by J.D. Roth
As spring approaches, the photography bug begins to stir inside me. I want to photograph the sunrises. I want to photograph the icy foliage. I itch to get outside. To combat this bug, I spent this weekend at the Rocky Mountain School of Photography “photo weekend” in downtown Portland.
The Rocky Mountain School of Photography is based in Missoula, Montana. It offers photo weekends — a series of workshops on various photographic topics — throughout the country, as well as various week-long workshops throughout the world. (Workshops this year include trips to South Africa; Victoria, BC; New Zealand; and the Oregon Coast.) The Rocky Mountain School of Photography is best known, however, for its eleven-week summer intensive career training program. (I have a friend who quit her job to do this program; she said it was the best thing she’s ever done. It’s something I’d like to do some day if I can afford it. The program costs $7200!)
The photo weekends offer a quick taste of their extended content, condensed for hobbyists such as myself. Classes are taught for groups of about fifty students, ranging in skill from novice to professional. Here are the courses that were offered this weekend:
The classes I attended are indicated by italics.
Photography Basics taught by Susanna Gaunt
Understanding Light taught by Elizabeth Stone
Zone System for Color taught by David Marx
Understanding Your Digital SLR taught by David Marx
Creative Techniques in Color taught by Elizabeth Stone
Vacation and Travel Photography taught by Susanna Gaunt
Macro Photography taught by Elizabeth Stone
Filters and White Balance taught by David Marx
Sports and Motion taught by Susanna Gaunt
Composition taught by Elizabeth Stone
Enhancing Your Digital Images taught by David Marx
Photographing Kids taught by Susanna Gaunt
Low Light and Night Photography taught by Elizabeth Stone
Sunrises, Sunsets, and Flowing Water taught by Susanna Gaunt
Printing and E-mailing Your Photos taught by David Marx
Group Critique of Student Photos
The classes I attended were a mixed bag. The instructors were certainly knowledgeable — no question of that — but sometimes the subject matter seemed irrelevant (to me) or the presentation ineffective. For example, the Creative Techniques in Color class wasn’t about using color to enhance your photos; it covered infrared photography and multiple exposures and related topics. If I’d realized this in advance, I would have selected a different topic. The Sports and Motion class had potential, but the lecture followed our workbook almost verbatim, and no photographic examples were provided until the very end of the session.
However, the Enhancing Your Digital Images class was worth the price of admission all by itself. That session was fantastic, peeling away some of the mysteries of Photoshop in just two hours. (I now know what Levels are and what the Curves tool is for!) I’ve tried to learn Photoshop from books before, but they just cannot compare to what I learned yesterday. It’s clear to me now that I need to find a Photoshop class at a community college or an art school. (Or, if I can scrape together a thousand bucks, to attend a RMSP workshop on Photoshop in Missoula.)
One of the things I loved about the weekend were the little tidbits of advice the instructors dispensed here and there. Some of this goes against conventional wisdom, against the stuff photography students hear all the time. For example, we’re told from the start to always have UV/haze filters over our lenses — “It’s better to scratch a $10 filter than to scratch a $1000 lens.” I heard each instructor pooh-pooh this notion. Here, then, is the heart of this entry: little tidbits of advice gleaned from the Rocky Mountain School of Photography photo weekend.
Though I found parts of the weekend dull and uninteresting, I’m glad I took the workshop. I will be a better photographer for it. (Actually, I’ll be a more efficient photographer — I didn’t actually learn anything to help improve the quality of my images, just to improve my workflow.)
Another keen thing I got from the weekend is that everybody’s photographic sensibilities are different. Sure, there are commonly accepted guidelines for producing photographs that appeal to a broad audience, but each person is always going to have a specific taste. One of the instructors loves to work in the abstract, and is quite fond of photographs that would bore most people to tears. This was a revelation to me. I, too, love to work in the abstract, but I don’t do it often because (a) I don’t have the training and (b) nobody I show the stuff to seems to like it. I like it, but I always figure there’s something wrong with the photos when everybody else blows it off. This weekend made me realize that it’s okay to be different, okay to develop a personal style, okay to to make images that only I like. Images like these:
I’ve never posted the introduction to photography entry I wrote last summer. I finished about 90% of it, but got sidetracked before it was done. Maybe I should work on it so that I can share my (limited) photographic wisdom before spring and summer are upon us.
Updated: 20 February 2006