SFPW Adventures In Africa

For our first annual African photo workshop we headquartered at Ndarakwai camp created and run by Peter Jones. Named after the local indigenous cedar trees, this private game preserve at the foot of Mount Kilimanjaro in Tanzania is a feast for the senses. A permanent tented camp in the forest beside a stream, Ndarakwai is a vision of rustic elegance. Tanzania has been spared the political turmoil that plagues some African countries and it is primitive, yet peaceful. We started each day with strong regional coffee and a drive around the preserve to photograph the magnificent big game, comical monkeys and baboons, and the dazzling local birds. We climbed into the tree house at the waterhole to watch elephants come in to drink. Back at camp we enjoyed a big breakfast in the English colonial tradition in the main lodge. The food surprised us all! Almost every bite was grown on the premises and was deliciously prepared. We needed the sustenance.

Using solar and generator power, we downloaded literally thousands of images. What a site – 12 laptops open and glowing out in the wilds of Ndarakwai! Each day was impossibly more rich and varied than the last. We took our routine on the road to Ndutu Lodge in the Serengeti and to Ngorongoro Crater, both teaming with wildlife. We learned vital skills from the download sessions, critiques, and the final wrap up show – a real challenge to select from so many incredible images! Our participants had a wonder-filled, rewarding experience and added impressive images to their portfolios. Breathtaking! We can’t wait to go back next year!

Renie Haiduk and
Daniel Anthony

Copyrite for images © Renie Haiduk and Peri Soyugenc

The Fine Digital Print

Wayne Robinson from Atlanta, Georgia joined us for George DeWolfe's The Fine Digital Print workshop last week and had this to say:

George's concept of creating a "workflow" was a huge benefit to my printing as was the introduction to Lightroom. I've since downloaded the program and put George's Master Print Assistant in the plug-ins. Even though I listened closely to how it works, I couldn't begin to explain it; I just know it is a terrific tool that I will always use. Before coming there, my printing really had no consistent process or order. I would just sort of wander around in PS according to the image and whatever struck me at the time. A consistent workflow is the key to consistent prints. I've got so many scanned B&W negatives from my film days and I now feel much better prepared to print. Especially knowing about my "midtone contrast" issue. But, I want to shoot my digital camera too, and I'm feeling really energized to get out there to shoot new work. Much like the workflow plan I need to settle in on a shooting plan and then figure out what I'm going to do with all these printing skills. Oh well...Photography has always been a hobby and I've wandered all over the southwest with a 4x5 camera trying to be a little “Ansel”, but I've never tried to organize myself and promote my work.

Well, Wayne it seems like it is time to do something with all those 4x5s now that you have a workflow in Lightroom! Thanks for your thoughts.

Chuck Woodward of California attended George DeWolfe's The Digital Fine Print this spring. Among other things he found George's extensive workflow through Lightroom a "rewarding surprise." In his own words:

George DeWolfe teaches an extremely good workshop on the Digital Fine Print. He stresses throughout the importance of developing one's intuitive sense on what makes a good photo print. He wants you to use aesthetic judgment and not rely on rote use of technical steps. Also don't rely on what a photo looks like on the monitor, judge its quality in a print viewed in proper light. Also outstanding prints can only be made with practice; and perfecting one's ability to see subtle differences. One rewarding surprise was to find the workshop was done using Adobe Lightroom instead of Adobe Camera RAW. This provided a good refresher course in Lightroom and taught me to use it to the exclusion of Adobe Bridge. All workshop participants were given a DVD containing numerous photos, illustrations and written articles which repeated and supplemented material presented in the workshop. It also included our own photographic work we had done in the workshop. I was particularly pleased to find this DVD contained copies of George's own photos he had us use as he demonstrated various ways of improving images. This will permit us to practice at home what we learned with the same images. All in all, a very rewarding and stimulating workshop.

Chuck Woodward

George DeWolfe will return to Santa Fe this fall for The Black and White Master Print workshop.