Postcards from a Wedding

I wrote this post over a year ago and totally forgot about it. Sorry. It WILL be the last post I ever do in regard to anything related to a wedding. Ever. I’ve been out of that game for a long, long while and won’t be going back anytime soon. I’m not even sure I could do it anymore. Anyone who has ever done a wedding knows it’s both a mental and physical game.

CLIFF NOTES: If you don’t want to read this opus the basis is MAKE YOUR OWN IMAGES.

I was asked to write about advice for wedding photographers, something I promised I would never do again. However, earlier in the year(2012) I photographed my last wedding ever and I thought it an opportune time to sign off on this industry and business. This post might seem hard hitting, which I hope it is, but the intention is simply to make people think. As photographers we are capable of so, so much, but in difficult economic times, or trying times for the industry, I am baffled by the level of conformity perhaps best illustrated by the portrait/wedding world. Yes, many weddings are comprised of the same format, preparation, ceremony, celebration, and there are similarities from shoot to shoot, so in some ways repetition, standardization and trends all contribute to an assembly line type situation. However, I spent ten years in the portrait/wedding world and was successful because I did NOT conform. There is power and there is value in unique imagery, just as there is in unique literature, poetry, art and sound. So the next time we find ourselves walking on the same well worn path, let’s turn around, step off or begin hacking a new trail.

I named this post “Postcards from a Wedding” as a tribute to Magnum photographer Susan Meiselas and her “Pictures from a Revolution” film. Yes, we are talking a major stretch between the Nicaraguan Civil War and a wedding in the Caribbean, but hear me out. In or around 1990, when I was first beginning my official photojournalism degree at the University of Texas, Susan Meiselas came and screened this film for the PJ students. My first “photojournalism” class had hundreds of people in it because “photojournalism 101” was an elective that any communication, art or journalism student could take. Consequently it was a packed house. I was hooked. Completely and utterly hooked. First, the film gave me a feel for who Susan was. Second it gave me a feel for what type of effort it required to do this work, and it also gave me a clear picture of the connection between a committed journalist and the people she was working with.

Susan’s Nicaragua work was also graphic, violent, beautiful and felt like the kind of work that I wanted to make. Years after meeting her, and years after graduation, when I finally had a portfolio I believed in-my first book-I sent her one, unannounced. This was before I had a computer, email, cellphone, etc, so it was mailed to her in a giant envelope. Several weeks later it came back, and it came back with a long, handwritten note. In a nutshell it said “You see the world in a unique way but you have to learn how to make YOUR images.”

Maybe, just MAYBE, there were two or three images in the entire book that would prompt someone to say I saw the world in a unique way, so I figured she was being polite, which she had already proven by writing me back! What I took from her advice was the last part. I had to learn to make MY images. This is easier said than done. I see so much work today, so much, and the overwhelming majority is work I’ve seen before. Finding vision, as I’ve said many times in the past, isn’t easy. And you can find it only to lose it just as quickly as you found it. I know, I’ve done it. Several times.

But let me break this down with the wedding thing in mind. It is a challenge to bring up weddings and Susan Meiselas in the same sentence, but it’s my blog and my soul died a long time ago so I’m gonna go ahead and do it. I’ve written about this for years and normally get crucified when I bring it up, which is reason enough to do it. The wedding photography industry is filled with photographers who aren’t really photographers in the traditional sense, but that’s okay(They approach from a different angle). If someone finds joy in working in an industry then more power to them. However, there is a downside to this little tale if you have wider plans. If you have “other plans” in photography it can be difficult to be associated with the wedding industry, fair or unfair that is the truth.(Just had this conversation again, last week, with another photographer who said he was not getting commercial work due to being known in his area as a wedding photographer.Much to the chagrin of another photographer who didn’t think this could be possible.) One of the ways this can go away is if wedding photographers learned more about not only photography but about themselves. You GOTTA study, work, toil and fight to figure out who you are with a camera in your hand, and frankly most people don’t do it and the industry doesn’t put ANY pressure on them to do so. There is also an unfair stigma associated with wedding photographers. “If you can’t do anything else, you do weddings.” This just isn’t true anymore, not by a long shot, but the IDEA remains and sometimes this can be a real issue requiring educational skills on the part of the photographer.

The wedding industry was the first industry where I listened to photographers tell me they learned the business by going online, in 2005, and copying who was hot. This isn’t good. That might get you a business but it doesn’t make you a photographer. There is one photographer in particular, someone I first heard about years ago, who has been cloned by an entire generation of wedding photographer, right down to his camera and lens. I see dozens and dozens of wedding snaps that all look EXACTLY like his…only not quite as good. But guess what, it’s good enough. The bar is low so people can get away with this. And also, a lot of wedding snappers base their work and credibility on their clients who are mostly people who DON’T look at imagery. They like most things. This doesn’t lend itself to developing a higher standard.

I’m not gonna show you the bulk of the work I did on this wedding(Private), which by the way was the final wedding I will ever do. It’s over Johnny. The vault has been sealed and dropped overboard. I did this wedding for several reasons, but most importantly I did it because I really like the people involved. That’s all I need. Yes, the location was great, I had freedom to do what I thought best, and even though I was the official photographer I was also part of the gang, which makes things far more civil and enjoyable. The images you see here, with the exception of two, were all made with a plastic, discontinued underwater point-and-shoot. The rest were taken with a 43-year-old rangefinder. Why did I use these old tools? Well, I like them, but they also give me the STYLE of image I was going for. And when I say this I mean for THIS particular shoot. I had a very concrete idea of what I wanted the final product to look like the DAY I accepted this job, which was months and months before the shoot. I didn’t just apply my “wedding photography” to this event like all the rest. I’ve done weddings where I shot a grand total of 20 images THE ENTIRE DAY(665 Polaroid), and I’ve done others where I shot digital and shot literally thousands of photographs. I’ve done weddings in black and white only. I’ve done 6×6 weddings, 6×7 weddings, 6×9 weddings, and even used a 4×5 once or twice. I’ve shot Lomo, Holga, Pentax, Fuji, Canon, Leica, Polaroid, Zeiss, Voigtlander, Contax and a homemade pinhole. I used this messy range of clunkers because I had a vision for what the job not only required but how I envisioned the final product. I had this vision because I had experimented enough to know what worked and what I could expect to walk away with, and I was fine tuning my approach and technique to fit each job individually. This is a doable thing when you are doing a total of ten shoots a year. It becomes REALLY difficult when you are shooting 20+ events per year and suddenly conformity becomes a part of the equation. If someone else can do your editing you might be on the path to assembly line.

The goal is to be able to see the final project, which in this case is a book, and say, “I know who did that.” Call it style, vision(overused) or point of view, doesn’t matter. What matters is HAVING ONE. Wedding photographers should demand more. They should rally around those who take chances and set a tone that borders on chaos and failure, not volume and year-end-sales. Could we possibly take anymore of the mystery and experience out of it?

To be fair, working as a photographer these days is not what it once was. There are different pressures and the value of photography, especially in the mind of the general public, has changed and not for the better. There is less appreciation for the process and also less concern with the longevity or impact of the images. But, this doesn’t mean you don’t fight the fight. If you are a wedding photographer you have to educate yourself and your clients to what it is you do, SPECIFICALLY, and why you do it that way. In the long run, it’s all you’ve got. And don’t go thinking this is a rant against wedding photographers because this level of operation is happening in almost all genres of photography. Having an online following or filling a workshop doesn’t make a good photographer. These aren’t bad things, not by any stretch, but what I see happening is people associating these abilities with photographic talent. In my opinion, the best photographers in the world aren’t on social media and they surely don’t teach a lot of workshops. Why? Because they are making their work instead.

For you newbie wedding photographers out there I’m going to cut you some slack. Keep learning, keep expanding your knowledge base. The people I want to direct this post at at the “pros” who have suddenly found themselves in the wedding world. This really started happening about fifteen years ago, based mostly on economic pressures. YOU folks have a responsibility. YOU have the knowledge and experience which makes it truly painful when I see YOU conforming to what the industry is subscribing. When you homogenize your photography to meet an industry with seemingly no quality bar it really has devastating effects and not only on the wedding market, which is some ways is impervious to impact. How many times have I see or heard a photographer from another genre land on the wedding market and make some bold proclamation about “doing things right” only to see the same person six months later churning out the same generic content under the fateful statement, “Well, the clients aren’t complaining.” Weddings offer certain photographers, very good photographers, their FIRST real chance to make decent money, and ultimately for some that becomes overpowering. I get it, but ultimately I don’t get it. It just makes me sad. These folks tend to stop making good imagery, and not just within the borders of their wedding work. They just stop creating or thinking or whatever it is that made them photographers in the first place. This in turn drags the industry down ever so slightly. And then someone else does, and it happens again and again and again, and suddenly the slight variant is a deluge of brain drain. The truth is these people don’t need to do this. Many of these folks came from genres where the photographer has lost all rights, all ability to work in a pure sense, and where they have had to conform, sign contracts and give up on working in the style they dreamed of working in, but in the wedding world you can do ANYTHING you want to do, so when someone gives up, conforms, caves in, it makes it that much more difficult to watch. So if by any strange change ANYONE actually reads this post, take this ONE thing away which is to find that inner photographic kid once again. Stop doing what you think you have to do and start doing what you WANT to do. I guarantee your work will improve and photography will be a lot more fun once again. Photographers have an inherent power I wish they would take more advantage of. Not everyone can do what we do. I’m a firm believer there are the SAME number of photographers there always has been. There are millions of people with cameras, but they aren’t photographers. When you make a unique style, or recognizable style of image, there is a power you can harness and your clients will know and respect this. Your images might not fit every job, but you don’t really want every job. You want the right job.

And stop talking about new equipment. It won’t help and has no bearing on your imagery. I’ve been having conversations with photographers who tell me they are worried about showing up at a job with a 5D Mark III because they are afraid the client has the same camera and won’t think of them as a professional. This is incredible. If your client can make the same image you are making they maybe you AREN’T a photographer? (Buy a 40-year-old camera and you won’t have to worry about this!) Your photographs should be about light, timing, composition and your visual history, but if these items started in 2005 by you copying someone online…you might have a problem.

If you are offended by this post just know….I’m by no means a perfect person or photographer(OBVIOUS), but what I am is a pretty decent witness to the times and to photography. I’ve made plenty of horrible images, some for myself and some for clients. I’ve had successes and failures and this post is simply my opinion. Take it or leave it. I walked away from working as a photographer so that I could work on purely my own work. I fought the downward slide of “professional” photography for the past ten years. It’s doable, but it’s all about education of the client. To do this you need the kind of work that educates. You don’t need a standardized test that EVERY OTHER photographer has.

My advice for wedding photographers? My advice to young photographers?
It’s all the same, and I’ll go back to what Susan told me all those years ago….make YOUR photographs, whatever those may be. In the long run, it’s all you have. You have to get outside of the wedding world and look at the full range of photography being made. Perhaps your images will be more influenced by Sternfeld, Steber, Shore, Smith, Salgado, Seliger, Stanmeyer or Strand than someone in the wedding field. If you don’t know these names(Please, please, please don’t tell me if you don’t know.), start there, look them up and see how you feel.

I walk away from this industry with overwhelmingly positive thoughts because I walk with memories of the people and the true moments that happened far from the glitz and glitter of the reception, those moments when hearts beat fast and the honest decisions were made.I walk with the truth of knowing that I was chosen to be the witness.

PPS: The images you see are the images I printed for MY book of the wedding. A snapshot book. 6×9, 300-pages .

Periphery

I’ve shot a fair number of weddings over the years. By industry standards, not many at all, but in normal human terms I’ve seen my share.

The wedding photography industry, at least to me, is a strange beast. It’s hugely successful, which is nice to see in a rapidly shrinking professional photography world. I just never fit in. But, this isn’t really a surprise to anyone. I remember my parents telling me that THEY never fit in in life, so I’m not sure why I would have expected anything different. I did weddings for a variety of reasons. I always had the client in mind, but I also had my own feelings front and center while I was navigating my way through these shoots.

I would end up in little places, during little moments and I would know I was where I needed to be. I tried to make photographs that summed up these little “encounters” but the client was not always what I was thinking about. I would let my mind flow to whatever region it needed to flow. Sometimes the influence was music, other times literature. I would see daylight visions of different times, eras and regions. Imagine daydreaming, or creatively daydreaming, in the middle of the shoot. Maybe that is the best way to describe it.

In some cases these images became critical later on. In other cases they were never seen or used, but regardless, they were very important to me.

This little grouping is one such case. I think the elements caused my little adventure. The wind, the cold, the water. It was grand, and allowed just a little “pop” in my brain. I was freed, for just a few moments. Click, or “clunk” I should say, as I was using the Hasselblad. A respite. A moment, just for me, but perhaps for someone else. Nothing more, nothing less.

The Wedding Book….

THIS POST IS A BIT DIFFERENT.

I promised myself I would never do another wedding related post. I’m breaking that promise. Why? I’m not entirely sure. I like weddings. I like photography. I THINK I’m writing this post because of what has happened AFTER this event. I’ve been called to do other shoots, three actually, and I said “no” to all of them. I’m done. I’m out. I won’t be shooting another wedding. What you are looking at here represents my final shoot. But, don’t feel bad, I’m just choosing to explore new ventures.

I had a long post written, and I’ll admit it was a bit preachy. I decided that the positive of this world far outweighs the negative so I’m breaking this down into essential information. Things like that cover image was handheld on a folding camera. I shot that image the day before the wedding as I scouted the location. I could FEEL and SEE this image coming and the idea of it consumed my entire being. I wanted it so bad I could taste it. I practiced my steady breathing, holding the camera to my eye, holding it, minute after minute until my non shooting eye was blurring and pained. The sky snapped and crackled and then broke loose. I nailed it, or maybe it was blind luck.
The basics……………..
This shoot started with a great planner and a great client. Due to my past relationship with the planner I was encourage and given complete and total freedom to work how I pleased. I was given complete and total freedom by the client. I shot 100% film. I never touched a digital camera. I did the edit and design of this book.

This book is a Blurb 6×9, printed on color paper and is about 238 pages. It looks beautiful. It’s small, informal but yet tells the entire story. This book was in my mind the entire time I was at this event. Each press of the shutter representing a potential page, a potential critical piece of the puzzle.

What never enters my mind during a shoot like this is anything to do with the wedding world, industry, etc. I unlearn everything I’ve known about what I’m “supposed to do.” Otherwise, what comes out on these pages isn’t me. It’s someone else with my branding. I can’t allow that to happen. And besides, that would be boring. If you can’t open this book, know that it was me, then I failed the client and myself.

I should have been able to sell this post with one, two, maybe three images, but I thought I would bonk you on the head more than normal. This bonking is a way for me to stress to you the importance of doing what it is you do. However strange, however simple, as long as what you are doing behind that camera is how you truly feel. For me, I feel like Leica + Hasselblad + TRI-X + real moments. My subconscious mind is littered with the baggage of the wedding industry, but my front line mind pushes all this nonsense aside. And then I’m free.

I tile images. I don’t bring a strobe. I shoot one slow photograph at a time. I make each moment count. I put critical elements in the gutter. I put a lightning shot on the cover. I invent a title for the book. And I think….long and hard about how the event will unfold. I can’t sleep the night before. I rehearse how I will perform. I visualize. I know that when the bride and groom comes through this house at 4:13 PM they will be backlit going into a dark inside so I will drop the M6 and 50mm and will pick up the M6 and 35mm and my exposure will be 125th at 2.8 and I will have ONE chance at the photo.

I know that my longest lens is a 50mm so I will need to be close, very close but you see I can make myself invisible. I can be right in the middle and no one will know. I will be quiet yet the conversation in my mind will be deafening. I make plans for the light. Plan A. Plan B. Plan C and I secretly pray for rain. Rain makes good photographs. It rained at my wedding. Some people think it means good luck. For me it meant getting wet.

There are other photographers working here, which is a load off my mind. We all meet prior and discuss the plans for the photographic invasion. I guess I’m a squad leader but when the snapping starts we are all basically on our own. I like this part of the process and I like watching other photographers work. I wonder if they too are talking to themselves.

The camera goes “clunk,” “clunk,” “clunk” one slow, laborious photo at at time. I can see people watching me as I load and reload and reload the Hasselblad. I think maybe they think I’m crazy until someone comes over and says, “I am so happy to see you shooting film.” “I love film.” Me too.

There are certain things I do not take for granted. This is a HUGE day. This day means so much to so many and I have a responsibility. I owe a lot to many but the critical factor is making THESE images. It might not seem like it on the surface but after the smoke has cleared and the glasses have been cleaned and reboxed there are only a few things that will remain. Love. Family. Life. Photographs.

I break the day into mental boxes. I see four phases I will need to live. I will be four different people. I will be the location. I will be the preparation. I will live the ceremony and then I will end the night as the celebration. Little boxes, tiny boxes checked off my list. Being in the now is what I concentrate on. Then my load gets a little lighter and I move on. It works for me. It may or may not work for you.

I always put the film in the same pocket of the same bag. As the light changes color and gets lower I take my first look at how swollen the pocket is. It feels great. And the best part is not knowing. Not being entirely sure. I can’t, after all, see any of it. “I’m sure you got so many great images,” people say as they stare at the pile of film. “You never know,” I answer. “My fingers are crossed and tonight I will light a candle.”

I’m married, so the actual process of what is happening is not lost on me. I see things that other people miss. That is my job. I see the light. And I know there will be little to no memory of a lot of this stuff, at least without me being here. I remember almost nothing of my wedding. I do remember the rain. I do remember I looked and felt like Herman Munster in my stiff suit. I could see the relevance in the faces around me. The ceremony wasn’t just for my wife and I, it was for everyone. I feel the same way about this wedding, all the weddings. They are greater than the sum of the parts. They mean more. They last forever.

My breath comes in short gasps. My clothes are soaked with sweat. I drink Coke. I never drink Coke but I do now, by the gallon. My hands are twitchy. I can feel the caffeine and sugar fueling the rest of my night. All around me is fun. Lots and lots of people having fun.

I get home and a few days later I get the email saying the work is online. I download. I edit, sort, print. And then comes this book. I know the sequence in my head. I work quickly. I’ve done many books. I like simple, clean and graphic. I mix the somewhat expected with the completely foreign. The book is my final reminder of why they hired me. It should make people think. Like putting lightning and storm on the cover.

The book is fat. The book is small. The paper is white, uncoated and reproduces the imagery really well. I know this book is going to look good long before I see it. Then the doorbells rings and I hear the Fedx truck racing off into the distance. “Hmm, I wonder what that could be,” I ask myself as I tear a hamstring RACING to the front door. It never gets old. Now it’s official. There is a book.
So, if you ever wondered what does through my head during something like this..now you know. I can’t stress enough how important great planner/great client really is. Without those two elements..these images, this book do not happen. I would love to tell you who the planner is but I know if I put their name on this post……the crazies(photographers) might try to contact this person. Would they ever forgive me? If you haven’t seen or made one of these trade sized books you should give them a try.

That Moment

I remember my moment. About to get married. Suddenly, I can’t remember anything. It just went right by. And then I was married. I look back on the images and have to relive what happened by running my hands over the paper and trying to put two and two together.

This image is a friend of mine, who I think is having his moment. Getting ready. Blinding light. A hour before the ceremony. A new life outside that window. He just has to get ready for it.

Did you have a wedding “moment?”

Wedding Workshop…..Okay, Maybe Not

The images in this post were made during a past workshop in Santa Fe. Less than 30 minutes from the classroom. Found this guy, approached this guy, photographed this guy.

Yep, it’s official. I’m teaching another wedding photography workshop.

Okay, well, maybe not. Remember in Enter the Dragon when Bruce Lee said, “My style is the art of fighting without fighting.” Well, this is the art of wedding photography without the wedding photography.

When I look back on the beginning of my life as a wedding photographer I realize now how insanely green I was in regards to being a photographer. I’m not just referring to the idea and logistics of being a wedding photographer, I’m talking about the photography as well.

When I jumped back into photography from the photo-corporate world, photography had not been my prime source of income or activity in five years. I was slightly out of practice. Like any other discipline, photography takes time, attention, knowledge, etc.
I had studied photography, full-time, for over five years, had worked at newspapers, magazines, etc, but it really didn’t matter. I was green.

Now I made it easy on myself by shooting one camera, one lens, one film, etc, but looking back it was like walking the razor’s edge. And when I say this, imply the risk, I don’t mean from the client perspective because I think if you are a wedding photographer and you are using your clients, who are rarely involved in photography, as your sounding board or quality bar, then you might want to consider searching for a different level of feedback. For me, the sounding board has always been internal, number one, and other photographers whom I respect number two.

Now here is the really scary part. Remember when you were in high school and you did something really stupid or really dangerous? I do. At the time, I had ZERO ability to look at what I was doing and realize how stupid it was. I was a high school age male. That is just how it was. Then, as I got slightly older, I began to have more self-realization abilities. Gradually, I began to realize stupid things BEFORE I did them. Now I’m not perfect, still do stupid things, but at least I have the IDEA that I’m doing something stupid before I actually do it. This also applies to my photography.

I look back on things I’ve done photo-wise, in the not too distant past, and wonder, “Jesus, what was I thinking?”

It is with this notion that we bring you this workshop.

Let’s face it, in today’s photography world this is ALL you need to be a wedding photographer.

1-Digital Camera
2-Website
3-Speaking or typing ability to let others know you are a wedding photographer.

Wedding photography is one of those rare genres where there is virtually no quality or ability screening process. When I got out of PJ school, took my book to New York, I had to sit face to face with photo-editors, assignment editors and agency directors who took ONE look at me and my long hair, necktie with cameras on it, thin portfolio(20 slides) and said, “You aren’t ready.” That was the slap I needed to go out, work my butt off and try to get better, because people I was NOWHERE near ready.

I don’t mean to be rude about this, nor do I wish to insult anyone, but what I see in weddings makes me believe that many, many, many photographers have the cart before the horse. Marketing and branding is running wild, and yes that is important, but unless you have the goods to market and brand, why bother? Now for those of you saying, “I’m working all the time, who does this guy think he is?” you should probably just quit reading this post and move on. Again, wedding photography is one of those things you can just pick up and start, and if you are content doing so, more power to you.

If you are wondering, “What is your point with all this?” Well, simple. I know there are a fair number of people out there who are working, shooting on a regular basis, who are…let’s just say…restless. There are folks out there who know there is more than what they are doing right now. There are folks who feel that shooting dozens of repetitive, generic weddings a year is leaving a void through the middle of their creative self. There are folks out there who know there is more than shooting 5000 and editing 1000. This workshop is for you.

I want searchers.

Let me be clear about something. This workshop will have everything to do with your wedding photography and NOTHING to do with your wedding photography. There are no models. There are no fake brides and grooms. There are no posing lessons. There will be no talk about branding and marketing. And chances are, there will be few times that everyone is together and blasting away at the same subject matter. This class is a reminder that we are photographers FIRST and foremost and wedding photographers second. This class is about light, timing, composition, exploration and finding who you are as a photographer. I don’t care if you shoot photographs of your feet for the entire week if you have purpose and intention and the exercise allows you to see things in a different way.

When I read about wedding photography these days I hear all the words I’m supposed to hear. Passion. Vision. Style. Soul. Blah, blah, blah and then I see the EXACT same images and gimmicky filters over and over, all of which make it impossible to tell who shot what.

Folks, vision is real. Ever read a Cormac McCarthy book? Ever seen a Picasso? Ever watch a Cohen Brothers film? DISTINCTIVE. ALL OF THEM. You pick it up, you see it, you watch it and you KNOW who did it. THAT is real. You can’t brand that into existence. You can’t market that into existence. You have to have it inside and find a way to get it out. THAT is what this class is about.

For being a wedding photographer, I have little to no interest in my native industry because I so RARELY encounter this kind of distinction. I know it’s out there, but again, in this world, you don’t really need to dive into it to be successful. But I know there are people who WANT to find it, who WANT to dive in. This class is for you.

Also, I have no intention of selling you anything during this class. I have no wedding books, DVD’s, actions, filters, software, etc. This class isn’t about me, it’s about YOU. Big difference. I don’t have all the answers. You do. I don’t have what you’re looking for. You have it. And this isn’t a way for me to get out of preparing, I actually mean this. When I took workshops in the past, good ones, with Chris Rainer and Robb Kendrick to name few, they didn’t GIVE me what I was looking for, they just helped aim me in the right direction. They hinted at things. They questioned me. There were, at times, silent, forcing me to forgo the easy answer and to actually force me to think about who I wanted to be.

So if any of this sounds interesting then go to Santa Fe and figure it out. Take a look at a map and look at what lives in the region. If your palms are sweating and your finger is tracing the smallest lines on the map, then maybe this is class is for you. Now this class isn’t normal. This class is a visual therapy session and I know this isn’t what is “hot” at the moment. I don’t care. I’d rather have five students with dreams in their eyes then twenty who want to know the secret of maximizing profits. So think it over. This class is about making decisions, taking chances, focused attention, having fun and taking another step toward finding out who we really are when we have cameras in our hand.

Here’s to getting some dust on your boots.

NOW NOT TO SHOOT A WEDDING LINK