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Odyssey 2001 delivered all it promised -- inspiration, instruction, networking and much, much more.
The keynote sessions provided a glimpse into the lives and personalities of exceptional artists - individuals who operate at the highest levels of energy, intellect, passion and creativity. And some of it is catching - we hope it is catching.
We were moved by the story of the Western Shoshone who, to this day refuse to sell their land to the white people. We joined Corbin Harney, an elder spiritual leader of the Western Shoshone, in a prayer for the earth, for clean air, clean water and good health for all living organisms.
We accompanied Art Wolfe on his seven continent millenium quest for the earth's most significant living species. With Art we rode across the parched Gobi desert, we watched him play peek-a-boo with fox cubs, we held our breath as he hand-held his camera for a wide angle shot of an elephant seal on South Georgia Island. Intimate eye contact with snow monkeys had us reaching for our checkbooks.
We endured endless days with Klaus Nigge, crouched in the snow blind, our muscles stiff and sore, waiting for the Steller's sea eagle.
We learned that Gordon Parks, the renaissance man, who photographed fashion for Vogue and social documentary for Life, is also a novelist, pianist, composer, film director and fine-artist. He spoke as if everything had simply fallen into his lap. We were awed by his accomplishments; astonished by his simplicity.
Roger Russmeyer had us breathless with wonder at the images of earth that were, well, out of this world. We were virtually singed by the flowing lava he captured on film. We were tickled by the lightbox helmet he designed at age 12. Innovation and playfulness seem to characterize all his work.
Robert Glenn Ketchum, NANPA's Outstanding Photographer of the year, uses his expressive images of wilderness areas to persuade legislators to designate them as protected wildlands. His images are now embroidered on translucent silk screens by Chinese artisans.
With their images and their stories, these Masters of photography showed us sights we've never seen, transported us to places on this earth that we will never set foot on, and placed us eye-to-eye with wildlife that we will never ourselves observe.
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The breakout sessions gave us valuable pearls of photo craft.
Jim Clark, the boy who never grew up, emphasized the need to browse the sights, sounds and smells of a place, telling us that "You've really experienced a sense of place when you feel a reluctance to leave it."
Barbara and John Gerlach beautifully illustrated the need to shoot in the right light. With clarity and humor, Bobby Harrison demonstrated effective bird-shooting techniques.
Ralph Paonessa showed us a five flash setup to shoot hummingbirds, using three for the bird, one "hair-light", and one for the background.
And, thanks to Steve Gilroy's exceptional presentation, which should have been called "Really Advanced Composition Strategies" instead of "Tips from the Field", our images will now have interesting middle grounds along with sharp foregrounds and backgrounds.
Larry Michael's abstract photography speaks to the essence of art, which is a journey of self-discovery. According to Larry, "After you have made copies of objects, looking stops and experience begins."
Gary Braasch pointed out the growth symbolizing power inherent in simple geometric shapes - circles, triangles, spirals, hexagons, S-curves.
We learned how to combat stress and fatigue, negotiate book contracts, photograph indigenous people, and protect our images from loss and unauthorized use. We practically graduated with a degree in the Business of Stock.
At the exhibits we got to touch and feel all the photographic gizmos on our wish-list. The book signing session allowed us to share a few intimate moments with artists we admire.
We breakfasted, lunched, and lurked in the hallways with fellow photographers - sharing experiences, exchanging ideas, swapping notes on equipment, locations, markets and resources. Where else do you get to speak in f-stops and meterese?
We left charged with new ideas. And we noted, in ourselves, a definite reluctance to leave.
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