workshop horror stories

[Alex Ragen]

I have been serious thinking about plunking down some cash and signing up for an LF workshop, trekking around in the wilderness and exposing my shots to the raw criticisms of teachers and fellow students. But I have never done anything like this before, and I wonder, what will I do if I find myself stuck in the middle of nowhere with a bunch of peope even wackier than myself? Is anyone willing to share any LF workshop horror stories?

[KenM]

Last year I took a B&W workshop in Yosemite with Ray McSavaney - there was one guy in the workshop that was completely unable to find his own compositions. He would see you set up, and he would come over and jam his tripod right next to yours, and make the 'same' photograph. It was extremely annoying.

I had one shot framed up, and Ray looked through the GG and said that I should probably make 'more than one' image of the photograph. I knew it was something good, and I was happy to hear him concurr. Well, the idiot heard it too, and literally nested his tripod legs inside my tripod, bumping my camera during the process. The guy was *completely* oblivious to how much of an a**hole he was being....

Now, with that said, let me say that I've been on 5 workshops in the last few years, and the above instance is the only 'horror' story I can report. The workshops have all been wonderful experiences..

[neil poulsen]

I've only attended a few workshops, but they've all been anywhere from excellent to fantastic. It pays to ask about content, etc., in advance. (I can think of some workshops that I would avoid.) Some workshop providers provide harsh criticism, but I've not encountered this. (Again, ask.)

If you have a particular workshop in mind, you might ask about it on this forum. Plus, check the reviews on the LF page at http://www.largeformatphotography.info/workshops.html.

[Bill_1856]

Anything offered at the two big ones (Maine, and Santa Fe), is going to be good. Although I'm mostly a 35mm people-shooter, I found Michael and Paula's long LF weekend to be a high point of my 50+ year photographic experience. If you're lucky, you'll get as much or more from the other participants than from the instructers. But if you're unlucky, you'll get an asshole like me in your group.

[Brian Ellis]

I've attended probably 15 workshops over the last ten years years with people like John Sexton, Bruce Barnbaum, Ruth Bernhard, Ray McSavaney, Michael Smith and Paula Chamlee, Don Kirby, Tillman Crane, and others. With the exception of one workshop at Sante Fe (no, they aren't necessarily going to be good just because the sponsor is one of the two big ones) they've all been enjoyable, interesting, and very worthwhile experiences, ranging from great (anything by John Sexton) to very good. There's been an occasional jerk in attendance but very very few and those few haven't detracted from the overall experience.

I wouldn't worry about the other participants, it's the instructor who will make or break the workshop. Be sure to check around, post questions here and elsewhere, solicit the experiences of others about specific workshops, etc. before selecting one to attend. I think you'll pretty much find unanimity of opinion, good and bad, about the better known instructors and workshops. If it's a week or longer workshop away from the area where you live you'll be spending several thousand dollars in workshop fees, plane fares, rental cars, maybe motel and meals so when you come up with a short list do some serious investigation before committing to one.

[J. A. Berwocky]

Back in the 70s and 80s you stood a better than even chance of hooking up with some pretty young thing on these workshops, especially if there was camping involved. The Maine ones are still hit or miss - a lot of loose NY professional women and hippie chicks, but the other ones with all the old white men - they are deadly and boring.

[Steve Lewis]

I've attended a dozen or so workshops over the last 7 years, both as participant and as tutor/host, and without exception all the experiences have been positive ones, with a good time being had by all. You do get the occasional (and very rare) idiot participant, but a quick word in their ear normally sorts them out! Over the years I've met many great people, some of whom I still meet up with a few times a year for a weekend's photography.

The experience you have at a workshop boils down to two things; how good the tutor is, and how open to new ideas and new people you are. The first you can do some research on. The second is up to you.

Steve

www.landscapesofwales.co.uk

[Louie Powell]

I have gone to a workshop every summer for the past 15 years, and will be continuing that tradition this year. Have encountered some fabulous and inspiring instructors (Tillman Crane, Skip Forelli, Ernestine Rubin, Bill Abranowicz, etc), and have met some really nice folks (including Brian Ellis who responded earlier).

But to be fair, I have to say that I've had a few experiences that were less than stellar. There was the instructor who, while very inspiring and quite willing to share with the class, was abrasively arrogant. He only used the "finest" German cameras and lenses, and felt that anyone who used less couldn't possible produce serious results.

And there was the instance where the class consisted of about 5 old white men and one young lady who didn't know why she was there. At one point, the girl announced that she was dropping out, but then came back for the last day of the class. Unfortunately, that meant that she was a distraction to the class, and more importantly, to the instructor.

Or the time, in a class on the Zone System that included a professional fashion photographer who didn't have a clue how to use her camera.

But frankly, when I look back over these experiences, my conclusion is that the net is very positive, and the few odd instances are just examples of the quirks of human nature.

For me, the greatest hurdle was building up the nerve to expose myself to criticism by the instructor. The first workshop I took was with David Vestal - I took a portfolio of what I felt was my best work. After reviewing the work, he said four words - "technically perfect, pictorially empty." I felt like I had a target painted on my t-shirt, and he had just hit the bulls-eye! And let me quickly add that David is a fabulous instructor and a really neat guy.

Looking back, I now understand that David was exactly right and that taking that workshop, and every other one that has come since, has helped me improve my photography immeasurably.

[Brian Ellis]

Could we stop with the "old white man" stuff? While I realize that "old white man" is about the only racially derogatory term permitted (even encouraged) by the PC police, it's still offensive to some and certainly unnecessary to the points being made by the two people who used it here. Thanks (and yes, I'm an old white man, sorry about that, I couldn't help it, I was born white and didn't commit suicide on my 50th birthday).

[steve simmons]

As someone who has taught workshops for many years here are some things people can do to help prepare themselves for the best experiences possible

1. If you have equipment you are not familiar with please bring the instruction book. An instrtuctor can not be expected to know how to operate every piece of equipment ever made.

2. Don't go with the expectation of making great photographs. Especially if you are taking a class in learning how to use a new piece or style of equipment. To take an intro to large format and expect to make great photos is not fair to either yourself or the instructor. The instructor is trying to teach the participants how to use a new piece of equipment and will set up shooting situations to help the students learn the basic skills. When you go outdoors you are dependent on the weather and when you only have a long weekend, or even a week, the weeather may not always be the best to get that 'great' photo. If you are going to a new place and want to take the great photo then go on your own, take equipment you are familiar with, study maps etc. of the area, etc.For example, how many trips to New Mexico did Ansel make and how many Moonrise photos did he take?. Landscape photography is much about being there at the right time and that may not coincide with the timing of the workshop. I had a student once who came to a workshop here in New Mexico he'd waited for all year. However, becasue he was trying to learn a new piece of equipment and wanted to make great photos of all of the important place he became very impatiant with the first day which were spent getting him, and the other students, familiar with their equipment and doing some exercises witht he camera. He left to go off and make great photos of these great places. Surpring, at least to him, was the fact that several times during tghe week he ran into the group at these important places as we were there to photograph them. But by that time he'd demanded and received a refund and I was not too inclined to take time to help him and ignore the other students.

Also, do not decide to try a new and untested film or take outdated film. You are taking the time and spending the money for this outing so don't cripple yourself by using a film you are not familiar with or a box that is outdated.

Be honest with yourself and the instructor and about the amount of experience you have with this equipment. To overstate your case does both of you a disservice.

Be open to suggestions, even if you think they may be beneath you. The instructor may see some problems with your technique, approach, etc. he/she is trying to help you with. The purpose in going to a workshop is to expose yourself to new ideas. Try it, it might work and you might like it.

Understand that you may learn as much from other students as you do from the instructor. This is normal and part of the workshop experience.

Accept the fact that if you and the instructor do not hit it off it is not necessarily always the instructor's fault. We are all adults and a little self refelction can do all of us a loot of good.

Now, here is what I say to students when telling them how to evaluate the workshop. If, in six months you are still thinking about what was said and waht you leanred, and if you are still feeling stimulated by the experience, then it was a good workshop. Any great photos are a bonus.

steve simmons