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Apogee Photo Magazine

By Noella Ballenger

After a recent photography workshop, I reviewed the final workshop evaluation forms that I ask each participant to complete.  These are my report cards.  They help me plan, improve and evaluate my own teaching performance.  On this particular occasion,  there was one comment that really gave me pause to ponder: "This was my first workshop, and I didn't know what to expect or how to prepare for it.  I wish I could have had some guidelines." From my years of teaching and taking numerous workshops myself, I agreed that workshop guidelines would be helpful to both the teacher and the student.  We would begin with the same expectations and plans.

Before you can anticipate a successful photo workshop experience, you have to select your package. Your first problem is to differentiate between a workshop and a tour.  There are many outstanding photographers who lead tours.  They are with you, taking you to interesting places, and may or may not be willing to answer some of your photography questions. Their primary "job" is to get you to the locations listed on your itinerary. On the other hand, a workshop is an experience in which teaching is the main emphasis.  You may visit the same wonderful locations, but the role of the leader switches from guide to instructor.  Professional photographers/instructors teach, answer questions, review work, offer critiques and inspiration.  They are there to challenge the participant to achieve more.

To select the right workshop for you, ask specific questions and listen carefully to the answers.  Some of the features to look for in a good workshop are the ratio of students to instructors or assistants, the number of participants, the level of instruction, and the subject matter being emphasized.  In addition, ask about the number of field trips included and the kind of field instruction or supervision which will be provided. Will the instruction be personalized and tailored to the level of the student?  Will there be an opportunity for one-on-one interaction with the instructor?  Can you expect open class discussions?   Some photographers choose not to work in the field with their participants,  but will give assignments and do a thorough review of the work turned in.  This method works best if overnight film processing can be arranged, so participants receive immediate feedback.  However, certain locations and the logistics involved make quick feedback impossible.  You must decide which teaching style you prefer and weigh that factor when making your workshop choice.

Consider the reputation of the instructor as a teacher and not merely as a photographer.  Ask for references and details of experience.   There may be a world of difference between someone who's a wonderful photographer and someone who's a wonderful photography teacher. Workshops are now becoming so costly, it's prudent to find out what former participants thought about the workshop and what their experiences were.

Now that we've decided on the particular workshop and location, how can we prepare for the trip?  Photography is an art form as well as a technical experience.  You need to know your equipment and know that it's in good working order.  There's nothing worse than being in the field and either struggling with the specific problems of working with your equipment or having it malfunction.  That isn't to say that you can't get help from your instructor on how to use your equipment creatively, but loading the film, changing the battery, and understanding which button to push are prerequisite bits of information in all but the most basic classes.  How to operate your equipment efficiently is something you can learn in advance.  And, even if you feel fairly confident, be sure to bring your camera manual with you.  You can't expect your workshop teacher to know the fine points of each and every brand of camera.

Ask the instructor if there's a reading list that will help you prepare for the particular subject area to be covered.  If s/he makes some suggestions, follow through and do some preparation.  If s/he doesn't have any specific recommendations, take it upon yourself to read up on the area and its history, the local flora and fauna, and the kind of photography (landscape, macro, general travel, etc.) which will be emphasized.  If you can visit a library, look at the books or magazine articles that use photographs by your instructor(s) as illustrations.  Study these.  The more you can learn before the workshop begins, the more you'll get out of it.

Frequently, you're asked to bring a sample of your work to the workshop--sometimes as a prerequisite to entering the class.  Look upon this assignment as a wonderful opportunity.  As preparation for any workshop I'm attending, I look through my previous photographs for those that didn't work as well as those I really like.  I want my instructor to tell me what went wrong and how to make it better.  Letting other people view what I think of as my mistakes always takes courage, but it's important.  Personally, I appreciate it when my students bring me examples of problems, because it allows me to create specific discussions, lessons and experiments for them to try.  It helps me to help others in the group who may be struggling with the same difficulties, but who may be shy about sharing them.  So, when you bring your work to class, bring the good and the not-so-good.  A workshop is supposed to be a learning experience.

You've arrived at the workshop.  Hopefully, you're rested.  It's always good to plan your packing and travel ahead, so you don't arrive anxious and exhausted.  It makes learning much too difficult.  Often, participants arrive with a fixed agenda in their minds, which immediately sets them up for disappointments.  Flexibility is something every photographer needs.  Frequently, other, even better opportunities can be created when plans change.  Being rigid and inflexible only stifles your creativity and limits your opportunities. Be prepared to ask questions. They are expected and can springboard into some fantastic learning sessions for the entire group.

Workshops, in my opinion, are not meant to be competitive.  There should be a predominant feeling of cooperation among all of the participants as well as the instructor.  Workshops are a learning workplace where problems, new techniques, experiments and exposure to new ideas and methods should be paramount in importance to all.   Everyone has something to contribute.   The instructor has the primary  responsibility to lead, prod, teach, show, present opportunities and stand back to allow the participant to develop.  Be open to suggestions and be prepared to share some of your experiences.

There's always a question about whether the instructor should be photographing for herself during class. This is difficult to answer; the ethical line is subtle.   I personally prefer to have a camera in my hands when I'm teaching.  It allows me to be more creative.  Sometimes, questions are raised which challenge me, and I need a moment to work them out. However, getting "my shoot"  is not of primary importance to me.  Helping you get your shot is.  There are teachers who never pick up their cameras during a workshop--an example of different styles of teaching.  The fine line to determine is whether the instructor is there for you or you're ignored while the professional takes stock images or sets up in the prime location.

So, now your workshop is over.  The experience shouldn't end just like that.  You need to take some time to think about what you've done, what you've learned and what you should be doing to keep improving. Maintaining a relationship with a good workshop instructor is important. There may be other opportunities and workshops in which you'll want to participate.  Also, you may have belated questions or want to have work reviewed at a later time. There could be an additional charge for these services, but it should be reasonable.  In my workshops, we sometimes plan a review session after we return home.  If that's not possible, and if we haven't been able to process film during our workshop,  I'll ask my students to send me a selection of images as well as an audio tape I can use.  I record my review of their class work and return the tape and images to them.  This service takes extra time on my part, but I think feedback is very important--for both of us.  Make friends with others in the class and continue to share your work.  In this way, the workshop will continue indefinitely as a positive experience.

Happy learning and good shooting!

All photos are Copyrighted, Noella Ballenger. All Rights Reserved. These images are intended for your viewing pleasure only and may not be downloaded for any other purpose.