All of the members of the Jakaramba studio will be participating in the workshop. Up to now their clients have been primarily local and regional non-profit organizations, and they’ve worked on smaller projects. We hope they’ll come away from the workshop with a clear direction for the studio and a solid marketing plan, ready to take their business to the next level.

The client for this workshop will be FotoKids itself, and the project a self-published book to be used for promotion and fund-raising. Plans for the he book are to include an overview of the Fotokids project, feature photographs by FotoKids students, and to touch on the beauty and challenges of Guatemala.

Additional customizable chapters will include bios on individual students, coverage of the Design4Kids project and a look at Jakaramba.

Instructors for this workshop will be Design4Kids director Jeff Speigner, teaching graphic design, Cathy Shea teaching marketing, and Eric Lollkema and myself teaching photography. I’ll also be working with Cathy to interject the small business, target marketing approach with her big business marketing skills and experience.

Eric and I will be arriving a week early and making a side trip to Honduras, where we’ll be teaching photo classes for several days at Guaruma, the Honduras branch of Fotokids.

An interesting side note I’ve recently learned is that while it is currently the rainy season in Guatemala, with moderate temperatures and daily storms, Honduras, right next door but on the Caribbean coast, is in their dry season, with hot sunny days and temps near 100! Quite a climate variance in a area the size of the Carolinas!

Check in regularly – I’ll be providing periodic updates during the trip – internet connections permitting.

And oh yeah – fairly short and relatively mild winters . . .

The day after our record-breaking second top-ten snowstorms in the same year, my own little corner of the world is doing pretty well.

Spent Saturday during the storm tackling the shoveling an hour at a time so that by the end of the day when the snow stopped everything was cleared out to the road. Then, about 7:00pm, much to my surprise the plow came through and cleared our street! (I was expecting it today, maybe tomorrow.)

A planned 15 minute photo walk around the block turned into an hour long meet all the neighbors you never know walk, as everyone says “hi” and welcomes the opportunity to take a break from shoveling. Events like this tend to bring people together.

Meanwhile my cleared driveway is now wet as the sun, even at 25 degrees or so, melts all the ice from the surface. And it was only 11:30. By 2:00 it’s dry pavement!

Streets are still covered in a thin sheet of snow, will probably take another day to dry up. Tomorrow’s forecast for above freezing temps, so that should speed things up. But these head-high snow banks are going to be around for a while.

Called my client in Virginia Beach hoping they had just gotten rain out of all this, but they got a couple of inches of snow. Not a lot, but enough that they don’t want their big beach-front home photographed in it. Maybe by the end of the week.

A rare event like this gives an opportunity to get photos that are otherwise simply unavailable. This will give me a little extra for the classes starting this week!

Wherever you’re reading this from, remember, you typically want to over-expose from what your meter tells you by about one stop in snow. And think about your white balance – deep shadows and overcast light tend to make things go blue pretty quickly. You can either adjust for it, or let it go and use it creatively.

Get out there and shoot now. You can’t get these shots in the middle of summer!

One of the blessings of living in temperate climates is the change of seasons, and in particular the great palate of color nature provides in the fall. While the exact time, intensity and colors depend on where you are, the prevailing vegetation and usually on the weather for the preceding spring and summer, autumn is typically a great photo opportunity.

Fall Colors on the C&O Canal

Here in the Mid-Atlantic October to early November is showtime, and every year brings something to delight the eye. This year we had a dry end to the summer, which muted some of the colors a bit compared to last year, but there is still plenty to shoot. An added attraction is that many people plan their landscaping with ornamental plants that are green and lush during summer, and then burst into colors in the fall.

It’s common when faced with the overwhelming displays of changing color everywhere to try to capture it all. Sometimes that works, but sometimes you wind up with a photo that encompasses so much it lacks a true point of focus. Also, we can sometimes be so absorbed in the show nature is putting on that we forget about distractions that lead the eye away from the intended subject. Our brain can ignore them when we’re there in person looking at things, but as always, the photo sees all.

One solution is to narrow down our frame and concentrate on smaller slice of the visual pie. Even very close-up and macro shots may capture the feelings of the scene as well or better than an overall vista.

C&O Canal, Potomac, Maryland

The fall colors aren’t the only thing going on now. It’s harvest time, and even if you live in the city, take the time to get out and explore the rural fields and farm stands. And don’t forget people! The autumn makes a great time to get photos of your friends and family or anyone out enjoying nature’s bounty.

So take the time to experiment with different subjects, different viewpoints and don’t forget to get up close and personal with nature at this time of year. Soon enough we’ll be shooting those winter scenes!

We go at about the same time each year (around July 4^th), stay at the same house we’ve stayed at each year, and after that much time it all has the look and feel of familiarity that we all find in our own every day surroundings.

(c) 2009 Stu Estler

Now don’t get me wrong – it’s a beautiful location, it’s great to spend time together with the family, and there’s plenty to do at and around the lake. It’s hardly a boring vacation.

But after this long, I found myself working much harder to find new and different photo ops. Being a bit laid slowed down by an injury this year kept me from being as active and from ranging as far afield as I usually do, and that certainly played a part.

One of the first reactions in a place like this is to zone in on the beauty of the place and the ever-changing scene unfolding as weather moves up, down and across the lake.

But after ten years, I found myself thinking, “OK, so I don’t have a photo of the lake with THAT particular cloud formation, but I’ve got eleven dozen with cloud formations that look an awfully lot like that one.”

Of course, there will always be the shots of family and our activities, which are a never-ending source of subject matter. When we look back, it’s those pictures that keep the memories of those wonderful times alive.

We may always go up to the airport for the Fourth of July Pancake Breakfast, but this is probably the only time that I’ll see my niece’s son – would that be my grand-nephew? I’m still confused about all that stuff – probably the only time I’ll catch him surveying his handiwork on his pancake breakfast like this.

(c) 2009 Stu Estler

In fact there was barely time to lift the camera and press the shutter before the moment was gone. No time to carefully compose, and avoid the bright orange shirt behind him. A bit of localized saturation and tone reduction helped reduce that a little – believe me, that shirt must be neon international orange!

When the exciting becomes the ordinary, it’s helpful to go back to the basics, and take a look at things through different eyes.

Are you used to framing grand, sweeping panoramas? Switch to a long lens and take a much closer look at things. Concentrate on design, on color, on form instead of on what the subject is.

Select a particular focal length lens – even if it’s a particular setting on a zoom lens – and shoot everything, near and far, with that lens.

Get closer to your subject, for more intimate shots of people than the comfortable distance you may be used to shooting at.

(c) 2009 Stu Estler

In the end, it was on the last morning there, sitting by the water having coffee, that the patterns of light through the water, painting the rocks below, gave me some of my most successful photos.

There’s always something new to see no mater how familiar a subject is. It just takes looking at it from a different point of view.

Vulcan San Pedro Accross Lago de Atitlan (c) 2009 Stu Estler

High ISO’s and wide open apertures were the order of the day much of the time here in Santiago de Atitlan.

Our Workshop Leader Jeff Speigner (c) 2009 Stu Estler

Lots of clouds and light rain making way for the deluge of water as the skies opened up once or twice a day, tempered by a few breaks in the clouds here and there. After all, it is the rainy season.

(c) 2009 Stu Estler

The ebb and flow of weather shrouded volcano San Pedro across the lake in an ever-changing veil of mist and clouds.

(c) 2009 Stu Estler

Of course, the last two days were clear and bright in the morning, as if word of our imminent departure had spread, and the beauty of Guatemala was enticing us to return soon.

View of San Pedro From My Room (c) 2009 Stu Estler

As the morning passes, the warming air gives birth to rings of clouds halfway up the slope. By noon a tremendous cap of billowing cumulous clouds gives the mountain the appearance of a new eruption – even though it’s been dormant for 40,000 years.

The great white and grey mushroom cap foretells the afternoon’s weather – torrential thunderstorms.

The weather taught new photographers and reacquainted we veteran instructors with the beauty and peacefulness of the soft light that embraces every subject when photographing in the rain.

(c) 2009 Stu Estler

Colors that become washed out in bright sunlight are vibrant and saturated. The brilliant flowers growing everywhere burst from the lush blanket of green that defines the landscape. Everything glistens in the wetness crafting reflections not to be found when photographing on a clear, dry day.

I was prepared for the wetness there – I knew it was the rainy season. I did my homework and so anticipated the beauty of the environment and culture.

(c) 2009 Stu Estler

What has completely blown me away has been the incredible talent of these kids! I felt humbled being there teaching them photography.

(c) 2009 Stu Estler

Although they vary in experience and skill levels, their creativity, energy and ability is amazing.

(c) 2009 Stu Estler

To see what we’ve been up to take a look at www.design4kids.org

(c) 2009 Stu Estler

The next workshop is already scheduled for early December. New volunteers with specialties in photography, design and the arts are eagerly welcome! Check the Design4Kids website and keep looking right here for more info.

I’m told December is sunny and dry!

(c) 2009 Stu Estler

During my Kentucky trip, the question came up about wide angle and ultra-wide angle lenses. As I mentioned in the last update, some shots require as long a lens as possible – and sometimes that’s still not enough.

I do lots of shooting with wide angles in my work, and because of that I’ve become used to seeing the “wide view”, and tend to favor the wide angle look in a lot of my personal work.

One thing wide angles don’t do well is individual portraits. In order to fill the frame it’s necessary to get close in to the subject, and at close distances wide angles will create all sorts of distortion – especially to faces! Not very flattering.

On the other hand, for shots of larger groups, and especially large groups in tight spaces, wide angles are the answer. Since you’re shooting at a more normal distance, each individual is not as close to the lens, and distortion is minimal or not an issue.

Wides, and especially ultra-wides, are essential in shooting interiors when you want to capture the entire space. And they can be great for sweeping landscapes too.  The key to using wide angle lenses without getting weird distortions is not to have any part of the subject too close to the lens.

However, in art, and that includes photography, there are no hard, fast rules, and sometimes using the distortion effect from wide angles creates an unusual, interesting viewpoint.

Take a look at these photos of the sculptures at Lexington’s Thoroughbred Park, a small fountain and sculpture area on a downtown corner. The opening photo above was taken with a 16mm (equivalent) lens.

Just a quick mention of equivalent focal lengths. Even though digital has become the standard for photography, there are numerous digital sensor sizes, and one factor that determines whether a specific focal length lens will give a wide, normal or telephoto field of view is the relationship to the size of the sensor.

There’s a lot more to it, and I’ll go more into depth on that another time, but for now it’s enough to know that relative focal lengths are still quoted as the equivalent field of view to a 35mm frame (or a “full-frame” digital sensor, which is the same dimensions as 35mm film).

(c) 2009 Stu Estler

Anyway, back to the horses. While walking up to the sculptures, I took this overall view from behind the fountain. Not very interesting composition and lots of clutter from the street behind, but it documents the site. Could still make you do a double-take if you came up on it not expecting what is there.

Since the fountain was being used as a wading pool by a number of families and small kids, I wanted to eliminate that from my composition and concentrate on the horses.

(c) 2009 Stu Estler

The first shot from in front is at normal standing height, using about a 45mm lens – within the 40-55mm “normal” range. It avoids the clutter and confusion from the waders, but the sculptures still get a little lost in the trees behind them.

(c) 2009 Stu Estler

Next, I knelt down from the same spot with the same focal-length lens, giving a different perspective and getting more sky behind the sculptures. Not a bad shot and it works pretty well.

But I wanted to really exaggerate the look and feel of the running thoroughbreds, so I chose to use the ultra-wide 16mm.

The resulting view (the opening photo above) was taken just a few feet in front of the lead horses in the sculpture, kneeling down and looking up. It accentuates the feeling of being in the middle of the track as the horses rush by (and over!) you. The distortion of the lead horses amplifies the feeling.

I’m a big fan of working a subject form all vantage points, using different lenses and compositions. Sometimes the strangest view turns out to be the most interesting!

(c) 2009 Whitney Klare

I’ve mentioned my friend Whitney, Rudy’s granddaughter, and her passion for photography. She’s sent me a few samples of her work, and with her permission, I’d like to share them with you. She’s already an accomplished photographer, with a great eye for composition and design. From her work, I’m beginning to see that she has a strong interest in abstracts, in using the many tools of digital photography to create a vision of an alternate reality.

This got me thinking about how even when our intent is to create an image that doesn’t exist in our physical world, all of the skills and creative processes of photography still apply.

Being “old school”, and learning all of this well before digital came on the scene, I’ve been well trained in “getting it right in the camera”. Even with film and print-making, there are plenty of options for manipulating the image. But starting out and working with a pre-visualized result in mind is a true mark of your skills.

It’s valuable and important to develop your ability to do it “the right way”, both in shooting and in image processing and making adjustments, not to satisfy some “rule”, but because it gives you so much more control over getting the results you want.

Even with an abstract, and much more so as your images come closer to a vision of “reality”, being able to pre-visualize the shot you want, and understanding and working with the elements of light, composition and design to get those results at each step, makes your work that much more powerful.

(c) 2009 Whitney Klare

A true testament to your skills is to be able to visualize an image that isn’t there in front of you, shoot it and adjust it so that the final result makes people believe that it is the reality that was there. That’s when they say “Wow, how did you get such an amazing shot – I’ve never seen it look like that!” (Whatever “it” is).

Those of us from the “old school”

realize that it was Ansel Adam’s not-so-secret print-making work, together with an exact system of exposing and processing his film that created the magnificent images that he pre-visualized.

So keep shooting, keep experimenting, and keep learning and developing your skills.  

(c) 2009 Stu Estler

It’s spring again, and also time for a quarterly project I‘ve been doing for 23 years with one long-time client.

Sneezin’ and wheezin’ aside, it always amazes me how the landscape can go from a barren, desolate winterscape to a lush, green jungle-like blanket in just a month. In fact I just drove up along Canal Rd., coming out of DC along the Potomac, and the grass along side the road that hasn’t been cut yet is wheat-field high and has seed heads! In early May!

Since this particular client is a major real estate firm, and the project is a magazine featuring their high-end properties, the change is especially welcome. Everyplace looks better in a full dress of azaleas, dogwoods and greening trees.

Now if we could just get this week of rain to let up . . .

The combination of light, weather and all the other variables will never make it look quite the same. I too am subject to the rule of “gotta be somewhere” and have passed by scenes that were just perfect photo-ops, planning to come back at another time. No matter how many times I’ve returned, at the same time of day, with the same weather conditions, something has always been different and the shot was never quite the same.

Sure, there often is a shot there, but the shot – the one that caught your eye and imagination – is gone forever.

Alhambra Palace, Grenada, Spain Copyright 2006 Stu Estler

More than simply a tool to record an event, photography allows us to interpret our environment in a way that reflects our vision of it; even to cross that line between fantasy and reality and create a world that may not appear to exist to the eye. Moreover, the viewer has the ability to apply his or her interpretation of the photograph, further expanding our views and challenging our beliefs as to what may or may not be reality.

Ansel Adams said that “There are always two people in every picture – the photographer, and the viewer.” Richard Avedon wryly observed that “All photographs are accurate. None of them is the truth.” These two thoughts compliment each other and together help define why we find photographs both uneasily challenging to our beliefs, yet seductively alluring to our imagination and desires.

Ultimately the ability to create a reality of our own design may be the most appealing element of all in photography. The truth is, we all view “reality” through our own filters, our own beliefs and desires. Photography allows us to easily express our creativity to surprise, persuade and maybe just to share our reality with the rest of the world.