FAQ
HOW MANY PEOPLE WILL BE IN THE CLASS?
We are limiting the class to no more than 10 participants so that you will each have individual attention throughout our class. We expect the class to fill quickly and will be happy to start a wait if you don't get registered in time.
WHEN DO I ARRIVE AND WHEN IS THE WORKSHOP OVER
We suggest that you arrive at Rocky Mountain Ranch by 1:00 PM on Friday, Sept 6 2013. Our final class will be a late afternoon shoot Sunday, Sept 8th. There will be an evening get together to answer questions and generally go over the past couple of days shooting. The package price includes lodging that evening and breakfast the next morning. If you would like to add an extra day(s) at the Ranch , please contact Idaho Rocky Mountain Ranch to make arrangements for dates that are not included in our package . This will give you more time in the area and the chance to explore and shoot on your own.
ARE THE PHOTOGRAPHS MINE TO USE AS I WISH?
The photos you take are yours and you may use them however you wish.
DOES SKILL LEVEL MATTER?
You'll have fun and learn new things regardless of your skill level. We're looking for people who have a passion for photography and want to advance their skills.
CAN I BRING A TRAVELING COMPANION WHO ISN'T A PHOTOGRAPHER?
Yes. Your traveling companion isn't allowed during class shooting or seminars. The ranch and surrounding area will allow plenty for them to do on their own. The non-seminar charge is $650, which included lodging and meals. Contact Idaho Rocky Mountain Ranch to make arrangements. They also need a sense of humor as we expect meal conversation to be pretty much about photography.
HOW DO I DRESS FOR THE AREA?
You'll be in the mountains of Idaho in the fall. So bring lots of layers and rain gear, just in case. Check the weather forecast before you leave home and pack accordingly. Remember we will be up at sunrise and out past sunset. Clear skies may mean night shooting for star tracks so you will want to be comfortable. We'll be at 6,600 + elevation which means very cool temperatures in the morning and evening hours. Recommendations are listed at the bottom of the page.
WHAT WILL YOU BE TEACHING?
You will leave this seminar with a much broader perspective of photography. We will teach techniques for capturing images that will take your photographs beyond ordinary. You will learn to use your camera to tell a clear story of what you see and what you want your photographs to tell viewers.
I HAVE DIETARY RESTRICTIONS. WHAT DO I DO?
Please contact Idaho Rocky Mountain Ranch to let us know of any specific requirements and we will do our best to accommodate them
WHAT SHOULD I BRING?
Filters Of all the questions I receive prior to a workshop, the most common is about filters. The need for filters has diminished in recent years with the advent digital imaging and post-processing software improvements, but there are still a few that are useful with both film and digital equipment.
POLARIZER
Most people have one of these. They work best at a 90 degree angle to the sun, help reduce glare and result in richer, more saturated color. In Yosemite, they are useful for eliminating the glare on wet rock or the surface of water. Cameras with autofocus systems require the “CIRCULAR” style polarizer. Since you don’t want to have to buy a polarizer for each lens, consider getting an oversize filter and use step-up ring adaptors to convert from the smaller lens diameters to the larger filter, or get a system with a square filter holder.
Of concern is avoiding vignetting (shadows on the edges of your image from the filter holder when used with wide angle lenses). For this reason, some manufacturers make “thin” filters and “recessed” adapter rings to get the filter closer to the lens and get the filter holder out of the lense’s angle of view.
GRADUATED NEUTRAL DENSITY FILTERS
You may have noted my mention of the half neutral density style filter in the packing list attachment.
If you don’t already have one of these and are looking to purchase one, I advise you NOT to get the "screw-on, fixed position" filters that are available in many photo-finishing stores.
The best graduated neutral density filters are the square type that slide into a holder that can be attached to your lens with adaptor rings. These holders permit the filter to be moved up and down and rotated to match the horizon line. I don't understand how the manufacturers that sell the screw-on, fixed-position graduated type can sleep at night.
The two primary vendors of the square holders are Cokin (http://www.cokin.co.uk/) and LEE (http://www.leefilters.com/index.php/camera).
Of the two brands, Cokin used to be the most affordable, but the pricing of the two systems is more similar today. Many manufacturers, such as Tiffen and HiTech make filters that fit the Cokin and Lee system that were often better than the Cokin product. This was especially true in the days when all of Cokin’s filters were resin. Now, with Cokin using glass for all their filters, the only advantage may be cost savings. For one-stop filter shopping, consider http://www.2filter.com/ or any of the major on-line retail outlets.
I use the Lee system because when I bought it, it was the only 4” filter option available and I needed larger filters to cover some of my larger diameter lenses for my medium format film system. Now, pretty much each manufacturer has larger sizes. The rule of thumb is to go with a larger filter and holder, and use step-up and step-down rings to convert the filter-holder adaptor to fit your lens.
I prefer glass filters over resin, simply because I am tough on my equipment, but you will note that the LEE filters are resin for the most part and currently Cokin’s are glass. One of the advantages of the early aftermarket filters that fit the Cokin holder was that they often were made with optical glass.
I also favor a graduated transition from dark to light instead of a hard edge. See http://www.cokin.co.uk/pages/grad1.htm for examples.
That said, it is not absolutely necessary that you have the filters, as I carry some spares that would permit you to experiment prior to making an investment in one brand or another, as long as you don’t mind sharing.
NON-GRADUATED NEUTRAL DENSITY FILTERS
These filters have the same gradation over the entire filter and are used to lengthen exposures in bright light. Why? Most often, to permit silky water, or stretched highlights when a long exposure would normally blow out the highlights.
There are fixed density filters (usually 4-stop, 8-stop and 10-stop) that reduce the corresponding amount of light reaching the lens, and there are variable neutral density filters that let one dial in the light reduction. The fixed filters can be had for roughly $30-$80 each) but the variable filters are pretty pricey ($300). The most reasonably priced variable filter I’ve come across is the Genus, available in the 82mm size for $129 at Unique Photo http://tinyurl.com/by5dgm7 There is also an economical way to create a variable neutral density filter by combining two polarizers. Since “linear polarizers” used for non-autofocus cameras are in less demand, they can often be found for bargain prices. Combine one of these with the circular polarizer you probably already own and is required by your auto-focus system and you replicate the effect of a variable neutral density filter, where the amount of light reaching the lens can be dialed in. Only two concerns: Make sure the circular polarizer is closest to the lens so that the light reaching the auto-focus system permits it to work properly, and vignetting, which I mentioned above. Stacking filters and holders always increases the chances of the filter holder protruding into the angle of view to create shadows on the edges of your images.
TRIPODS
Basically, you want a tripod that will provide a stable platform for your camera, but that doesn't weigh so much that it inhibits your desire to photograph.
A good start is a tripod that puts your camera at eye level without extending the center column, which grows less stable the more it is extended.
There are a number of alternatives. I used a Bogen 3021 ($150) with an Arca Swiss ball head ($300) for years. In fact, I’ve had five 3021s in twenty-some years! When Carbon Fiber tripods first appeared, I coveted their light weight, but I held off purchasing one because I favor cam locks over twist lock legs (like the Gitzo).
Up until this last year, I’d never seen a cam-lock carbon fiber tripod until I bought a VANGUARD ELITE 4 carbon fiber tripod with cam lock legs at the same price as I've traditionally paid for my Bogen aluminum pods ($150). Then, I never saw another one again, until I found a vendor selling them on Amazon.com for $229. Now it seems that the prices have gone up to around $350 for a comparable model.
I topped mine off with a VANGUARD SBH-200 ball head for a riduculous $79! Compare that to my ARCA SWISS ball head purchased at $300—15 years ago! A tad less sturdy, but for 35mm work, is working out well. Though the new pod is as tall as my previous pod, the combination of tripod and head weigh half of what my former rig did.
Here are some other features to consider when looking at tripods:
It is a real advantage to be able to spread the legs out flat to permit ground level photography, especially when working with flowers. Some tripods feature center posts that can be positioned parallel to the ground, like the Manfrotto (Bogen) 055CXPRO3, which has carbon fiber legs and a “Q90” center post, that quickly converts from vertical orientation, 90 degrees to a horizontal position. The 190 and 055 series Manfrotto tripods are the newest version of my tried and true 3021 series pod. Over the years, they have come in three flavors from heaviest to lightest; aluminum, mag-fiber and carbon fiber. These days the product line has been reduced to aluminum or carbon fiber. The Q90 feature is a real improvement, making it a snap to switch to parallel to the ground for forest floor details. That feature also works well with spreading the legs flat for low angle macro work. The aluminum models (5 lbs.) are available from B&H for $225 with a simple head. The mag fiber version (3.4 lbs.) comes in at just under $400 for a similar setup. Here’s a link: http://tinyurl.com/4uoe7q7
To view, see the entire Manfrotto line: http://tinyurl.com/4pss6lx
Other's feature center posts that can be reversed to permit working under the pod, between the legs. It can be tricky, but sometimes it is the only solution.
Still others feature center posts that can be split into a short column, and a long column. When working close the ground, the longer post is removed. Again, not ideal, but better than not having an option.
There are some other players in the tripod game that you should check out as well.
http://reallybigcameras.com/Feisol/Feisol_Table
http://reallyrightstuff.com/Index.aspx?code=46&key=fr
Both of these manufactures feature twist lock legs, but are well made, though more expensive, with the Really Right Stuff products being the Cadillac of tripods and heads. If I were looking to get a lot of bang for my buck, I would consider a set of legs from a less expensive manufacturer and spend the money on the elegantly designed RRS ball head.
MEMORY CARDS
There are few options for purchasing memory cards in Stanley. I suggest you stock up before you arrive.
These days, memory cards are fairly inexpensive. I personally carry about 60gb, (one 16gb, three 8gb, four 4gb cards, a couple 2gb, and some 1gb). Depending on the size of the sensor and corresponding image files for the camera you own, how you have the capture quality and style set (fine jpeg, jpeg + RAW or other), and how prolific you are as a photographer, you might need more or less memory.
We alternate our indoor and outdoor sessions, so there is time to offload some images to redundant storage devices and laptops, but more memory is always better than less, with one exception. On occasion, students have shown up to class having been sold the latest monster memory cards by aggressive salespeople for some outrageous price. I don’t subscribe to the philosophy of putting all my images in one basket (memory card), so monster cards don’t appeal to me. There are a couple of reasons for this attitude. First, they take longer to offload when full, so I might not have enough time between field sessions to clear a large card. Secondly, if something goes wrong with the one card, well, you get the picture (actually, much worse, you don’t!).
Faster cards are OK by me, especially if you are firing a burst of images and your camera needs to process them quickly to let you keep working, otherwise biggagigga GODZILLA cards are not usually on my list of recommendations.
CAMERA MANUALS
There are so many cameras these days, keeping up with the subtle difference in each brand’s operating menus can be a challenge. You don’t want to miss out on a special photo because we’re struggling to unlock the secret setting for capturing a unicorn in low light or you’re getting some strange error message. I’ve seen a lot, but each class always brings us something new. So, just in case, bring your manual! Some of the settings we will access frequently include: 1. Histogram 2. ISO 3. Auto Exposure Bracketing 4. Exposure Compensation 5. Continuous Mode 6. Noise Reduction
WHAT TO BRING:
Weather in Sawtooths in early September can run the gamut. Some of the finest photographs are made when conditions are challenging. Come prepared for a full spectrum of weather experiences and you increase your chances for capturing that “special image.”
Mountain residents live by the strategy of “layering” clothing. As temperatures increase or decrease, a layer is shed or added to maintain comfort. Mornings can be surprisingly cool, usually with frost, and a warm hat, gloves (fingerless or finger-mitts are an advantage) and comfortable waterproof pants and footwear can be the difference between happiness and misery, success and failure. The conditions should not distract and inhibit your creativity, they should excite you!
That means your packing list should include warm, waterproof boots, long-underwear, waterproof over-pants, layers of fleece and a waterproof shell, fleece hat, a fleece scarf and fleece (fingermitt) gloves. Unlike down, fleece maintains its loft and insulating properties when wet. Did I mention that I like fleece?
Camera gear; 35 mm and medium format film and digital cameras are welcome
Tripod; a key tool to successful images
Extra camera batteries
Optional filters: Polarizer, 1 and 2-stop (.3 and .6) Graduated Neutral Density (can be combined for 3-stops) and a variable neutral density filter. See my FAQ.
Students are encouraged to bring a dozen prints or digital images to share with the group and instructor during indoor sessions
Clothing for cool and warm weather conditions, including rain gear. Rain coats or ponchos, rain paints (even if it isn’t raining, you do kneel down in the cold, damp stuff) even umbrellas, and plastic bags for your camera. (A more detailed list follows.)
Comfortable walking shoes for when conditions are clear, (though waterproof still helps since the edges of meadows and some of the trails can be damp).
For “sloppy” conditions (as in a fresh snowfall) warm, calf-high boots are helpful. I have a pair of Sorels with leather uppers and rubber bottoms that date to when I worked in Yosemite.
RECOMMENDED READING:
For Photography:
Drawing on the Right Side of the Brain by Betty Edwards
The Zen of Seeing by Frederick Franck, 1973
Vision and Art, The Biology Of Seeing by Margaret Livingstone, 2002
Mountain Light by Galen Rowell,
John Shaw’s Landscape Photography
Understanding Photography by Carl Shipman, 1974
Understanding Exposure by Bryan Peterson
RECOMMENDED VIEWING:
Rivers and Tides: Andy Goldsworthy Working with Time
Supplemental Clothing List
Keith often says that it is difficult to concentrate on making photographs if you are not comfortable. Proper clothing goes a long way to make photography a pleasant experience. Photographers and backpackers have a lot in common. The following list is a partial list of clothing and accessories that both find useful.
warm hat/headband
extra socks (in case one pair gets wet)
thermal tights
long-sleeved thermal turtleneck zip up
Polartec inner layer pants
Polartec inner layer top
Polartec fleece outer jacket
gloves (Fingermitts are handy for photography)
rain jacket
rain pants (useful for kneeling and strolling through wet and frosty environments)
hat (shade your eyes or your lens)
hiking boots (for field sessions, waterproof snow boots are even better)
camp shoes (to give your feet a break after a long day)
hip or daypack
bandana
flashlight (help you see the trail and your camera settings in low light)
sunscreen
lip balm
miniature binoculars for wildlife observation and scouting
empty ziplocs (for garbage and to cover cameras in wet conditions)
water bottles/platypus (keep your energy up by staying properly hydrated)
alarm (for early photo sessions and afternoon naps)
aspirin
Moleskin or Second Skin (for hot spots and blisters)
Please don’t hesitate to contact us if you have any questions.
We are limiting the class to no more than 10 participants so that you will each have individual attention throughout our class. We expect the class to fill quickly and will be happy to start a wait if you don't get registered in time.
WHEN DO I ARRIVE AND WHEN IS THE WORKSHOP OVER
We suggest that you arrive at Rocky Mountain Ranch by 1:00 PM on Friday, Sept 6 2013. Our final class will be a late afternoon shoot Sunday, Sept 8th. There will be an evening get together to answer questions and generally go over the past couple of days shooting. The package price includes lodging that evening and breakfast the next morning. If you would like to add an extra day(s) at the Ranch , please contact Idaho Rocky Mountain Ranch to make arrangements for dates that are not included in our package . This will give you more time in the area and the chance to explore and shoot on your own.
ARE THE PHOTOGRAPHS MINE TO USE AS I WISH?
The photos you take are yours and you may use them however you wish.
DOES SKILL LEVEL MATTER?
You'll have fun and learn new things regardless of your skill level. We're looking for people who have a passion for photography and want to advance their skills.
CAN I BRING A TRAVELING COMPANION WHO ISN'T A PHOTOGRAPHER?
Yes. Your traveling companion isn't allowed during class shooting or seminars. The ranch and surrounding area will allow plenty for them to do on their own. The non-seminar charge is $650, which included lodging and meals. Contact Idaho Rocky Mountain Ranch to make arrangements. They also need a sense of humor as we expect meal conversation to be pretty much about photography.
HOW DO I DRESS FOR THE AREA?
You'll be in the mountains of Idaho in the fall. So bring lots of layers and rain gear, just in case. Check the weather forecast before you leave home and pack accordingly. Remember we will be up at sunrise and out past sunset. Clear skies may mean night shooting for star tracks so you will want to be comfortable. We'll be at 6,600 + elevation which means very cool temperatures in the morning and evening hours. Recommendations are listed at the bottom of the page.
WHAT WILL YOU BE TEACHING?
You will leave this seminar with a much broader perspective of photography. We will teach techniques for capturing images that will take your photographs beyond ordinary. You will learn to use your camera to tell a clear story of what you see and what you want your photographs to tell viewers.
I HAVE DIETARY RESTRICTIONS. WHAT DO I DO?
Please contact Idaho Rocky Mountain Ranch to let us know of any specific requirements and we will do our best to accommodate them
WHAT SHOULD I BRING?
Filters Of all the questions I receive prior to a workshop, the most common is about filters. The need for filters has diminished in recent years with the advent digital imaging and post-processing software improvements, but there are still a few that are useful with both film and digital equipment.
POLARIZER
Most people have one of these. They work best at a 90 degree angle to the sun, help reduce glare and result in richer, more saturated color. In Yosemite, they are useful for eliminating the glare on wet rock or the surface of water. Cameras with autofocus systems require the “CIRCULAR” style polarizer. Since you don’t want to have to buy a polarizer for each lens, consider getting an oversize filter and use step-up ring adaptors to convert from the smaller lens diameters to the larger filter, or get a system with a square filter holder.
Of concern is avoiding vignetting (shadows on the edges of your image from the filter holder when used with wide angle lenses). For this reason, some manufacturers make “thin” filters and “recessed” adapter rings to get the filter closer to the lens and get the filter holder out of the lense’s angle of view.
GRADUATED NEUTRAL DENSITY FILTERS
You may have noted my mention of the half neutral density style filter in the packing list attachment.
If you don’t already have one of these and are looking to purchase one, I advise you NOT to get the "screw-on, fixed position" filters that are available in many photo-finishing stores.
The best graduated neutral density filters are the square type that slide into a holder that can be attached to your lens with adaptor rings. These holders permit the filter to be moved up and down and rotated to match the horizon line. I don't understand how the manufacturers that sell the screw-on, fixed-position graduated type can sleep at night.
The two primary vendors of the square holders are Cokin (http://www.cokin.co.uk/) and LEE (http://www.leefilters.com/index.php/camera).
Of the two brands, Cokin used to be the most affordable, but the pricing of the two systems is more similar today. Many manufacturers, such as Tiffen and HiTech make filters that fit the Cokin and Lee system that were often better than the Cokin product. This was especially true in the days when all of Cokin’s filters were resin. Now, with Cokin using glass for all their filters, the only advantage may be cost savings. For one-stop filter shopping, consider http://www.2filter.com/ or any of the major on-line retail outlets.
I use the Lee system because when I bought it, it was the only 4” filter option available and I needed larger filters to cover some of my larger diameter lenses for my medium format film system. Now, pretty much each manufacturer has larger sizes. The rule of thumb is to go with a larger filter and holder, and use step-up and step-down rings to convert the filter-holder adaptor to fit your lens.
I prefer glass filters over resin, simply because I am tough on my equipment, but you will note that the LEE filters are resin for the most part and currently Cokin’s are glass. One of the advantages of the early aftermarket filters that fit the Cokin holder was that they often were made with optical glass.
I also favor a graduated transition from dark to light instead of a hard edge. See http://www.cokin.co.uk/pages/grad1.htm for examples.
That said, it is not absolutely necessary that you have the filters, as I carry some spares that would permit you to experiment prior to making an investment in one brand or another, as long as you don’t mind sharing.
NON-GRADUATED NEUTRAL DENSITY FILTERS
These filters have the same gradation over the entire filter and are used to lengthen exposures in bright light. Why? Most often, to permit silky water, or stretched highlights when a long exposure would normally blow out the highlights.
There are fixed density filters (usually 4-stop, 8-stop and 10-stop) that reduce the corresponding amount of light reaching the lens, and there are variable neutral density filters that let one dial in the light reduction. The fixed filters can be had for roughly $30-$80 each) but the variable filters are pretty pricey ($300). The most reasonably priced variable filter I’ve come across is the Genus, available in the 82mm size for $129 at Unique Photo http://tinyurl.com/by5dgm7 There is also an economical way to create a variable neutral density filter by combining two polarizers. Since “linear polarizers” used for non-autofocus cameras are in less demand, they can often be found for bargain prices. Combine one of these with the circular polarizer you probably already own and is required by your auto-focus system and you replicate the effect of a variable neutral density filter, where the amount of light reaching the lens can be dialed in. Only two concerns: Make sure the circular polarizer is closest to the lens so that the light reaching the auto-focus system permits it to work properly, and vignetting, which I mentioned above. Stacking filters and holders always increases the chances of the filter holder protruding into the angle of view to create shadows on the edges of your images.
TRIPODS
Basically, you want a tripod that will provide a stable platform for your camera, but that doesn't weigh so much that it inhibits your desire to photograph.
A good start is a tripod that puts your camera at eye level without extending the center column, which grows less stable the more it is extended.
There are a number of alternatives. I used a Bogen 3021 ($150) with an Arca Swiss ball head ($300) for years. In fact, I’ve had five 3021s in twenty-some years! When Carbon Fiber tripods first appeared, I coveted their light weight, but I held off purchasing one because I favor cam locks over twist lock legs (like the Gitzo).
Up until this last year, I’d never seen a cam-lock carbon fiber tripod until I bought a VANGUARD ELITE 4 carbon fiber tripod with cam lock legs at the same price as I've traditionally paid for my Bogen aluminum pods ($150). Then, I never saw another one again, until I found a vendor selling them on Amazon.com for $229. Now it seems that the prices have gone up to around $350 for a comparable model.
I topped mine off with a VANGUARD SBH-200 ball head for a riduculous $79! Compare that to my ARCA SWISS ball head purchased at $300—15 years ago! A tad less sturdy, but for 35mm work, is working out well. Though the new pod is as tall as my previous pod, the combination of tripod and head weigh half of what my former rig did.
Here are some other features to consider when looking at tripods:
It is a real advantage to be able to spread the legs out flat to permit ground level photography, especially when working with flowers. Some tripods feature center posts that can be positioned parallel to the ground, like the Manfrotto (Bogen) 055CXPRO3, which has carbon fiber legs and a “Q90” center post, that quickly converts from vertical orientation, 90 degrees to a horizontal position. The 190 and 055 series Manfrotto tripods are the newest version of my tried and true 3021 series pod. Over the years, they have come in three flavors from heaviest to lightest; aluminum, mag-fiber and carbon fiber. These days the product line has been reduced to aluminum or carbon fiber. The Q90 feature is a real improvement, making it a snap to switch to parallel to the ground for forest floor details. That feature also works well with spreading the legs flat for low angle macro work. The aluminum models (5 lbs.) are available from B&H for $225 with a simple head. The mag fiber version (3.4 lbs.) comes in at just under $400 for a similar setup. Here’s a link: http://tinyurl.com/4uoe7q7
To view, see the entire Manfrotto line: http://tinyurl.com/4pss6lx
Other's feature center posts that can be reversed to permit working under the pod, between the legs. It can be tricky, but sometimes it is the only solution.
Still others feature center posts that can be split into a short column, and a long column. When working close the ground, the longer post is removed. Again, not ideal, but better than not having an option.
There are some other players in the tripod game that you should check out as well.
http://reallybigcameras.com/Feisol/Feisol_Table
http://reallyrightstuff.com/Index.aspx?code=46&key=fr
Both of these manufactures feature twist lock legs, but are well made, though more expensive, with the Really Right Stuff products being the Cadillac of tripods and heads. If I were looking to get a lot of bang for my buck, I would consider a set of legs from a less expensive manufacturer and spend the money on the elegantly designed RRS ball head.
MEMORY CARDS
There are few options for purchasing memory cards in Stanley. I suggest you stock up before you arrive.
These days, memory cards are fairly inexpensive. I personally carry about 60gb, (one 16gb, three 8gb, four 4gb cards, a couple 2gb, and some 1gb). Depending on the size of the sensor and corresponding image files for the camera you own, how you have the capture quality and style set (fine jpeg, jpeg + RAW or other), and how prolific you are as a photographer, you might need more or less memory.
We alternate our indoor and outdoor sessions, so there is time to offload some images to redundant storage devices and laptops, but more memory is always better than less, with one exception. On occasion, students have shown up to class having been sold the latest monster memory cards by aggressive salespeople for some outrageous price. I don’t subscribe to the philosophy of putting all my images in one basket (memory card), so monster cards don’t appeal to me. There are a couple of reasons for this attitude. First, they take longer to offload when full, so I might not have enough time between field sessions to clear a large card. Secondly, if something goes wrong with the one card, well, you get the picture (actually, much worse, you don’t!).
Faster cards are OK by me, especially if you are firing a burst of images and your camera needs to process them quickly to let you keep working, otherwise biggagigga GODZILLA cards are not usually on my list of recommendations.
CAMERA MANUALS
There are so many cameras these days, keeping up with the subtle difference in each brand’s operating menus can be a challenge. You don’t want to miss out on a special photo because we’re struggling to unlock the secret setting for capturing a unicorn in low light or you’re getting some strange error message. I’ve seen a lot, but each class always brings us something new. So, just in case, bring your manual! Some of the settings we will access frequently include: 1. Histogram 2. ISO 3. Auto Exposure Bracketing 4. Exposure Compensation 5. Continuous Mode 6. Noise Reduction
WHAT TO BRING:
Weather in Sawtooths in early September can run the gamut. Some of the finest photographs are made when conditions are challenging. Come prepared for a full spectrum of weather experiences and you increase your chances for capturing that “special image.”
Mountain residents live by the strategy of “layering” clothing. As temperatures increase or decrease, a layer is shed or added to maintain comfort. Mornings can be surprisingly cool, usually with frost, and a warm hat, gloves (fingerless or finger-mitts are an advantage) and comfortable waterproof pants and footwear can be the difference between happiness and misery, success and failure. The conditions should not distract and inhibit your creativity, they should excite you!
That means your packing list should include warm, waterproof boots, long-underwear, waterproof over-pants, layers of fleece and a waterproof shell, fleece hat, a fleece scarf and fleece (fingermitt) gloves. Unlike down, fleece maintains its loft and insulating properties when wet. Did I mention that I like fleece?
Camera gear; 35 mm and medium format film and digital cameras are welcome
Tripod; a key tool to successful images
Extra camera batteries
Optional filters: Polarizer, 1 and 2-stop (.3 and .6) Graduated Neutral Density (can be combined for 3-stops) and a variable neutral density filter. See my FAQ.
Students are encouraged to bring a dozen prints or digital images to share with the group and instructor during indoor sessions
Clothing for cool and warm weather conditions, including rain gear. Rain coats or ponchos, rain paints (even if it isn’t raining, you do kneel down in the cold, damp stuff) even umbrellas, and plastic bags for your camera. (A more detailed list follows.)
Comfortable walking shoes for when conditions are clear, (though waterproof still helps since the edges of meadows and some of the trails can be damp).
For “sloppy” conditions (as in a fresh snowfall) warm, calf-high boots are helpful. I have a pair of Sorels with leather uppers and rubber bottoms that date to when I worked in Yosemite.
RECOMMENDED READING:
For Photography:
Drawing on the Right Side of the Brain by Betty Edwards
The Zen of Seeing by Frederick Franck, 1973
Vision and Art, The Biology Of Seeing by Margaret Livingstone, 2002
Mountain Light by Galen Rowell,
John Shaw’s Landscape Photography
Understanding Photography by Carl Shipman, 1974
Understanding Exposure by Bryan Peterson
RECOMMENDED VIEWING:
Rivers and Tides: Andy Goldsworthy Working with Time
Supplemental Clothing List
Keith often says that it is difficult to concentrate on making photographs if you are not comfortable. Proper clothing goes a long way to make photography a pleasant experience. Photographers and backpackers have a lot in common. The following list is a partial list of clothing and accessories that both find useful.
warm hat/headband
extra socks (in case one pair gets wet)
thermal tights
long-sleeved thermal turtleneck zip up
Polartec inner layer pants
Polartec inner layer top
Polartec fleece outer jacket
gloves (Fingermitts are handy for photography)
rain jacket
rain pants (useful for kneeling and strolling through wet and frosty environments)
hat (shade your eyes or your lens)
hiking boots (for field sessions, waterproof snow boots are even better)
camp shoes (to give your feet a break after a long day)
hip or daypack
bandana
flashlight (help you see the trail and your camera settings in low light)
sunscreen
lip balm
miniature binoculars for wildlife observation and scouting
empty ziplocs (for garbage and to cover cameras in wet conditions)
water bottles/platypus (keep your energy up by staying properly hydrated)
alarm (for early photo sessions and afternoon naps)
aspirin
Moleskin or Second Skin (for hot spots and blisters)
Please don’t hesitate to contact us if you have any questions.