Teaching a National Geographic NY Workshop on the High Line -- Photo by Louise Pedneault

Regardless of the type of camera and lens you are using, producing a good photograph requires creative vision and deliberate thought. These skills can be learned and enhanced by participating in a photo workshop. With the advent of digital photography, there are a plethora of workshops to choose from. Some focus on software programs like Photoshop and Lightroom, others deal with digital workflow, while advanced courses emphasize the intricacies of color management. Beginner workshops will teach the basics of how to operate and use your camera.

Learning basic photographic principles and how to operate your camera beyond the “program” setting will help you implement your vision. Most of these technical courses are offered through local camera clubs, colleges and community centers. The School of Visual Arts in New York City offers a Masters Program in Digital Photography. Hand books, on-line research and equipment reviews will also supply the basic information on how to operate your camera. The technical aspect of photography is a science; an f stop is a mathematical calculation which ties into the shutter speed and ISO. With patience and concentration, you can learn the technical basics.

I have been teaching a different type of photo workshop – one where the emphasis is on “vision”. Participants in my workshops learn how to “see” photos, how to think about photos, and how to conceptualize photo projects and stories. Whether we are shooting on the High Line in New York City, at a temple in Bangkok, or in a game preserve in Abu Dhabi, the objective is the same: tap into your creative vision to make a great image.

At times I will tell my students not to use a zoom lens (which can be difficult as most people don’t have fixed, focal length lenses) or in the alternative, require them to set their zoon on a specific length and not to change it. This forces you, as the photographer to make the image fit into your vision. I continually tell my students: “zoom with your feet, not the lens”. When you are forced to walk up to your subject and even walk around it, you may discover a better angle or better light than had you been just standing in one spot, twisting the zoom dial.

The creative use of light to enhance your vision cannot be understated. Photographers who do not take light into consideration are not really “seeing” their subject. I do a lot of lighting on my assignments and I often use non-traditional methods. In addition to large strobes, on camera flash units and reflectors I have found flashlights and car headlights useful to recreate light. Although lighting does require technical knowledge, I stress to my students that “seeing” the light and taking advantage of it will make interesting photos that help to tell a story.

After a day of shooting, my students are required to participate in critique sessions. Taking a lot of photos and discussing these images with other workshop members is invaluable. We all learn from each other. Explaining your image, approach and technique forces you to examine your thought process when you took the picture.

Digital photography is a great equalizer. Anyone can point their smart phone at a person, object or scene and take a picture. But thinking about your subject and learning how to “see” your image will make the difference between merely taking a picture and making a great image.