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PHIL KEMBER
Phil Kember uses an Ebony SV8X10E CLICK HERE FOR A REVIEW OF THE SV8X10E
If you have questions, regarding this workshop, please contact Phil Philkember@Deathvalleyphoto.com or call 1 760 614 0123
The Death Valley Workshop with Phil Kember "The Death Valley photography workshop led by Phil Kember was a unique experience. This was perhaps the best workshop of all my experiences. Phil has the knowledge and the feel of the place; he is at one with it. He has the experience to know the light, to know the expectations of the photographers, and the skill to match it all up. Phil would stop beside the road in some of the most remote and obscure locations, and say something like "now if we go over this bank, we will find......" and it would be something obscure like a desert five spot, or a Beavertail cactus in bloom, or some mysterious structure in the salt, or...., and he never missed, either the location or the light. He is also a thoughtful and insightful instructor, especially on B&W technique, and on composition". This was a truly remarkable experience for the advanced photographer"... Bill Woody, Dayton Ohio.
"As a beginner and a female interested in photography, I found Phil Kember's workshop very non-intimidating with an amicable group of fellow photographers willing to look out for and help one-another. It was a comfortable workshop environment and I thought Phil was just dreamy"... Gale Hughart, Sacramento California.
"You can't spend too long in Death Valley on a Phil Kember workshop"... Dave Burns, Boston Mass.
"I live in The Netherlands and love to come
to California to be in and photograph the natural beauty of the land. His work and instruction inspired me to move on to large format photography and I hope to come back again for another workshop with Phil, this time with the view camera."... Paul Molendijk, Holland.
WORKSHOP INSTRUCTION My teaching method is very simple, I help you to see your image, what you want to capture. I'll ask you to tell me what you see and I'll ask you to justify the composition. I'll work with you to refine your thinking and your composition. I believe one of the most important aspect of photography is the ability to 'see' the final image in your minds eye, before you make the picture. Once this is achieved, it is a relatively simple matter to record it with a camera. COMPOSITION THE HEART AND SOUL OF AN IMAGE BALANCE AND ELEMENTS "Just like a good piece of music, a good photograph should contain a fine balance of it's elements." Composition is perhaps the most over-looked aspect of recording a photograph. When I decide to make a photograph, I look at the placement of every element and detail of the scene and try to assemble them in a way that is both cohesive and simple. If I find that one element is out of balance, or is in some fashion disrupting the overall scene, I will probably not make the picture. If we look at a great photograph, for example Ansel Adams "El Capitan Winter Sunrise" (or any of his best images) we are absorbed completely in the scene, every element is carefully placed, we are not wondering to ourselves what lies just outside the bounds of the photograph, and we are not looking at any one feature and asking why it is there. The illusion is complete. PRE-VISUALIZATION "Assembling an image in the minds eye" The ability to pre-visualize an image is essential when using large format photographic equipment, but I believe that it is very useful if not essential for all photographers. The ability to assemble an image in our minds eye, before we attempt to record it with a camera, gives us a much greater understanding of why we choose to make a picture and what the contents of that picture should be. The method I use (and teach) means that my camera is the last part of the equation. I look for the elements that I want in the picture and generally work backwards, from the horizon back to the foreground, or from my horizon line down to my principle point of interest. Picking out what I want and can reasonably expect to include in the image (keeping in mind my choice of lens), right down to the closest part of the scene. The inevitable conclusion is the point at which I need to be setting my tripod. THE ZONE SYSTEM Although many people find the prospect of learning about the Zone System daunting, it really is not too difficult to get a good working (and useful) knowledge of it. For black and white photography, it is an invaluable tool, allowing for a clear comprehension of the grey scale and a method by which one can manipulate it. PRIVATE AND CUSTOMIZED WORKSHOPS In addition to the Scheduled Workshops, Phil Kember offers customized Workshops designed around client/group requirements. Private Workshops (one person) are available at a day rate of $300.00, with a two day minimum. EQUIPMENT AND SKILL LEVELS Phil Kember's workshops are open to photographers of all levels How do I get to Death Valley? Death Valley National Park is situated in
eastern California. Will I need to rent a four wheel drive vehicle? It is not required that workshop clients rent four wheel drive vehicles, but it is recommended. Many of the places we visit are accessed via dirt roads that present a hazard to passenger car tires. Four wheel drive vehicles typically have stronger tires and greater ground clearance. For this reason, this type of vehicle is recommended. What will the weather be like? January average high of 62F February average high of 72F March average high of 80F April average high of 90F Where will I stay? The 2008 Death Valley Workshop will be based out of Beatty, Nevada. 10 miles from the park boundary.
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