Join acclaimed photographers Mary Louise Ravese and Sue Bloom in an 7-day, 6-night workshop exploring the South’s Low Country from Savannah, GA to Charleston, SC during the spring bloom..
Enjoy a variety of unique shooting opportunities:
– Superb garden locations when azaleas, wisteria, camellias and more are expected to be in bloom
– Avenues lines with ancient live oak trees draped with Spanish moss
– Plantations, charming Victorian houses, and colorful row homes
– Historic cemeteries and ruins
– Interesting wildlife including birds and gators
In addition to our time in the field photographing, throughout the week there will be lectures, assignments and supportive image feedback sessions, so you can improve your picture-making along the way. Expand your skills by learning new techniques like digital painting and collage, Black and White, Infrared, HDR, and phone-ography. Your instructors Mary Louise Ravese and Sue Bloom are both professional photographers and seasoned instructors who offer lots of practical tips and guidance in the field and classroom.
This workshop is open to photographers of all skill levels, since our multi-day format allows us time to work with each participant individually. Our two instructor format assures no more than 6 students per instructor.
Our India photography workshop itinerary covers the best of the must see monuments including the incomparable Taj Mahal but we veer off the beaten path as often as possible in search of more genuine visions of Indian life, such as: Holi, Varanasi, Delhi, Jodhpur, and Pushkar.
Grand view of ancient Machu Picchu, last refuge of the vanished Inca civilization in the Andes Mountains, Peru.
Story and Photos by Jerry Ginsberg
Peru is perhaps the most fascinating country in all of South America. Considering the many wonderful sights, both natural and cultural, to be found on this vast continent, that’s saying a whole lot. You will find a great deal of diversity here. From the arid lands of its long Pacific Coastal area to the snow-capped summits of the sharply carved Andes, there is something here for everyone.
Situated along the Rio Grande River, Bosque del Apache National Wildlife Refuge covers more than 57,000 acres and is a major wintering ground for cranes and waterfowl. Refuge personnel manage the water levels of its wetlands and impoundments to simulate what was once the seasonal flow of water from the Rio Grande before the river was damned and the flow altered. To feed the huge number of birds visiting the refuge each year, nearby fields are planted with corn, winter wheat, millet, and other grains. Loop roads transect the refuge marshes and fields and provide prime sites for wildlife viewing and photography. Species that may be seen include shovelers, buffleheads, pintails, teal and other ducks; bald and golden eagles; kestrels and other hawks; turkey; meadowlarks; quail; roadrunners; coyotes; mule deer; and more. In November, large flocks of snow geese and sandhill cranes will be present. At night to escape predators, the birds flock to the marshes and shallow pools. With dawn, the snow geese and other waterfowl rise in mass from the wetlands and sweep overhead on their way to nearby fields to feed. Each day we will spend the early morning and late afternoon hours at the refuge photographing birds and many other species of wildlife which are present at the sanctuary.
The Outer Banks are a long, thin strip of barrier islands that protect the North Carolina Coast. Preserved to a large extent by the Cape Hatteras National Seashore, it is a visual feast of historic lighthouses spaced between long stretches of wild beaches and pristine sand dunes. The Outer Banks are part of our own back yard that we know so well, and we will go to great locations where you can seek your own vision and make wonderful photographs …
With workshops limited to 12 participants (a maximum 6:1 ratio, students to instructors), you can be assured of nearly as much one-one time as you want/need. We also welcome those whom we affectionately call our “Spousal Units,” those spouses and SOs who return so often to our workshops.
Nevada is one of the featured keynote speakers at the 2015 NANPA Summit taking place in San Diego, California from February 19th – 22nd. To learn more about the Summit and to register for this exciting and inspirational event, please visit www.naturephotographysummit.com.
Images and Story by Nevada Wier
Photographing in low light is particularly challenging, but immensely satisfying — if you can overcome the difficulties. However, it is these kinds of situations that stimulate me as a photographer. I know that it is these times when it is more possible to create what I call a “snowflake photo”: one that no one else has in his or her portfolio. So I seek out the difficult light and perspectives. Of course, that also means that the chance of failure is high; I have to work extra hard in these situations. I am on alert, paying attention, anticipating the action and seeking out whatever light is available.
One is definitely constrained by the quality of their equipment. Sorry, an iPhone is not going to be the camera of choice for photographing at night or inside a hut lit by a candle – unless you are going for an abstract with high noise. Many digital camera sensors are not able to produce a relatively noise-free image at an extremely high ISO. Unless you have a top-of-the-line camera that can handle 1600 ISO or more, the highest exploitable ISO for most cameras ranges between 400–1600 ISO. Another limiting factor is the lens. If you are using a zoom lens that has a minimum aperture of f/4.5, it is going to be problematic. Not only will you not have a fast enough shutter speed, the lens will not be able to quickly and accurately focus in dim light. And, it is critical to pay attention to the focusing. During the day in strong light focusing quickly is easy and accurate; it only takes a quick press of the focus button to be accurate (I use the back * button on my Canon for focusing and to set a specific focal point). In low light it is important to squeeze the focus button until you see the focus alert signal in the viewfinder. Sometimes I have to use manual assist. Occasionally I need to shine a flashlight on my subject so I can focus.
Sometimes I use flash but not for a primary source of light, rather to pop color or stop the action with a slow shutter speed. A flash is always a secondary source of light. I usually go to the highest ISO that I am comfortable using and on my Canon 5D MarkIII I rarely go above 1600 ISO; if I can I much prefer to stay at 800 ISO or lower. I photograph primarily on Shutter Priority, but in low light I sometimes switch to Aperture Priority when I want to stay at a wide-open aperture. However, I do like slow shutter speeds (and I’m not afraid to hand-hold at ½ sec. or slower) in combination with flash, either for panning or having a flash stop the action within a blur, so there is sharpness within a sense of motion. I carry a number of different gels for my flash so the flash outputs blends seamlessly with the ambient light. I usually keep my white balance on Daylight unless there is an abundance of red, and then I use Auto (red is a difficult color to desaturate, it tends towards purple).
I make sure my exposure is absolutely perfect; better too light than too dark. I constantly check my histogram. At a high ISO you do not want to have to lighten your image in post processing and expose ugly noise. Honestly, I rarely use a tripod. I don’t like to walk around with them. The photographs I’m showing you on this blog are all hand-held. In fast moving situations it is difficult to use a tripod, and in crowds – forget about it! Knowing how to use flash appropriately is a big key to success.
I mentioned earlier that it is important to anticipate so that one can be in the front of a crowd. I am used to “wiggling” myself into a good location. There is a fine line between being assertive and aggressive, but I don’t want to end up in the back of a huge crowd.
I expect a lot of failures; in fact I mostly have failures in these kinds of situations, as they are technically and often socially difficult. However, all I need is one great image! I try as many shutter speeds as possible; depth of field is not a critical concern to me at these times. I try slow shutter speeds with or without panning, usually with the flash on. I turn the flash off and work with natural light. I try everything! I always say, “If you don’t try, you don’t get”. And, often what one gets is that magical snowflake image.
Nevada Wier is a multiple award-winning photographer specializing in the remote corners of the globe and the cultures that inhabit them. Her journeys have her crisscrossing the world in search of compelling travel experiences and images. To read more about Nevada, view her extraordinary photography and get information about her photo workshops and tours, visit her website at www.nevadawier.com.