learn from the tour-bus shot?

In and around the neighbourhood of Montmartre in Paris you will find many restaurants, shops, and street vendors selling work by local artists and art reproductions of all types. My original plan on this trip was to visit this area late in the day, and then continue to shoot until well after sunset as the street lights came on. However, an unfortunately timed remark by the desk clerk in our hotel convinced my wife that she wanted no part of being out after dark in this part of Paris; so it was that I found myself in Montmartre around 11 am the next morning.

.

But, despite this I was determined to come away with at least a few good images of my visit to this historic neighbourhood.

This picturesque little restaurant Le Consulat”, in Montmartre is one of the most often photographed in Paris and has even “starred” in a number of Hollywood movies. It immediately caught my eye.

The first image above is the basic tour-bus shot. It suffers from a boring point of view and a lot of distracting visual clutter.

In the second image below, figuring that the art reproductions displayed for sale at the shop on the left would make an interesting foreground for a picture, I moved over close to the display, and dropping to my knees, zoomed my lens to its widest-angle setting. This allowed me to compose an image that included the display from an unusual point of view (near street level) and show the restaurant “Le Consulat” as a background element.

The result is a stronger, more interesting image.

Images of places are always made stronger if you look for something interesting to put in the foreground. What makes this image work are the strong lines created by the rows of the art display leading your eye to the buildings in the background. To get this effect I had to get low to the sidewalk to make the display become an important part of the image. You couldn’t shoot this image standing up and shooting at eye level.

The next time you are out with your camera, spend a few extra minutes thinking about where you might find an interesting point of view!

from the Digital SnapShooter’s Guide to Great Pictures at www.ppsop.com”

Bryan has added to new section to his lecture to be presented at the Vancity Theatre and the Vancouver International Film Centre on Feb 10.

• - Beyond Portraiture: Photographing people in their environment
• - Shooting for Stock

Beyond Portraiture:

Early in his career, Bryan, like most of us spent the majority of his personal photographic time shooting natural subjects:  landscapes, florals, macro and so on; what he now refers to as his “spider-webs and dewdrops phase”.  His photography of people was limited to the controlled environment of his corporate annual report and advertising work.  Like most of us, he was reluctant to approach strangers and ask to take their picture.  And yet, photographing people is one of the most satisfying and rewarding endeavours for any photographer… the variety in, and expressions of the human face are limitless, providing an unending reservoir of incredible images for the photographer who can overcome the innate fear most of have in approaching strangers.

Bryan will talk about overcoming this fear, and how he approaches photographing people in their environment.

Shooting for Stock:

Even if you consider yourself a complete beginner, you likely harbour the thought that one day you might license an image or two for publication… perhaps even a whole book of your images!  If you are a more advanced photographer, perhaps an emerging or established professional in a discipline other than stock, this can represent a potentially lucrative secondary source of income.

Stock, for those who are unfamiliar with the term is the practice shooting images for future sales, purely on speculation.  Images are marketed either directly by the photographer, or through large picture libraries (Getty and Corbis being the two largest in the world at the present time)  Stock is a highly competitive business, with a few ‘stars’ earning substantial incomes, and many, many more earning far less.  Yet despite this competition, there are still significant opportunities for an enterprising photographer to earn money with their images.  Success with stock depends on understanding the marketplace:  knowing the types of images that sell, and knowing the types of images that sell over and over, year after year.  For example, a single of image of Bryan’s has generated over $60,000 in the course of 15 years in the marketplace through multiple licensing (sales) during that time!  Shooting stock doesn’t have to involve huge productions costing thousands of dollars (although it certainly can)… Bryan’s $60,000 image was shot with basic equipment; equipment most of you likely already have. Bryan has been active in the market for stock almost since its inception, and at this time devotes most of his shooting time to stock projects. He knows the market well, knows what sells, and will share his insights in this segment of his presentation.

Complete description of presentation here.

Tickets available on-line through the Vancouver International Film Centre web-site at www.viff.org

Tickets for Bryan Peterson’s one day workshop on February 10, 2008 are now on sale through the Vancouver International Film Centre web-site (www.vifc.org).

Here is a direct link to the relevant page at VIFC: Ticket Purchase

And here is a link to a complete description of this not to be missed workshop.

I have added today a new article containing some notes on how to enhance your on camera flash from discussions on this in my workshops

I get mildly amused when someone sees me walking around with my camera and 70-200/2.8 lens, and says something like, "Gee, I bet you can really see a long way with that big lens", or similar words to imply that telephoto lenses are only useful to magnify distant subjects.  Non photographers can be forgiven this lack of understanding, but I often hear it in my workshops as well.

To clear up this misconception, I have added a new article, Creative Lens Use

Bryan Peterson, photographer, renowned photography instructor and best selling author of “Understanding Exposure” and “Learning to See Creatively” is coming to Vancouver on February 10th next year.

Bryan will present an all day multimedia workshop designed to ignite your creativity.  More detailed information on Bryan’s Workshop here.

I have a long association with Bryan going back almost 15 years  and during that time I have had the pleasure of attending a number of his workshops as well as assisting him on one or two more.  Bryan’s boundless energy, infectious enthusiasm, and endless creativity guarantee you will leave the theatre overflowing with new ideas and renewed passion for your own image making!

This is Bryan’s first visit to Vancouver, and only his second to the lower mainland in 14 years.  Don’t miss this not soon to be repeated chance to spend a day with one of the most dynamic and creative photography instructors in the world today!