On Thursday, May 9th, the Flatirons Photo Club is proud to present David Tejada, one of Colorado’s most highly regarded commercial photographers. David will talk about his favorite photographic techniques and his world-wide photo assignments.
With more than thirty years of shooting experience, David is at home hovering in a helicopter, over a drill rig in the Andes or shooting a portrait in New York City. David is internationally recognized for his dramatic and innovative photographic lighting techniques and graphic style.
Where: Mike’s Camera, 2500 Pearl Street in Boulder. Use the southeast entrance, about 50 feet left of Mike’s main entrance. Take the elevator to the second floor. Free and the public is invited.
When: The Flatirons Photo Club begins gathering at 6:30PM for social and our program begins at 7PM. After the program, we will view and discuss photos submitted by our members. The April Special Topic for member submissions is ‘Food.’
Tom’s portfolio covers adventure, portraits, travel and nature. Tom will talk about creativity, lighting and useful techniques he’s learned through during his 25 year professional career. Tom says, “I’ve tried to design this presentation so every photographer will enjoy it and maybe get some inspiration.”
Tom has been leading a very impressive list of photo workshops for 25 years. He writes articles for several magazines, including Digital Photography, Photoshop User and Lightroom Magazine. He regularly shoots assignments for Nikon.
Mike’s Camera, 2500 Pearl Street in Boulder. Second floor, just left of Mike’s
main entrance. Free and the public is invited.
When: The Flatirons Photo Club begins gathering at 6:30PM for social and our program begins at 7PM. After the program, we will view and discuss photos submitted by our members. The March Special Topic for member submissions is ‘Motion.’
Mike enjoys bringing his
unique visions of the night sky come to life and helps others to do the
same. He will show us some of his incredible images and what it takes to
capture them. Using the night sky as a source of inspiration, Mike pushes
beyond a camera’s limits to create works of art that make people
think. Together with training partner Darren White, Mike makes Milky
Way Dreams come to life with workshop events in Arches, Canyonlands, and
Yellowstone National Parks and on Mount Evans in Colorado. Check out
their website at NightPhotographyWorkshop.com and see what the excitement is all about.
Mike would also like to offer members of the
Flatirons Photo Club a 10% discount on any workshop event payments for a month
following our talk (so it will expire on 4/14). This discount is
available by entering “BOULDER19” on our checkout page.
It’s a wide, wide world out there. Certain subjects just cry out to be photographed in a panoramic format. Many of Glenn’s favorite images from his Sunrise from the Summit project, in which he photographed sunrise (or sunset) from the summit of all 54 of Colorado’s 14,000-foot peaks, proved to be panoramas. Something about that ultra-wide angle of view, sometimes as much as a full 360 degrees, captured the exhilarating, humbling, and awe-inspiring experience of being a tiny speck on top of the world.
The easiest way to shoot a panorama is to take a single frame and crop it to whatever aspect ratio works best for the subject. There’s no law that says that an image composed within a 3:2 frame must be shown with that same aspect ratio. Cropping has two disadvantages, however. The first is that you are limited in angle of view horizontally to the angle of view of your widest lens. The second disadvantage concerns print size. Panoramas look good printed big, but the biggest print you can make is limited by the resolution of a single frame.
The solution is to shoot a series of images, rotating the camera between shots so each frame overlaps the next, then stitch all the frames together in software. With this approach, it’s possible to create enormous panoramas—as much as 360 degrees wide—with great quality. Learning to shoot and stitch panoramas from multiple frames will open up a new world of photographic possibilities. No longer will you be limited to seeing the world through the rectangular frame defined by your viewfinder, with its rigid 2:3 aspect ratio. That view, as pleasing as it may be, is only the starting point in your search for the most evocative possible composition. Take a walk on the wide side, and you’ll never again be content to see the world in just one way.
Since 1979, Glenn Randall has combined his love of wilderness with a passion for photography. His intimate knowledge of atmospheric optics, weather, and the landscapes he photographs allows him to find the intersections of magical light and stunning subject matter that produce exceptional images. His work has been published in Audubon, Avalanche, Barnes & Noble, Brown Trout, Sierra Club, Nature Conservancy, and Runner’s World calendars and in Audubon, GEO, Outside, SKI, Los Angeles Times Magazine, National Geographic Adventure, New York Times Magazine, and many others. Glenn is a contributing editor at Outdoor Photographer. Prints of his fine-art landscape photographs can be found online at www.glennrandall.com and in Art Mart, on the Pearl St. Mall in Boulder, Colorado. His photographs have also been used by many book publishers and corporate clients. At age 61, he has accumulated over 1,800 photo credits, including 83 covers, and sold over 10,000 prints. He was the sole photographer for three books of landscape photographs, Rocky Mountain National Park Impressions, Colorado Wild & Beautiful, and Sunrise from the Summit: First Light on Colorado’s Fourteeners. Rocky Nook published his how-to books, The Art, Science, and Craft of Great Landscape Photography and Dusk to Dawn: A Guide to Landscape Photography at Night.
This meeting will be a Members’ Night, one of two for the year. This meeting will feature a presentation by Vandy Vandervort on her work and how she does it. Afterwards, members can show any two images to talk about and have an open dialogue. There is NO COMPETITION There is NO SPECIAL TOPIC.