Photography remains pure pleasure and indulgence – a way of making time slow down - allowing me to take a longer, more deliberate look at the world: people – places – things – color – emotions. I have a passion for the exotic and travel; nonetheless, I often explore mundane subjects in order to find some detail that can make – if not always an extraordinary – at least a unique image.

I had an interest in photography for a number of years that produced many nice, but not necessarily inspired images. While attending RMSP in 2011, I became much more technically proficient and also found my “voice.” It was not always an easy journey and I struggled in some areas; nonetheless, it was ultimately an enlightening and freeing experience.

I tend to be a generalist and dabble in architectural photography for realtors, portrait work, and event photography. However, I favor fine art photography where I can create a bit of illusion with my images. A 2012 Creative Compositing workshop I attended in Boulder, Colorado pushed me to stretch my vision of what is possible.

Over the past two years, I have been fortunate to have two one-woman shows. I pursued the venues; selected/printed/framed the final images; designed the layout; and then hung the work. Additionally, I have been invited to participate in two benefits – a great way to get work shown and sold.

I find motivation to create new work by entering local shows and competitions such as the annual Sandhill Crane Festival or the San Joaquin Valley Camera Club Council. On occasion, I will submit images to various on-line competitions, the latest being Photo District News – The Great Outdoors. I like to take advantage of on-line webinars, such as Creative Live, and also attend various workshops that refresh or build new skills. When I find a topic of interest being presented, I will attend the monthly Northern California branch of the American Society of Media Photographers in San Francisco.

My long-term project is to create a book that gives both an overview, but also details on the California wine regions.

As luck would have it, we have a great suggestion for one way to fill this “entertainment” void. Next Tuesday, November 13, photojournalist and Associate Professor of Photojournalism at the University of Montana Jeremy Lurgio will be presenting a Free Evening Lecture on his project Lost & Found Montana. This project documents 18 Montana towns that were slated to be removed from the map. Ultimately nine were spared, and nine were erased. Lurgio visited all of them in order to put a human face on what it means to have one’s home on the chopping block of history. More than photographs, this project is made up of video and audio from each location, and is conveniently packaged in a capable website that allows viewers the luxury of taking a road trip to each location on their own time.

It is worth mentioning that it is apt to call this a “project” rather than merely a gallery “show.” Jeremy racked up over 7,000 miles criss-crossing Montana while pulling this together. He was supported by Humanities Montana, UM School of Journalism, the Montana Arts Council and Motorola in his efforts. He spoke to countless people. This lecture promises to be a fascinating experience and will be an evening well spent.

Visit Jeremy’s website here jeremylurgio.com.

Photohournalist Jeremy Lurgio
Free Evening Lecture
Tuesday November 13, 2012 from 7-9 pm
The Quarry at RMSP
For more information call 800-394-7677

For the past several years, we have organized a lecture series for the local Missoula crowd … or anyone able to make the journey to Missoula. Typically it begins in October and runs through the spring. These lectures happen once a month – usually the third Tuesday of each month – and are presented by a different instructor who speaks on a distinct topic. In the past, we have had UM Professor of Photojournalism Keith Graham, former New York Daily News photographer Mike Albans, videographer Colin Ruggiero, and many others in our building. The time is here again for the lecture series to begin. While there are a few last minute details that are preventing us from posting the schedule in its entirety, we are happy to announce the first lecture with wildlife photographer Steve Gettle, who is coming all the way from Michigan. To give you a primer on who Steve is and what to expect from his lecture, we thought a quick Q&A would get the ball rolling.

Steve’s lecture will take place in the Quarry at RMSP on October 16 from 7-9 pm.  As with all of our evening lectures, it is free and open to the public. Everyone is encouraged to attend, and to bring friends and family too. If you have questions about this lecture, please feel free to get in touch with us. As soon as our last few details are written in stone, the schedule will be on our website.

Steve, you’ll be kicking off our 2012/13 Free Evening Lecture Series in just a couple of weeks. For our readers and followers who aren’t familiar with you and your work, can you introduce yourself?
I am a nature photographer from Brighton, Michigan a little town just north of Ann Arbor. I have lived in Michigan most of my life. Of course I shoot all over the great state of Michigan I also travel throughout North America. I especially enjoy exploring South and Central America visiting such places as, Costa Rica, The Caribbean, Peru, The Galapagos, Belize, and Ecuador.

I am passionate about photographing all aspects of the natural world from the intimate details of a tiny snow crystal to the mating rituals of six thousand pound elephant seals. From the quite reflections of fall foliage in a woodland pond to the raucous energy of fifty thousand snow geese exploding into flight. While of course I love being out in the field making photographs. I get a special joy from sharing my knowledge and experiences with other photographers.  I do this through the art of teaching and lecturing. I also lead custom designed field workshops and photo tours to the beautiful places of our planet.

What can attendees of your lecture expect to hear? Will you focus on your technique, your business, or is it more of an overall experience type of lecture?
The first part of the evening I will be teaching the Composition and Lighting modules from my seminar “The Art of Nature Photography.” The focus of this talk will be the process I use to design and build a photograph. We will also speak about how to use composition to more effectively communicate your message to the viewer. The second part of the evening I will be presenting my multi-media program “A Wilderness Year”, which is a visual journey through the four seasons with music and imagery.

How long have you been a full time photographer?
I have been making pictures for nearly thirty years. For two thirds of that time I have been selling my work as stock and fine art prints, as well as teaching and lecturing about photography.

What got you into the craft of photography in the first place?
I have always had a love for nature and the outdoors. In the beginning for me photography was a way to record and share what I saw in the outdoors. When I think about it, I am still doing that with my photography today!

Where did you get your training?
While I have not had the privilege of formal training in photography, I have been fortunate to learn from some of the greatest photographers in the world. I am largely self-taught through books and articles by photographers such as John Shaw, Art Wolf, Jim Brandenburg, Frans Lanting, Phillip Hyde, and Elliot Porter to name just a few. In addition, I have been studying photographs my entire life. Whenever I see an image I decide if I like it or not. If not, why not? What would I do differently if I were in that situation to possibly make it a better? If I do like it, what do I like about it? Is there an idea or technique that I might incorporate into my photography? Over the years this process has helped me to better define my own personal style and process.

You have many, many stunning images of wildlife. Do you have a personal favorite animal or bird that you like to shoot? Why?
I am very lucky in that I love to photograph everything in the outdoors. If I can get out in nature I can always find something to shoot. But if I could only shoot one subject, I would have to say it would be birds, or… macro, or well… maybe mammals. Okay if you’re going to pin me down to just one it would be birds, mainly, because they are such a challenge.  Birds have a stunning diversity of species and behaviors to photograph, as well as simply being beautiful. I am especially drawn to using special techniques to photograph the beauty of birds in flight.

You have received many accolades and awards for your work. In your eyes, how important are contests to emerging photographers or to any photographer for that matter?
It’s one thing to have your mother tell you that you have a pretty picture. It’s a whole other thing to have an esteemed panel of judges tell you the same thing. Is it nice to have that recognition, that stroke to your ego? Absolutely! It doesn’t look bad on the resume either. But in the end you have to shoot for yourself. You have to create images in your own personal style about subjects you are passionate about. If you do that, the rest will fall into place.

Is there an animal you haven’t photographed yet that you really, really want to?
I wouldn’t say there is any one particular subject because I wouldn’t be able to narrow the list down. But I am a big fan of being totally immersed in a subject. I really enjoy spending a lot of time with subjects earning their trust and getting an intimate glimpse into their lives. I spent over a dozen years photographing the same herd of white-tailed deer. I’ve had the privilege of photographing the same pair of loons over the course of six years. When you spend that much time with a subject you really get to know their individual personalities and habits you almost get a sixth sense about your subject, an ability to anticipate the really special moments. I would like to have more long term opportunities like that.

How about a location?
AFRICA!

If such thing exists, describe the “holy grail” of wildlife images that you hope to create someday.
I’m seeing a tack sharp image of a snow leopard, frozen in mid-air as it leaps from a snow-covered rock outcropping on to the back of a yeti! Oh yea, I almost forgot, the light is perfect.

Actually, I don’t really know that there is a “holy grail” image. But I would like my photography to touch people, to show them a moment they have never seen before.  To cause them to stop and smile, or to say, “Look how beautiful that is.” or “Wow, I had no idea that worked like that.” And perhaps in the end, effect a change, one picture, one person at a time

What are your personal goals in photography?
My goal would be to continue to grow and evolve as a photographer and a teacher. I would also like to “see” better. Because in the end that is what photography is all about seeing, and then effectively sharing your unique vision with the viewer.

OK … I gotta run and catch a plan to the Himalayas I have to find that snow leopard/yeti picture.

Visit Steve’s website at: www.stevegettle.com
Facebook: www.facebook.com/steve.gettle

Wildlife photographer Steve Gettle
Free Evening Lecture
Tuesday October 16, 2012 from 7-9 pm
The Quarry at RMSP
For more information call 800-394-7677

And of course, the final project presentations were given in their last Visual Studies class. Throughout the entire course, instructor Eileen Rafferty has been educating, guiding and shepherding the students in the process of growing as artists in photography. The requirements of the presentations were that the artwork be presented in a way that helps tell “the story” of the piece and that the student write an artist statement to be read by them in class to fellow group members, staff and instructors and be critiqued. You can imagine how much blood, sweat and tears they pour into their final and we are truly blown away by what they come up with. The presentations are sometimes massive, sometimes miniscule and every size in between. Multiple images or a singular one, it’s a truly one-of-a-kind piece with true meaning behind each. The absolute last bit of inspirational learning experience the students have is a final large group lecture this morning with accomplished Canon Explorers of Light travel/nature photographer, Darrel Gulin.

Today is graduation day involving a gallery set up in the classrooms of the students’ collective finals, and reception for all of the students and their families in the RMSP Gallery. Then the graduation ceremony later this afternoon on the University of Montana campus with all of the RMSP instructors, staff, students, friends and family present. There will be a slideshow of work from each student, speeches by instructors and representative students, tears, laughter and hugs. A “last hurrah” and send-off appropriate for such an intensive, fulfilling experience these incredible individuals significantly contribute to. Another graduating class is born and we look forward see where their journeys in photography take them. Congratulations to the graduates of RMSP Summer Intensive 2012!

A portrait session in progress at the National Bison Range.

Here we are in Week 10 of SI 2012, and the students’ experience couldn’t be any busier. The end of their week last Saturday involved a fun field trip to the beautiful National Bison Range near Arlee, Montana. Instructor Doug Johnson brought the troops with him to practice their newly developed skills in landscape photography. So be it if wildflowers, wild animals and perhaps models in flowing garments were part of the scenery as well. What could be a more perfect portraiture backdrop than the spectacular Montana landscape!

This week began with critiques of their work created from the field shoot with Doug. Also, an introduction to HD video accessories and equipment as well as low-light & night photography. Joe Massa with Manfrotto and Gabe Biderman with B&H Photo/Video were in town to provide loaner gear and introduce the folks to an often new-to-them experience of shooting high definition video with their DSLR cameras AND the experience of shooting at night. The culmination of this was another field shoot with the purpose of trying this all out at the annual Western Montana Fair here in Missoula. The fair is a virtual cornucopia of sights, sounds, smells and characters, and is full of endless photo opportunities. The students had a blast!

Also during the week, their Edit class involved advanced compositing, creative retouching and the mimicking of black & white darkroom technique and film characteristics in Photoshop. In Visual Studies, the students were presented with ideas about fostering creativity in their lives. Creative thought is a necessary skill for every photographer to develop and is a key concept we emphasize throughout the program.

Gabe Biderman of B&H Photo/Video coaching the students on night photography at the Western Montana Fair.

And with this being the second to last week in SI, the students are putting the finishing touches on their final projects to be presented in Visual Studies next week. The lighting studios and presentation labs were available to all of the students this week for them to work on these important projects. With their projects they are perhaps exploring parts of themselves that may have never seen the light of day before. Quite an inspirational experience for everyone involved. We are greatly looking forward to witnessing the vision and skill they have developed over eleven short weeks, and then graduation day next Friday.

One more week left to share. Stay tuned!

Students share their mid-term slideshows to their peers in last Friday’s mixer.

SI keeps rolling along and it’s already nearly the end of Week 7! At this stage, our students are progressing nicely with both their technical skill, comprehensive understanding and artistic pursuits. Last Friday the students presented their major slideshow projects in front of their peers and staff, which is truly an inspirational and emotional experience for all.

This was a week full of intensive study and practical application. It started with another round of Light Studies instruction involving studio equipment, print outsourcing preparation and advice in Output.  The students also received introductory instruction on the topic of photojournalism in Photo Studies, more advanced Photoshop instruction in Edit, and they delved deeper into the artistic process in Visual Studies.

Lighting instructor, Heather Anne Thomas, demonstrates food photography and lighting technique to the students.

To top things off there were optional publication-oriented critiques and special group lectures involving some amazing professional photographers. Speaking on the topic of pro sports photography and sharing his incredible body of work was accomplished Sports Illustrated staff photographer and Canon Explorer of Light, Peter Read Miller. Giving a comprehensive lecture entitled, “Food & Still Life Photography; Producing a Cookbook” was lighting instructor and portrait & food photographer, Heather Anne Thomas. Check out Heather’s bio here. And finally tonight is another informative presentation being given by experienced award-winning NYC photojournalist, Michael Albans.

Week 8 promises to be more of the same and concluding with the beginning of a long weekend off for all involved.

For an excellent peek into the experience of one of our current students along with his impressive slideshow, check out Charlie Bulla’s recent personal blog post he titled “Focused!”

Billy Idol – White Wedding

I’d be crazy to not kick things off with this gem. Billy Idol’s White Wedding album. While many have claimed that this song was written to voice displeasure with his sister’s fiancé, Idol maintains that is not the case.

photographer unknown

Duran Duran – The Wedding Album

Definitely a different direction of the design and photography used on this Duran Duran cover from 1993. Designed by acclaimed visual artist Nick Egan, the cover of this album features wedding photos from the parents of the four band members.

photographers unknown

John Lennon and Yoko One – The Wedding Album

This experimental album was released on October 20, 1969 and contained two tracks – one per side. The record came as an elaborate box set designed by John Kosh, including sets of photos, drawings by Lennon, a reproduction of the marriage certificate, a picture of a slice of wedding cake (inside a white sleeve), and a booklet of press clippings about the couple. (from Wikipedia).

photographer unknown

Fleetwood Mac for Rolling Stone

This image of taken by Mark Seliger was for the 25th anniversary of Rolling Stone magazine. Technically, it’s not an album cover, but it’s just such an iconic “wedding” image used in a non-wedding manner we had to include it.

©Mark Seliger

Gnarls Barkley – The Odd Couple

This photo, also not used as the actual album cover art, was taken by Los Angeles photographer Beatrice Neumann. According to Beatrice’s website, this series of images was created in about 45 minutes.

©Beatrice Neumann

Well, there you have it. “Wedding photography” used in a very non-traditional sense. I bet you have more examples of this concept. If so, let us hear about ‘em in the comments below.

Students enjoying rodeo lecture by Keith Graham.

And the journey continues. This week in Summer Intensive is a particularly fun one for the students. First off, their experience involved a second week of digging into the nitty gritty of the Adobe Lightroom software in the Edit classes & labs working on their newly created images. Also, they learned about enhancement of their artistic process in Visual Studies, more advanced camera technique and had an introduction to the famous Ansel-Adams-created Zone System in Photo Studies, and prepared images for digital printing in the Output/Print Lab.

Keith Graham gets in the mindset of a cowboy when talking to the students about photographing rodeos.

In the mix was a guest lecture by University of Montana Associate Professor of Photojournalism, Keith Graham, all about photographing rodeos and the cowboy culture. This awesome lecture occurs this time year for a darn good reason. This coming weekend, many of the students and staff will be traveling to the Rocky Mountain Front town of Augusta, MT for one of the oldest and largest rodeo events in the state, the annual Augusta Rodeo. Next week, we’ll show you some behind-the-scenes examples of their efforts at this classic Montana experience.

Canon rep. Mike Gurley showing student how to take advantage of the scenery at sunrise shoot at Lee Metcalf Wildlife Refuge.

And to cap it all off, the school hosted our friend and regional Canon representative, Mike Gurley, who visits each summer to introduce the students to all kinds of Canon gear. Mike brought his load of goodies for the students to play with (can you say EF 800mm f/5.6L IS USM lens?) on an extremely early morning sunrise shoot at the Lee Metcalf National Wildlife Refuge in the gorgeous Bitterroot Valley just south of Missoula.

Now, if that isn’t a full week, we don’t know what is. Did we mention it’s only Week 3? Stay tuned!

Seeing as how the single most important thing in any relationship is communication, today’s topic focuses on the relationship between wedding photographer and the couple who hires him or her. Since there aren’t exactly re-do’s of a couple’s first kiss as husband and wife, and there is no option to reshoot a scene a day or a week later, it is paramount to everyone’s happiness that a solid game plan be arranged prior to the big day. To that end, below is a list of things for wedding photographers to discuss with clients, and vice versa. You aren’t required to take our advice, but to steal the words of Ben Franklin, “an ounce of prevention is worth a pound of cure.”

Photographers, address these topics with your clients:

When is the wedding? Are they positive? If you sense any hesitancy, confirm with the venue.
Where is it? If there are two churches with similar names, verify the correct one. Also, verify the address. Don’t show up at “555 S Ave. E.” instead of “555 N Ave. E.” Are there multiple locations, such as a venue for the ceremony, one for dinner and another for the reception?
Who are the key players? Moms, dads, grandparents, cousins, etc., etc. should be tagged as “important” in your mind. Uncle Roy who just showed up for the BBQ and the beer … not so much.
What are the events of the day(s)? Make a play-by-play list of events WITH your client, and keep it on you when shooting.
Why are you being hired for this job vs. any other photographer. Identify your specialty, and discuss your style and approach with you clients. Let them know what you can do, and more importantly, what you can’t do.
How are you going to shoot this event? Lights, no lights, video, time lapse, photo booth? Is this what your client wants?

After covering these basics, go through the chain of events in your head and brainstorm possible scenarios to address with your client. Here is a “get-the-wheels-spinning” list of questions for you to ask them (and yourself).

What is the agreed upon dollar amount for your services?
Do you require a deposit? If so, when is it due?
How should they pay you?
Does the bride want shots while getting dressed? Does the groom?
If yes, where will each be while dressing?
When and where will the group photos be taken? Who is in the group photos?
If a large group is requested, who is going to wrangle all the people?
What if it rains?
When will your job be considered finished?
Are you allowed to eat their food?
Will yo need a second shooter? If so, make sure client is aware of this.
Do your clients understand what they are getting for the money they are spending? Explain that they DO NOT own the copyright to your images.

Engaged couple, address these topics with your photographer:

Who is going to be shooting your wedding? Is it the owner, or will it be assigned to a hired shooter? Is a second shooter required?
What do you get for the money you are spending? Does the price you were quoted include prints, a book, a web gallery, travel expenses, a video, digital archive services etc.?
When will the photographer show up? When will he/she want the wedding party to be in place for individual and group shots?
Where will your photographer be during the event(s)? If you want their presence to be minimal, explain this prior to the wedding day. Where does the photographer want to shoot formal portraits (if any)?
Why are you hiring this photographer vs. any other photographer out there? Do you like their style, their price, their availability? If there is a solid reason, make sure you communicate this to them. Also, check to see if they belong to any professional organizations such as ASMP, EP, or PPA.

How do you want your photographer to shoot your wedding? Are you in love with “artsy” looking photos, black and white images, or sepia-toned prints? Perhaps you demand your photographer create some images with a certain look and feel. Whatever your desired outcome, make sure you know what it is, and that you can accurately articulate it to your photographer.

Now, here is your “get-the-wheels-spinning” list of questions:

Is your photographer insured against possible damages caused to people or property during the wedding?
Do they have other clients you can talk to? References?
Where did they receive their education or training?
Do they have an office, a website, or at the very, very least business cards to legitimize themselves?
When will you see your photos?
How will you see your photos?
If prints are an additional cost, how much will each size print cost?
Is your agreement with your photographer in writing?
If disaster strikes and your photographer can’t make it, what is their back up plan? Who will step in and honor your agreement?

It should be known that this is not an all-inclusive list of things to discuss with your photographer or client, but hopefully it will get the wheels spinning. Do you have other questions you would ask? Please share them in the comments below.

Weddings can be like your college days. Now that they are over, they’re totally fun to talk about! And undoubtedly one story will lead to 10 more, so we encourage all of you to get engaged (excuse the pun) with these posts over the next few days. If something you read makes you laugh, cringe or cry, you are encouraged to share your thoughts. If we touch on something, and you have more to say, let us hear it!

To kick things off, we’d like to give a little love to every wedding photographer out there, and present a list of 9 things for a guest at a wedding to NOT do to the wedding photographer! Why 9 and not 10 you ask? Well, it’s simple really … we’re saving # 1 for you to contribute!

In no particular order, here goes:

10) DO NOT ask the photographer to share the details of their camera. Discussions about megapixels, sensor size, crop factor, digital zoom or any other technical detail take place every day on the internet. Consider joining one of these conversations instead. There are many, many opportunities online to get your tech fix.

9) DO NOT shadow the wedding photographer. The last thing any professional photographer needs while shooting a wedding is an “assistant” they did not hire.

8) DO NOT ask the photographer if they are “gettin’ any good shots?”

7) DO NOT tell the photographer to “get a shot of this ____ or that ___.” They’ll be just fine on their own. (The exception here of course is if you are the bride or mother of the bride. In this case, you’re allowed!)

6) DO NOT tell the photographer their camera takes really nice pictures. In fact, never do this to any photographer!

5) DO NOT show the photographer the back of your camera expecting them to be  in awe of your incredible photo.

4) DO NOT nudge your way past the photographer in order to get a better shot for yourself. Seriously, would you tell the umpire at a baseball game to move so you can get a better seat?

3) DO NOT ask the photographer to take a photo of you with your spouse, kids, cousins, friends, etc., and then say the words  “email it to me.”

2) DO NOT stand anywhere near the photographer when he or she is taking a group shot to try to get your own shot of the group. Most likely, you’ll attract the attention of a few people, and then everyone will be looking at different cameras.

1) DO NOT ……..

Wedding photographers out there, what can you contribute to this list?  Go!