2017 Zion Fine Art Photography Summit movie

This movie features artwork by 2017 Zion Summit Participants.

The 2018 Summit takes place in Moab Utah with Alain Briot and Jeff Schewe as instructors and field photography sessions in Arches National Park, Canyonlands National Park, the San Juan River, the Needles district, the bluff area and Monument Valley.

A detailed description of this exciting learning event and photographic expedition is available at this link:http://www.beautiful-landscape.com/Workshop-Summit-18-Moab.html

The 2017 Zion Fine Art Summit

The 2017 Zion
Fine Art Photography Summit

You can register for this event now by clicking here

Zion-sunrise-collage-pano-crop-700 Sunrise, Zion National Park

Introduction
Each year for the past 15 years we have offered an event called the Fine Art Photography Summit.

This event used to be organized jointly by Uwe Steinmueller and myself. When Uwe passed away in 2014 I continued organizing the Summit with my wife Natalie.

The goal of the Summit is to offer an event that covers all the different aspects of fine art photography: field work, image processing, one on one work, printing and print reviews. The goal of the Summit is also to give you the opportunity to photograph some of the most photogenic locations and learn from different guest instructors each year.

To achieve these goals the Summit features both field photography sessions and classroom presentations. We capture photographs during the field photography sessions, at sunrise, sunset and during daytime, and we study, process and review these images during the classroom sessions.

The classroom sessions include instructional presentations given by myself and by Jeff Schewe who is the 2017 Guest Instructor. Classroom sessions also include time for personal work as well as time for one on one work. During the one on one sessions Jeff and I work with you personally and help you with specific aspects of your work. This gives you an opportunity to get personalized help and to focus on what matters to you.

The Summit takes place in a different location each year. Over the years the Summit has taken us to Death Valley, Arches, Canyonlands, Navajoland, Antelope Canyon and many other locations. This year we have chosen Zion National Park as our location. The Summit classroom sessions will take place in the Zion Holiday Inn at the entrance of the park. The hotel will be our base for this event. From there we will explore the park daily to photograph the best locations at sunrise, sunset and during daytime.

The Summit is an educational, creative and fun event. Participants include both new and previous attendees. This creates a learning and sharing environment in which study, creativity, fun and camaraderie are essential components.

Zion-IMG_2769-Pano-700Classroom Session during the 2015 Death Valley Summit

The Instructors
The summit is taught by Alain Briot and Jeff Schewe. Jeff is our guest instructor for 2017. Jeff is one of the most knowledgeable persons about Photoshop and Lightroom. I can guarantee that he will answer each and every question you may have about Photoshop and Lightroom.

My personal focus is fine art photography and my presentations will teach you how to create fine art photographs. Specifically, I will show you techniques that will take your work beyond documentation and into the realm of art, working with Lightroom, Photoshop and other software packages.

The advantage of having two instructors is that you are exposed to two very different ways of creating fine art photographs. These differences are obvious when you look at the workflows that Jeff and I use. While our goal is the same, namely to create fine art images, the way we reach this goal is very different. We use different workflows, different tools and we have a different philosophical approach to art.

This is a huge advantage for you because it proves the point that there are many ways to create art. Being exposed to this diversity opens the way to finding your own personal style. You can pick and choose what you like and don’t like and create your own personal approach to fine art photography.

Alain and Jeff teaching during the 2016 Summit

 

Our Schedule
The Summit schedule is carefully organized. Natalie takes care of all the logistics and scheduling. Having a dedicated person taking care of logistics insures that everything runs smoothly and that our photography and instruction time is maximized.

The Summit takes place November 3rd to 6th 2017 in Zion, Utah. The Summit is followed by a three-day Photographic Vision Field Workshop to Bryce Canyon, Escalante-Grand Staircase and Capitol Reef on November 7th to 9th. The full schedule and Field Workshop itinerary is available at this link:
http://www.beautiful-landscape.com/Workshop-Summit-17-Zion.html

About Zion
Zion National Park is one of the Jewels of the Southwest. The park consists of two main areas: Zion Canyon and Zion High Country. This layout has the advantage of offering roadside access to both the canyon bottom and the canyon rims, a combination unique in the Southwest. In comparison Grand Canyon only offers roadside access to the canyon rim. To access the bottom you have to hike a mile down into the earth. Similarly Canyon de Chelly only offers roadside access to the canyon rim. To access the bottom you have to hire a Navajo guide and four wheel drive into the canyon.

Having easy access to both floor and the rims of Zion canyon multiplies the photographic opportunities this National Park offers us. Because these two areas are totally different they allow you to create a greater variety of images. These include views of Zion’s Canyon towering walls, photographs of the river and the narrows from the canyon bottom and views of the high country where the variety of sandstone formations offer endless opportunities for creative photography.

About the Summit Vision Field Workshop
The day after the Summit ends we start on the second part of this event: the Summit Vision Field Workshop. The Vision Field Workshop is your opportunity to practice and develop the skills you learned during the Summit. It is called the Vision Field Workshop because the goal is to focus on finding a personal vision for your work.

The Summit Vision Field Workshop is popular because it allows you to maximize the value of your trip by visiting and photographing additional locations. This year we will visit three different National Parks and National Monuments: Bryce Canyon, Escalante-Grand Staircase and Capitol Reef National Parks.

All three parks offer superb photographic opportunities and all three are little visited meaning that we can expect to see few and at time no other photographers. Please note that if you are joining us and you want to attend both the Summit and the Vision Field workshops you need to act quickly because the field workshops are nearly sold out. The combination Summit + Vision Field Workshops always sells out first because participants want to maximize their time by taking advantage of the photographic opportunities offered by both.

Bryce Canyon, one of the locations we will photograph during the Summit Vision Field Workshop

 

Escalante-Grand Staircase National Monument
A second location we will photograph during the Summit Vision Field Workshop

 

Jeff and Natalie during the 2016 Summit Vision Field Workshop to Navajoland

 

Link to the Summit description and registration page
The full Summit description, pricing and registration information are available at this link:
http://www.beautiful-landscape.com/Workshop-Summit-17-Zion.html

This link also features biographies for Jeff and myself, a detailed itinerary and additional important information about the Summit.

Free Raffle
We always have a diversity of gifts that we raffle to Summit participants at the end of the event. These include books signed by Jeff and Alain, free gifts, Epson inkjet paper and even the Epson printer we use to print participants work during the Summit.

Last year we raffled the Epson Printer we used to print participants work during the Summit.
The raffle was won by Roz (between Jeff and Alain) who returned home with a free printer,
an extra set of ink cartridges and boxes of Epson inkjet paper.

Questions
If you have any questions not answered here or on the Summit description page simply email me at alain@beautiful-landscape.com

Thank you.

Alain Briot


Testimonial from Stefano, 2016 Summit participant

The Zion Narrows

 

Copyright © Alain Briot 2017
All rights reserved worldwide

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My Philosophy

My Philosophy

My Philosophy

1 – Introduction
This essay focuses on my approach to fine art photography. In order to explain how I do what I do I thought it was important to describe my philosophy in regards to art and photography.  As such this essay describes the aspects of art and landscape photography that are essential to my work and therefore particularly important to me.

2 – Gear
I like great gear but I am aware that improving gear means getting better gear, not creating better art. Quite simply better gear equals better resolution, sharpness, dynamic range, stability, functions and other technical qualities. Better gear does not equal better art or more interesting photographs. Better knowledge of art and photography equals better art and more interesting photographs.

My artistic skills are not defined by my gear any more than a painter’s skills are defined by the brushes, the paint or the canvas that he uses. Interestingly enough, unlike photographers painters don’t sit around talking about the quality of their gear, be it paint, brushes, canvas, easels or other. Neither is there a DxO Mark equivalent for the various dynamic range combination of paint, brushes and canvas. In fact there is no such thing as paint dynamic range, paint clipping or out of gamut color palette. Painters simply do not have to worry about color balance or any of the other technical concerns that many photographers seem obsessed with. Rather, they are concerned with expressing their vision and their emotional response to the subject, something they arrive at rather quickly not being bothered by the countless technical considerations that photographers concern themselves with.

Neither does there seem to be a hierarchy among painters based on the gear they use, at least not the way photographers approach the relationship between gear and skill level or even self worth. To return to DxO mark, this time from a photographer’s point of view, for most of us visiting this site is a humbling experience because we seek to find how high we are on the sensor-rating scale, from rock bottom to top of the line. However, what seems lost on most photographers is that this evaluation is based not on their skill level but on their ownership of a specific camera. While on the one hand having a low rating camera can generate low self esteem, having the top-ranked camera can generates insecurity for no one knows for sure how long it will be until a bigger, better and unfortunately often more expensive camera will supersede the current ‘champ.’ For those in between the highest and the lowest ranked camera, the level of self esteem drops proportionally to the relative ranking of one’s camera. This is often accompanied with the feeling that we are has-beens if our camera is anything past a year or two old, or 5 to 6 cameras below the top ranked model of the day, if that much.

3 – Field photography
Creating images in the field is where everything starts. There is simply no substitute for being inspired by nature itself. While there can be inspiration before field work, regarding where to go, what to do, how to approach the subject and so on, it is when I witness the beauty of nature in all its grandeur and glory that my heart and soul become filled with the desire to create a work of art.

I like to take a lot of captures when I work in the field. I don’t subscribe to the idea that a photograph has to be captured with a single frame. I find no glory in getting the shot in a single exposure. For me this a film based concept that is no longer relevant today. This concept was based on the fact that film and processing were expensive and that we could only carry a limited quantity of film. This was particularly true with large format, say 4×5 and larger, but it was also true with smaller formats. With digital capture there is no cost after the first $20,000 (adjust to fit your budget), and I have no limit as to how much storage I can carry because even if I fill all the storage cards I can carry I can always download them to a computer and start again. Therefore, limiting how much I shoot means bypassing one of the most advantageous aspects of digital photography which is that the number of captures I can make is unlimited and that capturing images carries no real cost due to the ridiculously low price of storage devices. It is therefore to my advantage to put the numbers on my side and to return home with as much data as I can, knowing that the cost of returning to the location is what is expensive, both in terms of travel expenses and in terms of time.

Collage-1-FS-layersLes Sentinelles Eternelles
One of my most recent images as of the writing of this essay.
The creation of this image follows the approach outlined in this essay.

I also do not make a call in the field in regards to what are my best captures. I can do that at my leisure in my studio when I return home. The purpose of field work is to gather data, of the finest quality I can and in as large a quantity as I feel. From this data the final images will emerge and no one needs to know how many images led to the final ones unless I decide to share this information.

In the field I also shoot wide and later crop as needed because high resolution cameras free me from having to figure out the perfect crop in the field. The difference in resolution is unnoticeable because the lack of image data is insignificant. However the final cropping is far more accurate than I could ever do it on location.

I also like to shoot both horizontal and verticals, try different compositions of the same scene, and intentionally capture wider views than I intend to use. Approximately 50 % of my work is composed of collages done not for the purpose of increasing pixel density but instead to increase field of view beyond what my widest lenses can capture. I also like the look of collaged images better than the look of wide angle photographs, even if they show the same field of view.

Once back in the studio I look at the different images I captured and progressively narrow the number of keepers based on technical and aesthetic considerations. I make a pre-selection in Lightroom then a second and narrower selection in Photoshop. I make the third selection after the images have been optimized to the technical layers stage, and the fourth selection after the image has been optimized all the way to the artistic layers stage (see below). The fifth and final selection is made after all the images have been optimized to their final state, and after I have had time to study them and reflect upon them.

4 – Image processing
It is in the studio that the second part of my work takes place. Inspired by my emotional response to the scenes I photographed, I enhance and manipulate my photographs at my heart’s content to express what I truly saw and felt. In Lightroom and Photoshop I do what I like to call ‘unspeakable things’ to my photographs and if you ask me, yes sir, I manipulate my work and I am proud of it. In fact, let me add that it feels great, carries not risk of heart disease, and some even say that it enhances life longevity through stress reduction induced by the liberation of all concerns for what others might think.

I don’t see anything that can be done with digital processing as being inappropriate when creating art. If I was doing forensic or documentation photography I certainly would rule many things as inappropriate. However, art is the domain of imagination and personal expression and digital processing opens the doors to possibilities that film photography never offered. This to me is a dream come true and I embrace all the possibilities that the medium offers. Nothing is out of bounds, taboo, illegal, or whatever term you may want to use to tell me that I should not do it.

In other words I do not limit myself to darkroom processes enhanced by digital imaging. Rather than restrict myself to dodging, burning, density, color adjustments and cropping, all done with more control and perfect repeatability from print to print that I could ever have in the darkroom, I use all the functions available in Lightroom and Photoshop to enhance and optimize my photographs and make them conform to my vision. I warp, collage, HDR, reformat, clone, stretch and otherwise manipulate my images at will. Instead of feeling guilty about doing this I embrace the possibilities offered by digital photography and I welcome whatever functions will become available next. These functions make life easier for me by alleviating many of the unnecessarily tough aspects of film photography and by bringing possibilities I could only dream of before.

5 – Fine art printing
The outcome of all this work is a fine art print. Not an image on screen, regardless of impressive the quality of today’s monitors might be, but a fine art print on paper (or other substrate), because paper requires no technology to be seen. I don’t need electricity, I don’t have to plug-in hard drives, connect USB cards to monitors, download and update software, or worry about forward and backward compatibility. I also don’t have to wonder if my descendants will be able to make sense of my file structure, or if later software and hardware will be able to read my files, or if someone will be kind enough to continue updating my entire computer storage and display system to guarantee access to my work ‘forever’. While they may not last ‘forever,’ my prints are accessible to all, requiring only eyes and the desire to look at them to be seen.

6 – Print quality
Print quality is of the upmost importance to me. Fine art landscape photography it a low drama medium. While I may depict a dramatic sunset, rainbow or storm, not much happens in the way of action, unlike in reportage, street, or sports photography for example. Therefore, while in reportage photography the content creates the interest and print quality is secondary, in fine art landscape photography the print quality is just as important as the content. In fact, it is often more important than the content. This is because natural locations being accessible to all, the same locations are photographed by many photographers. In this situation the difference between a good photograph and a stunning one of the same location is often the difference in print quality. In a head to head contest it is the print quality that separates a good photograph from an outstanding one.

I spare no efforts in creating the finest prints I can create. In doing so it is the processing of the image that matters most because it is during processing that print quality takes place, or not, as the case might be. While printer, ink, paper, printer profile and system calibration are important, they are variables that can be controlled through technique and experience. They can also be purchased with anyone with the necessary funds. In many ways printers are default devices. What varies is the image file.

File preparation therefore is just as much an art form as a technical exercise. In fact, once the technique has been learned to the point of becoming second nature, it is all art. So much so that my image optimization workflow is separated in two primary parts: technical and artistic. I work in Lightroom and Photoshop, doing basic file preparation in Lightroom then continuing the optimization in Photoshop using adjustment layers. I start by creating a set of technical layers whose goal is to create the technical foundation of the image. If I was doing documentation I could stop there because at that stage the image is perfect in regards to being a documentary record of the scene. However, it has no artistic qualities besides the composition of the image in the field, the choice of subject and light, and the decisions I made regarding lens and angle of view. It is the second set of layers, the artistic layers, that give the image the artistic qualities I seek to share with my audience. This second set of artistic layers include all sort of manipulations, from color changes to contrast adjustment, to cloning, to transformation of the image geometry using warp, distort or other transform functions, to reformatting of the image, for example making a vertical image an horizontal through stretching either the entire image or part of it, and more. As I said earlier on I enjoy doing ‘unspeakable’ things to my images and this is where this part of the process takes place.

While the set of technical layers usually takes me only minutes to complete, the set of artistic layers takes me much longer, anywhere from several hours to several weeks or months. Of course I do not remain chained to my desk for weeks on end, but it does takes me that long to work on the image on and off as inspiration strikes, trying to find the correct combination of colors and contrast needed to make a specific image work.

_DSF4588-FS-Flat-900 - copieCloud Filled Dawn

7 – Instruction
Teaching is important to me because I want to pass the torch so to speak and share my knowledge and my passion for fine art photography with other like-minded artists and photographers. To this end I teach a small number of workshops per year. I keep the number small because by limiting the number of workshops I can focus on the needs of my students 100% instead of being pulled in every directions by an overwhelmingly busy schedule. In practice I teach only six workshops per year on average, interspaced with one on one work with dedicated students who want to go beyond what can be learned in a group setting. My workshops are small, consisting of 12 students in my regular field workshops and 6 in my little known workshops series. I offer one on one mentoring because when studying fine art there comes a time when specific challenges can only be met one on one. Creating a personal style for example, or expressing a personal vision throughout a body of work, or working on a focused project, or again putting together a successful marketing plan are aspects of fine art that require a one on one environment.

I separate my courses in three categories: field work, studio work and marketing instruction. While there is no substitute for field work, as I explained in section one above, studio and marketing courses are offered both as live events and as Mastery Workshops on DVD/USB. I offer these two options to meet the needs of students who like to study in person and by themselves. While there is a value in studying in person, there is also a value in studying by yourself with a master tutorial that you can carry everywhere, refer to at will, and study at your leisure instead of having to learn and remember everything in 2 days. My mastery tutorials also saves time and travel expenses, and they remove the risk of not remembering essential information because note-taking failed you.

Collage-2-FS-Flat-900 - copieAfternoon in Canyon de Chelly

8 – Art
Art is my goal. In working towards this goal I am fully aware of the distinction between fine art photography and commercial photography. Doing commercial photography means being hired by a client on the basis that I can successfully create the photographs that this client wants. I am paid if I fulfill this contract. Fine art photography means creating images that please me, images that express my vision of the world in my personal style. People buy my work if they like my style and can relate to my vision of the world.

I also know that art is a matter of personal taste. What people like depends on people’s taste. Plus, when it comes to art opinions are polarized. Therefore, creating art means that some will love my work while others will dislike it. As such I am not surprised to have both fans and foes. In fact I consider this normal. The fact that I do means that I am creating art and not just documenting the world.

9 – Exhibiting
Showing my work starts with finding an audience who likes my work. While there is a difference between fine art and commercial photography, as I explained above, I still have to somehow manage to communicate successfully with my audience.

There are limits however to how far one can communicate successfully when it comes to exhibiting art. I learned a long time ago not to try to convince the inconvincible. Too many photographers waste valuable time trying to change the mind of people who don’t like their work. This is futile. My time is better spent looking for an audience who likes me and my work and helping this audience like my work even more.

It took me a long time to understand this but doing so saved me a lot of time and worries and helped me live a happier and longer life. Today I seek an audience who likes me and my work and I refuse to waste my time on those who don’t like what I do. I never lose sight of the fact that my goal is to create images that allow me to successfully share my vision and my emotional response to the subject with people who share my vision of the world, not with those who despise it.

10 – Conclusion
My goal is to to create images that expresses and share beauty. In doing so I am often amazed at how many people have misconceived ideas about art. Certainly I understand that art is not a mainstream concept. We live in a technically oriented society in which art and art instruction have taken a backseat. However this is not a reason for art to be dismissed altogether. We need it as much as we need technology. As Picasso said, art washes away the dust of everyday life, and we certainly have a lot of dust to wash away, wherever this dust may come from.

In thinking about this I consider several things in no particular order. First, art does not have to be perfect. As Dali put it: do not seek perfection for you will never reach it. Art is different from engineering in that respect because it does not need to be functional. Art only needs to look good. It does not have to perform a mechanical function, or any function for that matter, except aesthetic. Art does not have to work the way a machine works for example. If you design a machine and it does not work, you are fired at best and sued at worse. With art, if you create an unsatisfying work of art there is no penalty. At worse no one likes it. You won’t get fired over it and you won’t go to jail or be sued for having failed to express your vision successfully. I find this aspect of art freeing, refreshing and stress reducing and it is one of the reasons why art is an activity I enjoy.

I am always surprised by people who find that in order to be ‘good’ art must be hard to create. For me the quality of a work of art is not measured by how long it took to create it any more than good food it defined by how long it took to cook it. Good is good, that’s all. I pay attention to how much beauty, enjoyment and insights the work brings to me, not to how long it took to make it. For me a sketch by Picasso that took only a minute to complete is just as valuable and enjoyable as a painting by Picasso that took weeks or months to complete.

I am equally surprised by people who want to impose their view of what is ‘good’ art onto me. Surprised because I made the decisions that led to the the work I exhibit deliberately and with complete awareness of what I was doing. Therefore when someone tells me, for example, that the noise in the image bothers them, or that the colors are not to their liking, I always answer by saying that these do not bother me one bit, and that in fact I like them otherwise I would have made different aesthetic choices. They, as well as everyone else, have a choice when it comes to art and that is to not look at art that they do not like. I personally love my work and I have no desire to change it because someone does not like this or that. It is after all the nature of art that someone will dislike it, therefore by saying so those who do confirm that this aspect of art is alive and well.

Art is measured by how much emotion and pleasure it brings to us and to the viewer. I often say that if I do photography seriously and I am not having fun, something is wrong. I mean it. What is the point of doing something for fun if I am not having fun doing it? After all, no one forces me to do this. I do it because I want to, not because I have to. I do it because creating and sharing beautiful art makes life richer and more enjoyable.

Alain Briot
Arizona

About Alain Briot
I create fine art photographs, teach workshops and offer DVD tutorials on composition, image conversion, optimization, printing and marketing. I am the author of Mastering Landscape Photography, Mastering Photographic Composition, Creativity and Personal Style and Marketing Fine Art Photography. All 3 books are available as printed books on Amazon.com and as eBooks on my website.

You can find more information about my work, writings and tutorials as well as subscribe to my Free Monthly Newsletter on my website. To subscribe simply go to http://www.beautiful-landscape.com and click on the Subscribe link at the top of the page. You will receive 40 free essays in eBook format immediately after subscribing.

I welcome your comments on this essay as well as on my other essays. You can reach me directly by emailing me at alain@beautiful-landscape.com.

Alain Briot
http://www.beautiful-landscape.com
928-252-2466

The power of marketing

The reason why most photographers can’t make a living from their work is because huge efforts are necesary to convince them to spend money on marketing but no efforts are required to get them to spend their money on cameras and gear.  The problem is that just about any camera can take a sellable photograph, but no photograph will be sold unless they are marketed in a convincing manner.

What made me successful selling my work is I decided to reverse this process: I stopped spending my money on cameras and started spending it on marketing instruction instead. ”
Alain Briot

A best seller
The quote above sums up what I often say when I talk about the importance of learning marketing when you want to make a living selling your work.

In 2007 I published my 3rd book on photography.  Titled Marketing Fine Art Photography, it focused on teaching readers how to market their fine art photographs. The book was, and continues to be, a huge success with photographers and entrepreneurs.  It sold tens of thousands of copies, received rave reviews, has a 5 star out of 5 stars ranking on Amazon, and is regularly featured as best-selling photography business and marketing book.

What is most interesting is I could not predict how successful this book was going to be.  The two photography books I published previously focused on the art of photography: composition, light, cameras, etc.  When I told  my publisher that I wanted to write a book on marketing, their response was negative. They believed that no one would be interested in learning how to market fine art photographs.

Today everyone is a photographer and everyone want to sell their work
2007 is a long time ago.  However the publishers were obviously wrong.  Today ‘everyone’ is a photographer and many want to know how to make money from their photography.  For most the goal is to recoup the cost of their equipment, software and consumable.  However this is just the tip of the iceberg.  Many have a more powerful and personal reason: to learn how to make a living from their art.  For these photographers, making a living from their artwork is a dream they want to make come true.  This is why they buy my book.

This is great but there is a caveat to that situation.  The fine art market is a small market and when tens of thousands of photographers try to make a living in that market they create a bottleneck situation.  Quite simply there are too many photographers trying to make a living from too small of an audience.   In other words, while the number of photographers trying to sell their fine art photography has exploded, the audience interested in buying fine art photography has not grown any larger.  In fact, the audience has actually shrunk.  It has been significantly reduced by the economic recession we just went through and out of which we have not totally emerged yet. Quite simply: people don’t have as much disposable income as they used to.  Because it is disposable income that is used to buy fine art for the most part, the sale of fine art has decreased significantly.

The consequences brought by this economic situation are simple: only a very small number of photographers actually succeed in making a living selling their work.  For all the other photographers, sales are just too few and far in between to justify their efforts and their financial investment.  As a result, many photographers quit after a couple of months or a couple of years at the most.  In the process of trying to sell their work unsuccessfully, they usually waste a huge amount of time and money.

Back to my book
Going back to my book, this means that if you want to learn how to sell your fine art photography in today’s economy, you need to be realistic regarding how much my book can do for you.  You must know exactly what it can and cannot do for you.  What it can do is give you a  foundation on which to build your business.  This is because my  book contains solid marketing advice and can be used as a manual.

What it won’t do is teach you how to be successful selling your work in today’s economy.  This is because my book was written in 2006, before the recession started.  As I mentioned, many things have changed since 2006.  Today everyone is a photographer and many want to sell their work.  Today money is tigher because customers think more about what they buy. Before the recession people bought freely.  Today people are more careful about what they buy.  They also have less disposable income as I mentioned. Because artwork is usually purchased with disposable income, artwork purchases have declined.

These are very important changes that directly affect how successful you can be  selling your fine art photography today.  However, it is still possible to make a living, even a very good living, selling fine art photography today.  But, to do so one needs to use a new approach to marketing, one different from before, one that I call a post-recession approach.

Introducting The Fine Art Photography Marketing and Business Success Seminar
I describe this approach in my new Fine Art Photography Marketing and Business Success Seminar.  The goal of the Seminar is to go beyond my  marketing books.  None of the materials featured in the Seminar are featured in my books.

When considering the cost of the seminar what I often learn from photographers who contact me looking for help with their marketing is that ‘this is a lot of money for a starving artist.’  Fact is, you are only starving if you cannot eat.  This is the true meaning of the term.  If you can buy food, or can afford to purchase camera gear and travel to exotic locations for photography, what we are talking about in regards to ‘starving’ is a matter of resource allocation.

In other words you prefer to spend your money on cameras and on photographing exotic locations than on learning how to market your work with a professional who made millions selling fine art photographs for over 15 years.   As I always say, this is a free country do I don’t see a problem with this choice.  However, I do see a problem with expecting to be successful selling your work on the basis that you use  fancy cameras and photograph exotic locations. You need to do a lot more than that to sell your work!  Beautiful photographs simply don’t sell themselves.  You need to be actively involved and you need to use the latest marketing techniques to be successful.

You may say ‘that’s easy for you to say because you’re the one selling it but I’m the one buying your materials. At the end of the day you’re the one making money here.’  That’s true and I won’t argue with that.  However, what I will argue with is that what made me a successful photographer selling my work and living my dream of making a living from my photography, is that I did invest a huge amount of money in learning how to market my work.  In fact I  invested more money than you ever will! To this day I invested over 25 thousand dollars in consulting fees (I did the math),  paid to professional marketing experts who helped me get to where I am now.  What would have happened if I did not do that?  Simple: I wouldn’t be where I am.  When asked ‘what is the one thing that made you successful’, a question I get very frequently, my answer is always the same: what made me successful was learning how to market my work.

You may also ask: where did you find the money?” That’s an excellent question because as I was learning marketing I was actually a ‘starving’ artist.  But starving is an expression, not a fact.  As I pointed out earlier on, unless you have nothing to eat, you are not starving.  I had something to eat, and I had credit cards, so what we were talking about was resource allocation, not unavailability of funds.  What I did was quite simple:  I decided to spend my money, whatever amount I had, on paying people to teach me marketing rather than on buying new cameras, lenses, software, etc.  I also decided not to spend my money on  photography trips to exotic locations.

Instead of going to Namibia to photograph, for example, I stayed home and photographed locations that were nearby.  Instead of buying new cameras, I continued using the ones I had.  My cameras worked just fine and they made photographs that were just as pleasing to my customers.  The locations I photographed locally were just as beautiful as far away ones and sold just as well once I learned how to market them.  In other words, not having new  cameras, and not having access to exotic locations , was not the problem.  The problem was not having marketing knowledge.  Without that knowledge I couldn’t sell my work because photographs can’t sell themselves, no matter how good the cameras you used might be, and not matter how great the locations you photographed actually are.

Holding on to financial resources is not always wise
Another response I get is ” I am trying to hold on to all of my financial  resources at the moment  in order to pay for printing, new business cards, art cards etc. ”  To which I usually answer: ‘which may all be for nothing if you don’t know what you are doing!’

Fact is, it is common for beginners to waste their money on things they believe they need to sell their work such as business cards, art cards, etc.  Furthermore, they often order high quality prints, four-color offset or better, to make their materials more impressive.
But impressive materials don’t sell artwork.  They get you compliments but they don’t get you sales.
Fact is, the best marketing is inexpensive or simply free. If this sounds counter-intuitive that’s because it is.  In fact,  most aspects of successful marketing are counter intuitive.  This is why this marketing is so difficult to figure out.  As an example my most profitable marketing material, the one that brought me millions in sales, is a black and white xerox copy.  Even today, now that I can afford the finest marketing materials, I continue to use it because it works so well.  It’s not how it is printed that matters.  It’s what is printed on the page.  Knowing what to write is the million dollar secret!

Boosting your self confidence is not marketing your work
Most photographers’ idea of marketing comes from having low self-confidence when it comes to selling their work.  They do all sorts of costly things to boost their level of confidence in their work.   For the most part, these things are aimed at making their work appear legitimate.  As I just mentioned, they include costly-looking business cards, four color brochures and art-cards, expensive displays, sophisticated framing and print presentation.  By making their work look like a million bucks they expect people to fork over their hard earned money.  Unfortunately, this is not how marketing works.  In fact, this is not how any of this works.

The other problem is that these  marketing materials cost a lost of money, money that is no longer available for real marketing.  If done well these materials can certainly look impressive. However,  by themselves these things  do nothing to make fine art photographs  sellable.  Just because something is impressive does not make it sell. There are many impressive products out there, but it is not the fact they are impressive that makes them sell. It is the marketing used by the companies who own these products that makes them sell.  Ferraris are impressive and so are Rolex watches, Versace clothing, Dior beauty products, Vuitton bags and many more luxury products.  However, the reasons why these products sell goes way beyond their impressive presentation.The impressive presentation and marketing materials are only the tip of the iceberg.
What makes these products sell is the complex marketing strategies used by these companies.  These strategies are not visible to us.  They are hidden by the impressive presentation.  The presentation is where most people stop looking.   What lies behind the impressive presentation is where I start to look.  The presentation doesn’t really matter.  Anyone can do that if they have enough money.  The marketing machine that lies behind this presentation is all I care about because this is hard to do.  It is this machine what I teach.  It  how to construct it and make it run that I teach.  I do this because that is what will make you successful.

Learn what Real marketing is
There is a lot to marketing and as I said much of it is counter-intuitive.  The best approach is to start by learning the correct approach right away.  This is because it is much more difficult to correct mistakes than to do the right thing immediately.  In fact, in some instances it is impossible to correct mistakes.  The goal of the Fine Art Photography Marketing and Business Success Seminar is to prevent you from making mistakes.  Never forget that there are thousands of new photographers trying to sell their work every month.  There are your competitors. They come in  huge numbers and they are hungry.  Most of them read my books, but because I sell so many books, the books are no longer enough to make you or them successful.

This is why I created the Fine Art Photography Marketing and Business Success Seminar.  Because of its cost, this seminar is attended only by a small number of photographers.  Attending it therefore gives you a huge advantage.  Think of the Fine Art Photography Marketing and Business Success Seminar as being the access point to privileged knowledge that gives you the edge you need to compete successfully in the fine art market and outdo other photographers.

Don’t get it wrong: your competition is using my services and I make sure they are successful!  That’s bad news. However, I can do the same for you and make you just as successful. That’s the very good news!

The power of marketing comes from doing something that others are not doing.  The purpose of attending the Seminar is to give you this power by giving you access to knowledge that, first, is not widely disseminated and second is tailored specifically for you with the goal of giving you the power to master the market, take control of your own destiny and make your dream a reality.

Here are the link to  The Fine Art Photography Marketing and Business Success Seminar

Black Friday Super Special Offer

We are proud to announce that the new Advanced Adjustment Layers Mastery Workshop is ready and available for order at this link.

We have a Black Friday Super Special Offer as well! You can save 50% if you order the Super Special Offer at this link.

This is our most extensive tutorial so far. It took over one year to create. It is loaded with movies, eBooks, audio recordings, master files, Lightroom Presets, Photoshop Actions and more. Below is a quick overlook of the contents:advanced-layers-contents-400-1

In addition to these you also get an Alain Briot matted and signed fine art print (a $495 value), the recording of Alain’s 2015 Death Valley Fine Art Summit presentations (a $995 value), the 200 Master Files Collection (a $795 value), free shipping and a $100 off coupon for any of our workshops.
This is an offer you cannot afford to refuse, or pass up, or ignore.

This is our first Super Special Offer ever. Trust me, or Natalie.  This kind of offer doesn’t come around often!

mdvd-black-friday
Alain Briot
www.beautiful-landscape.com

Advanced Adjustment Layers Mastery Workshop on DVD or USB card

Advanced Adjustment Layers Mastery Workshop on DVD or USB card

This new and extensive tutorial will be released this fall. Right now a pre-announcement list is available. To get on the list simply email me at alain@beautiful-landscape.com with the words ‘advanced adjustment layers’ in the email subject. You will be added to the list and will benefit from special offers and lower pricing when this new tutorial is released.You will also be notified first.

You can also download the detailed table of contents for this new and extensive tutorial at this link.

A new podcast episode focusing on the new Advanced Adjustment Layers Mastery Workshop on DVD or USB card is also available. You can listen to it now on the Podcast page or on iTunes.
Additional information about this new Mastery Workshop will be posted to this site soon.

Alain Briot

http://www.beautiful-landscape.com

advanced-layers-start-screen

advanced-layers-contents-screen

2016 Fine art summit: Antelope Canyon, Schewe, Briot

Antelope Canyon Fine Art Photography Summit

November 4th to 7th, 2016 in Page, Arizona,
Field workshops: November 8th to 10th

Organized by Alain and Natalie Briot
With Jeff Schewe, 2016 Guest Instructor

Only 4 seats left

This is the 14th Annual Fine Art Photography Summit

The Summit is followed by a three-day Photographic Vision Field Workshop
to Navajoland including Monument Valley, Canyon de Chelly and other extremely photogenic locations.

Details of the Photographic Vision Field Workshop are below

Antelope Canyon Light Shafts
We will photograph this location during the Summit
Alain Briot 

Announcing an exciting, photographic-instruction oriented field workshop with professional photographer and instructors Alain Briot and Jeff Schewe. This event covers both the technical and artistic aspects of photography. The emphasis is using technical excellence to develop a personal photographic style. The goal is to help you learn how to create photographs that are uniquely yours.

During this feature packed, one of a kind event we will not only take you to some of the most photogenic locations in the world but also teach you how to best process and optimize your photographs to create fine art photographs that you will be proud to display. You will have the opportunity to study and work 1 on 1 with Alain Briot and Jeff Schewe. And, you will return from this workshop with photographs that you will be proud to display and share.

The 2011 Fine Art Photography Summit was a blast! Got some great images, learned a lot and made some new friends. Alain Briot, Natalie Briot, Tony Sweet, Susan Milestone and Mark Nelson put up an excellent program. Mark Nelson, the guest speaker, gave us a glimpse of alternative printing processes and convinced me that Pt/Pd printing is in my future. We even had a cameo appearance by Jeff Schewe during the print review!

Sounds like next year’s summit will be in Page, and the slate of speakers will be equally impressive to this year… time to start planning for it!

Stefano Lassini,
2011 and 2012 Summit Participant

 

Alain Briot

Originally from France, Alain has been photographing the American Southwest since 1983. Alain and his wife Natalie have lived in the Southwest for over 20 years. Their intimate knowledge of this beautiful area inspires them to photograph and to share their knowledge with others. Currently, Alain works with Phase One P45 digital back mounted on a Hasselblad Camera. His work is influenced by his training as an Artist at the Academie des Beaux Arts in Paris.

In addition to creating Fine Art Photographs, Alain is a columnist for Luminous Landscape.com (Michael Reichmann) and several other web sites. His essays on photography are published and read worldwide. Alain also publishes the Mastery Workshop on DVD series, which are available on this site. Finally, Alain is the author of three best-selling books: Mastering Landscape Photography, Mastering Photographic Composition, Creativity and Personal Style, and Marketing Fine Art Photography. Alain’s DVDs and books are available on this site.

2016 Summit Presentations:
Alain will be giving the following presentations during the Summit:

1 – Photographing Antelope Canyon and the other world class locations near Page
The Summit starts with a presentation by Alain about how to photograph Antelope Canyon and the other exciting locations found near Page, Arizona. Using a selection of his personal work together with maps of the Page area, Alain will show you where to find the finest locations, tell you the best time to be there, explain which lenses to use and much more.

2 – Foundational image processing
During this presentation Alain explains the most important aspects of image conversion, processing and optimization by teaching you the workflow he uses in his personal work. At the end of this presentation you will have a clear understanding of how to convert, process and optimize your images. You will also be able to use the same workflow that Alain uses to create his trademark images known for their unique color palette, soft contrast and other characteristics specific to Alain’s Personal Style.

3 – Using Composition to develop a personal style
During the 2015 Summit in Death Valley, California, Alain gave two presentations on how to express your personal Vision through artistic composition. This year, during the 2016 Summit in Page, Arizona, Alain will build upon these presentations by offering a session focused on how to use composition to develop your personal style.

Acquiring a Personal style has become more important than ever because today everyone is a ‘photographer’. In this situation, how do you stand out from the crowd? How do you make your work different and more attention grabbing than the multitude of photographs we see everyday? The answer is by developing your own personal style so that your work is different and unique to you. Teaching you how to do this is the goal of Alain’s presentation

4 – Working on projects and mini-projects
The most efficient manner of developing your personal style is to work on projects instead of on single images. A project consists of a series of images about a specific theme, subject, idea or concept. In this presentation Alain will go over why projects are important, how to design, work and complete your projects in a timely manner. Of particular interest is the fact that Alain will explain what is the difference between a large project and a mini-project.

You will also have the opportunity to design and complete one or several mini-projects during the Summit..

5 – Participant Photographs Review
On the last day of the Summit, Alain and Jeff will review the photographs created by Summit Participants. Alain and Jeff will explain what works in each photograph and offer suggestions to improve them. Alain and Jeff will also use Lightroom and Photoshop live to demonstrate which techniques can be used to improve each photograph.

Personal Work
You can see a collection of photographs by Alain in his Online Portfolios. Alain will also have a collection of his Fine Art Prints for you to see at the Summit.



© Martin Evening 2008

Jeff Schewe

Artist Statement:
I turned to photography because I was a frustrated painter. With photography there is an ability to create an image with spontaneity and freshness that painting does not allow. Over the years, I’ve still kept my love of light and design originally nurtured with painting. It is with a painterly sensitivity that I now approach my vision and perspective in photography.

I like to shoot any subject as long as I can bring with it a unique viewpoint. Though my first exposure to photography was in the traditional darkroom, I now work by using a computer to digitally manipulate my images. The allure of total power and control over my images that digital imaging allows is so seductive that I now no long even maintain a darkroom. However, though my images are manipulated, I strive to work in a totally photo-realistic manner.

Biography:
Jeff Schewe has been an award-winning Advertising Photographer in Chicago for over 25 years. He is accomplished in tabletop, location, portraiture and particularly accomplished in computer imaging. 

Jeff shoots a variety of subject matter and likes to control as much of the production as possible. He does this by making his own models, designing and building his own sets, painting backgrounds and employing computer imaging. He has been doing his own imaging for over 15 years in-house on his high-end Macintosh systems.

Jeff Schewe is a Photoshop Guru’s Guru. He’s on the inside of the development and testing of Photoshop and has helped guide and direct many features since Photoshop 4.0. Short of some of the Photoshop engineers, there’s probably not many people who knows Photoshop like Jeff.

As an indication of his skills and knowledge of fine art printing, he has been named an Epson Stylus Pro. He is a past Apple Master of the Medium and has been inducted into the Photoshop Hall of Fame. He speaks regularly at Photoshop World.

He is the coauthor of Real World Camera Raw with Adobe Photoshop and Real World Image Sharpening with Adobe Photoshop, Camera Raw, and Lightroom (along with the late Bruce Fraser) and is also co-authoring a book with Martin Evening titled Photoshop For Photographers: The Ultimate Workshop.

You can read Jeff’s complete biography and Artist Statement at this link

2015 Summit Presentations:
Jeff will be giving the following presentations during the 2015 Summit :

1 – Personal Work Presentation
In this first presentation on Friday evening Jeff will show a selection of his personal work and talk about the why and how these images were created. This is a fantastic opportunity to discover Jeff’s work, including original prints, and to find out what motivates his creativity.

2 – Lightroom and Photoshop (using the latest versions)
Jeff, who is a world-class expert in both Lightroom and Photoshop, will demonstrate the most useful and important new features of both the latest versions of Lightroom and Photoshop. This is your opportunity to get ahead of everyone else by learning this software with the top expert in the field and putting it to use immediately on your own images. This presentation will expand on Jeff’s best-selling book: The Digital Negative. Additionally, if you bring your copy of the book Jeff will sign it for you. In this presentation Jeff will also show us a selection of his favorite tips and techniques. Be ready to learn something unique!

3 – Preparing photographs for output
Preparing photographs for output, either for print or screen display, is a critical aspect of creating a fine art image. Are you preparing your image files properly so as to maximize the quality of your output? In this presentation Jeff will teach you how to prepare your images professionally for a variety of output types so that your photographs look their very best on print or on screen.

4 – Printing from Lightroom and Photoshop
What looks good on-screen does not automatically look good on print. In this presentation Jeff will teach you how to get the best possible print from your digital files, printing from Lightroom and from Photoshop. We are working on getting a printer to print your images with so you can see first hand the differences between screen images and printed photographs. We will also look at different papers to see how the same photograph looks like on different substrates. Finally we will have a selection of fine art prints on display, from both Alain and Jeff, for you to study directly.

5 – Participant Photographs Review
On the last day of the Summit, Alain and Jeff will review the photographs created by Summit Participants. Alain and Jeff will explain what works in each photograph and offer suggestions to improve them. Alain and Jeff will also use Lightroom and Photoshop live to demonstrate which techniques can be used to improve each photograph.

Personal Work
You can see a selection of Jeff’s personal work in this Portfolio as well as on his Website.


Jeff Schewe teaching during the 2015 Fine Art Summit in Death Valley, California
Summit Schedule

The Summit takes place November 4th to 7th, 2016 in Page, Arizona. The schedule for the Summit was designed by Alain and Natalie Briot with three goals in mind: convenient travel arrangements, exciting photographic opportunities ands a convenient place to conduct quality tutorials on image processing and fine art printing. Below is the 2016 Summit schedule:

Friday, November 4th, 2016
Registration, opening remarks and Keynote address

Registration
We will meet you in Page, Arizona, on Friday afternoon, around 4pm, at the Page Courtyard Marriott which is the Summit hotel. The exact meeting time will be emailed to you approximately two weeks before the Summit.

Opening remarks, Keynote Address and Page Locations Presentation
After registration is completed, the Summit will start with opening remarks and keynote address by Alain Briot, Natalie Briot and Jeff Schewe.

After the Keynote Address, Alain and Jeff will present a selection of photographs from a variety of locations in the Page area including Antelope Canyon, other slot canyons, Horseshoe bend, and other little known but extremely photogenic locations all within a short driving distance from Page. Alain and Jeff will explain when, where and how these photographs were created. The goal of this presentation is to help you become familiar with the different locations that we will be photographing. After this presentation you will have a very good idea about where you can photograph around Page and what time of day is best for each location.

Lake Powell
Jeff Schewe

Saturday, November 5th, 2016
Field photography & tutorial sessions

Sunrise: field photography session
You will begin your day with a photography shoot. You will have the choice of photographing Page from different locations. We will discuss which are the best locations for sunrise during the presentation on Friday evening.

Morning : tutorials by Alain and Jeff (see the list of tutorials in the biography section above)
After breakfast we will meet in the conference room at the Page Marriott for a morning of tutorials taught by Alain and Jeff.

Midday: Field photography session in Antelope Canyon
The best time to photograph Upper and Lower Antelope Canyon is at mid-day, so we will stop the tutorials at mid morning to go photograph these unique locations at the best possible time. Antelope Canyon is narrow, so to avoid crowding the slot canyon we will split the group in two so that half of the group photographs Upper Antelope and the other half photographs Lower Antelope. We will then rotate the group so that everyone can photograph both lower and upper Antelope.

Afternoon: Tutorial Sessions resume
The tutorial sessions will resume at mid-afternoon and will continue until 5 pm. You will then have the opportunity to photograph Sunset near Page. Again, we will discuss which locations are best ahead of time and give you detailed directions and other information for photographing these locations.

Evening: One on one sessions with Alain and Jeff
The conference room will be open in the evening for a supervised image processing session during which you will have the opportunity to work on your own images one on one with Alain and Jeff. This is a unique opportunity to get personalized help from two experts in image processing.

Light Shaft in Key Hole Arch, Lower Antelope Canyon by Alain Briot
We will photograph this location during the Summit

Sunday, November 6th, 2016
Field photography & tutorial sessions

Sunrise: field photography session
On Saturday you will have another opportunity to photograph Sunrise at a selection of locations near Page, Arizona.

Morning: tutorials by Alain and Jeff and (see the list of tutorials in the biography section above)
After breakfast we will meet in the conference room at the Page Marriott for a morning of tutorials taught by Alain and Jeff.

Midday: Field photography session in Antelope Canyon
Just like for Saturday, we will stop the tutorials at mid morning to go photograph Antelope Canyon at the best possible time. Because Antelope Canyon is narrow, we will again split the group in two to avoid crowding the canyon. We will also rotate the groups so that everyone can photograph both lower and upper Antelope.

Afternoon: Tutorial Sessions resume
The tutorial sessions will resume at mid-afternoon and will continue until 5 pm. You will then have the opportunity to photograph Sunset near page. Again, we will discuss which locations are best ahead of time and give you detailed directions and other information for photographing these locations.

Evening: One on one sessions with Alain and Jeff
The conference room will be open in the evening for a supervised image processing session during which you will have the opportunity to work on your own images one on one with Alain and Jeff. This is a unique opportunity to get personalized help from two experts in image processing.

I want to thank Alain, Jeff and Natalie for offering a tremendous 2012 summit !

Thommy Andersen, Sweden

Horseshoe Bend by Alain Briot
We will photograph this location during the Summit

Monday, November 7th, 2016
Field photography, tutorial sessions & Fine Art Photography review

Sunrise: field photography session
Again, you will have the opportunity to photograph Sunrise in the Page area at some of the unique locations found there.

Morning: tutorials by Alain and Jeff and (see the list of tutorials in the biography section above)
After breakfast we will meet in the conference room at the Page Marriott for a third day of tutorials taught by Alain and Jeff. We will discuss what to look for in a Fine Art Print, which qualities are important, and how you can develop the ability to create your own fine art prints.

Afternoon: group photographs review
After lunch, we will reconvene in the conference room where we will spend the afternoon reviewing the photographs you created during the Summit. Each participant will present his or her work to the class. Participants and instructors will have the opportunity to offer critiques, compliments, comments and suggestions. This review is a fantastic opportunity to receive feedback on your work. It will be by choice only. You are free to decide to participate or not.

Final Closing remarks
Alain, Natalie and Jeff will offer closing remarks after the photo review.

Antelope Canyon Light Dance by Alain Briot
We will photograph this location during the Summit


Photographic Vision Field Workshop
November 8, 9 and 10

Immediately after the Summit, Alain and Natalie Briot offer a three-day Photographic Vision Field Workshop to Navajoland.

The Photographic Vision Field Workshop is designed to expand and build upon the concepts taught during the Summit by exploring the concepts of Vision, Creativity and Personal Style on Tuesday and then getting started designing and working on a personal project on Wednesday and Thursday.

This Photographic Vision Field workshop is also designed to provide you with a unique opportunity to visit and photograph several of the most beautiful landscapes in one of the most photogenic locations of the American Southwest, Navajoland, including Monument Valley, Canyon de Chelly and much more. These are incredibly photogenic locations that you will be exploring under the guidance of Natalie and Alain Briot who have lived and photographed in the US Southwest for over 20 years and in Navajoland for 7 years.  You will acquire new photographic skills by conducting Photographic Skill Enhancement Exercises under the guidance of Natalie and Alain.

We will depart from Page on Tuesday morning for this extended workshop experience.  Below is the schedule and teaching details of this exciting Photographic Vision Field Workshop. Note that you can attend this field workshop for one or two days only or for all three days, depending on your schedule.

Photographic Instruction:
– How to develop and refine your vision and your personal style

Information about travel arrangements for the Vision Field Workshops will be emailed to you when you register.

 

Horseshoe Bend
Jeff Schewe

I enjoyed the Summit and Field workshop very much and got a lot out of both.  Every aspect was well planned, well organized and the instructors of the highest caliber.  I look forward to future summits and the possibility of one on one instruction.

Thanks and stay well,

Glenn Gilchrist
2008 Summit Participant

 

Sandstone Waves by Alain Briot
We will photograph this location during the Summit

Tuesday, November 8th, 2016

Travel:
We will meet you in Monument Valley, then travel with you in Monument Valley with stops along the way for photography. Afternoon and sunset shoot will be at Monument Valley. All the information about travel arrangements for the Field Vision Workshops will be given to you at the Summit

Presentations and discussions on Vision and Personal Style will take place throughout the day including at lunch and dinner time. We will stay in Monument Valley that evening.

Monument Valley by Alain Briot
We will photograph this location during the Field Workshop


Wednesday, November 9th, 2016

Travel:
On Wednesday we will photograph Monument Valley at Sunrise. After Breakfast we will travel from Monument Valley to Canyon de Chelly with stops along the way for photography.  Mid day, afternoon and sunset shoots will be at several choice locations in Canyon de Chelly.

Presentations and discussions on Vision and Designing a Personal Project will take place throughout the day including at lunch and dinner time.  We will stay in Chinle, the town at the mouth of Canyon de Chelly, that evening.

Photographic Instruction:
– How to refine your vision and personal style
– How to design and start a personal photography project

Thursday, November 10th, 2016

Travel:
On Thursday, we will photograph Canyon de Chelly at Sunrise. After breakfast we will depart from Canyon de Chelly and travel through Navajoland. We will photograph throughout the day at little known locations discovered by Natalie and Alain during the 7 years we spent living in Navajoland. These locations are away from the touristic routes and rarely photographed. Sunset will be at a location near Tuba City. The remoteness of this area means it is still relatively little known and photographed, a huge bonus when it comes to creating new images and working on your personal style. You are guaranteed to return with images that few people have!

If you like little known locations and places where you don’t see other photographers, then Thursday will be one of the highlights of this trip for you. The remoteness of this area means it is a visual paradise that is still little known and photographed. You are guaranteed to return with images that few people have taken!

The Vision Field Workshop ends after Sunset. You can stay in Tuba City, Arizona, that evening or start driving back to your destination after sunset. Flagstaff, Arizona is less than an hour South of Tuba City and Phoenix is another two hours from Flagstaff.

Photographic Instruction:
– How to design and start a personal photography project

Canyon de Chelly by Alain Briot
We will photograph this location during the Field Workshop

Additional Information

About Photographic Instruction
The instruction during the Summit and the Vision Field Workshops will consist of tutorials, presentations, question-answer sessions and photographic skills exercises. You will receive a class syllabus, a detailed itinerary, a list of field exercises, plus several other handouts covering the subjects that we will study at the start of the Summit and at the start of the Vision Field Workshops.

During the Summit, all photographic instruction will be done at the Summit Hotel, in the conference room. We will cover how to photograph the Page area during the Summit, we will go over the specific challenges offered by each location, and will teach you how to overcome these challenges so you create professional photographs. You will then have the opportunity to visit these locations on your own, and you will have the freedom to select the location(s) of your choice. Once back at the Summit Hotel we will help you convert, optimize and print your photographs. The last day of the Summit we will review your work. The photographic review, which is optional, is always one of the highlights of this unique event.

Alain and Jeff will also be photographing during the Summit so you may find yourself photographing with them depending on your choice of locations. Of course you will be photographing with Alain if you attend the Vision Field workshops.

Don’t let this unique opportunity pass you by!
Seats in this unique workshop are in high demand. To be fair reservations are taken on a first come first served basis.

If you have been thinking about building up your portfolio, if you have been thinking about becoming more serious about your photography, if you want to photograph some of the most beautiful photographic locations while receiving photographic instruction, if you want to learn how to best convert your photographs RAW, prepare them in Photoshop and other programs and create Fine Art Prints don’t hesitate another second: sign up now. This event is truly a once in a lifetime opportunity!

Location:
We will meet you in Page, Arizona at the Page Marriott  A special room rate is available to participants. All location shoots during the Summit will be in the Page, Arizona, area and in Navajoland. All tutorial and review sessions will be conducted at the Page Marriott

Number of participants:
The number of participants for the 2016 Summit is strictly limited  to 50.  This limit is set to ensure a low participant to instructor ratio as well as a pleasant experience.  Keep in mind that the Summit is a seminar-style event, and not a field workshop. Field Photography during the Summit is on your own. The Vision Field Workshops after the summit, which are limited to fewer participants, are guided by Alain and Natalie Briot.

What you will need
– A digital camera or a film camera and a digital camera. Photographers using any format cameras, from 35mm to medium format, 4×5 and other are welcome. If you only shoot film, you can bring scans of your photographs to work on during the Summit.
– A laptop with Adobe Lightroom and Adobe Photoshop plus any other imaging software you currently use.
– A USB Flash drive to transfer files for the Fine Art Photography Review
– A vehicle as you are responsible for your own transportation to Page and to the locations we will be photographing.

Cost and Contact information
Summit alone: $995 only during our “Early Bird” special offer. $1395 regular price. You save $400!
Photographic Vision Field Workshops alone: $1295
Summit + 3 days Field Workshops:$1990 only. $2690 regular price. You save $700!

Round Rock, Navajoland – We will photograph this location during the Summit Field Workshop
Alain Briot
How to Register
:

Only 4 seats left

There are four ways to register for the 2016 Page Fine Art Photography Summit:

1 – Use the Paypal buttons below:

 

1 – Use the Paypal button below:
2017
Fine Art Summit

 2017 Fine Art Summit in Page-Antelope Canyon
With Alain Briot and Jeff Schewe

Regular price: $1395

Now only $995 
You save $400 !

Only 4 seats left


 

2016 Summit Field Workshop :
Regular price: $1295

Sold out

Register for the Summit and we will add your name to the waitlist.

We cannot add you name to the waitlist unless you first register for the Summit.

 

Both Summit + Field Workshop:
Regular price $2690 

LImited time special offer: $1990 only
You save $700 !

Sold out

Register for the Summit and we will add your name to the waitlist.

We cannot add you name to the waitlist unless you first register for the Summit.

2 – Download the Summit registration form (PDF format) by clicking here
2 – Email Alain at alain@beautiful-landscape.com
4 – Call us toll free at 800-949-7983 (USA) or 928-252-246 (international) and register over the phone

We accept Visa, MasterCard, American Express and Discover. A receipt will be mailed to you after your registration is processed and you will receive a confirmation over email.

Registrations are allocated on a first come, first served basis. This even is in high demand and we recommend you act now because the Summit and the Photographic Field Vision Workshops sell out quickly. Usually the Summit + Photographic field workshops sell out first because we accept a smaller number of participants to the field workshops. Therefore, if you want to attend both the Summit and the field workshops you need to act now to be sure you have a seat in both.

If you have any questions before registering, click here to send us an email inquiry. We are pleased to assist you with any questions. You can also call us at 800-949-7983 or 928-252-2466. We are located in Arizona.

Spiderock – We will photograph this location during the Field Workshop
Alain Briot

How to make your hotel reservations in Page, Arizona:

Summit participants benefit from a special group rate at the Page Courtyard Marriott, the Summit Hotel. You will be emailed the hotel contact information (phone, email and address) as well as the code to get your discounted rate, after you register. There is of course no obligation for you to stay at the Summit hotel. You are free to stay at any other hotel you like. There are many hotels to choose from in Page, all within short driving distance from the Summit hotel. Camping and RV facilities are also available either in Page or along Lake Powell. Just let us know if you need Camping and RV information.

The 2016 Summit Hotel is the Page Courtyard Marriott

Things to keep in mind:
– Food, lodging, transportation and park entrance fees are not included. While most participants stay at a hotel, some occasionally decide to camp. Similarly, some participants may want to eat with the group while others may prefer to be on their own. Finally, some participants may want to return several times to one location, while others may not want to visit this location. This arrangement provides for maximum flexibility while keeping the cost of this workshop to a minimum. It also gives you maximum freedom in planning your meals and give you time by yourself if you choose.

– We will email you directions to Page as well as a list of hotels in the Page area when you register for the Summit. You will receive an email indicating our Friday evening meeting time as well as additional information approximately 2 weeks before the Summit. You are responsible for your own travel arrangements to Page and back and for your lodging arrangements.

– A passenger car is suitable for this workshop since we will not drive on 4 wheel drive roads during the workshop. However, if you rent a car, we recommend you rent an SUV as it is more suited to this kind of activity.

– The closest large airport is Phoenix, Arizona which is located approximately 5 hours South of Page.

– We have a no tag-along policy. Spouses, friends, significant others and non-photographers need to be registered as full-time participants to join any aspect of the Summit and the Field Workshop. This includes lectures, meetings, print reviews, lectures, meals, travel and all other aspects of this workshop. For further details read our Workshop FAQ.

– We do not carry cell phones because coverage is often unreliable or unavailable in the remote locations where we will be photographing. Instead, we use walkie-talkies to communicate with each other during field workshops, when we are on location and when we are driving. If you become separated from the group we will call you on your walkie-talkie to find out where you are. For these reasons we ask that you bring a walkie-talkie, such as a Motorola Talkabout or equivalent, to the Summit. Please set your walkie-talkie to channel 4-5.

Navajoland
We will photograph this location during the Field Workshop
Alain Briot

Cancellation policy

All monies are non-refundable. If you need to cancel participation in this event, either the Summit, the Vision Field Workshops or both, your registration fee can be transferred in full towards participation in another workshop taught by Alain and Natalie Briot. Workshop fees can only be transferred to another workshop and cannot be used towards purchase of a product such as mats, portfolio cases, CD or DVD tutorials, prints, portfolios, or other. Workshop fees cannot be transferred towards purchase of the Mastery Workshop DVDs or towards consulting fees. If this workshop is cancelled by us you will receive a full refund. By registering for this workshop you agree to this policy.

Liability Limitation
Beaux Arts Photography, Beautiful-Landscape.com, Alain Briot, Natalie Briot, their guides, guest presenters and cooperating agents aim to provide every participant a safe, educational, and enjoyable experience. We act solely as agents for you regarding accommodations, special activities, and travel, by any means, and assume no liability for any act, error, omission, injury, loss, delay, mishap, or damage to persons or property arising from any cause during the course of the workshop or in transit thereto. We can accept no responsibility for losses or additional expenses due to delay or changes in the services to be provided. We reserve the right to change our arrangements should conditions necessitate, or to cancel any aspect of the workshop due to exceptional circumstances. In the event that we deem it necessary to cancel the workshop we will provide a full refund which the participant(s) acknowledges as full and final settlement. In the event of a workshop cancellation airline tickets, car rentals and hotel reservations associated with participation in this workshop will not be refunded. We recommend you purchase refundable airline tickets and make refundable car and hotel reservations. We also recommend you carry travel and camera equipment insurance.

As there is always an element of risk in any adventure associated with the outdoors, participants must read this form carefully. This liability release will certify that the participant is physically fit and capable of participating in outdoor photography exercises in field locations, and is fully and completely aware of any associated risks created by field locations and weather.

Meeting times, meeting places and itinerary are subject to changes dictated by the weather, the road conditions and other imponderable variables that are part of doing landscape photography. We do not carry cell phones. You are responsible for being at the meeting place at the designated time and have your photographic equipment with you.

By joining this workshop you acknowledge that you have read the above information concerning responsibility and release Beaux Arts Photography, Alain Briot, Natalie Briot, their guides, instructors and any cooperating agent from any liability. Beaux Arts Photography, Alain Briot and Natalie Briot will assume no liability for injury, illness, or loss of personal property or expenses thereof associated with workshop participation. You also acknowledge that your participation in this workshop is subject to acceptance by the organizers and that Alain and Natalie Briot have the right to refuse service to anyone at anytime.


and:
Click here to see photographs taken during previous Summits 

 

Also, be sure to read this essay:
7 Reasons why you should attend the Fine Art Summit

 

Antelope Canyon
Jeff Schewe

Photographs copyright © 2016 Alain Briot and Jeff Schewe

 

2017 Antelope Canyon Workshop with Alain and Natalie Briot

Antelope Canyon Workshop with Alain & Natalie Briot
March 31st to April 4th, 2017

This is a unique 5 days Slot Canyons Workshop

An exclusive field workshop with two of the Southwest’s finest landscape photography instructors
This workshop is opened to all photographers regardless of camera format or level of experience

Open to 12 photographers maximum

Workshop Focus: Light and Composition

Antelope Light Dance

 

I just wanted to let you know how much I enjoyed the workshop.
It was a great group of people who participated, your location choices were excellent
and I greatly appreciated your concise but very pertinent guidance and comments.
I learned a great deal.
Nothing was forced, there was no intimidation (except self-imposed), and everyone shared
unreservedly of their knowledge, work examples, and suggestions for better photography.
It was a wonderful mini-community that evolved in that short time.

John Sorce, Antelope Canyon participant


Workshops FAQ
Discover our other workshops

Announcing an exciting, photographic-instruction oriented Northern Arizona workshop with professional photographer and instructor Alain Briot and art instructor Natalie Briot!
We are pleased to announce some extremely exciting news: Natalie and I are offering a workshop that is feature packed, filled with several one of a kind photographic opportunities, and designed to help you improve your photography in a short time!
Your itinerary:
This weekend workshop will take place in Page Arizona. The itinerary for the workshop was designed by Natalie and I with two goals in mind: convenient travel arrangements and exciting photographic opportunities. We will meet you in Page on Friday evening and we will travel together, caravan style, to the different photographic locations we have on our schedule.Here is a detailed account of our itinerary:Friday, March 31st, 2017 
We will meet you in Page on Friday evening 2 hours before sunset approximately. We will email you the exact meeting time and location approximately two weeks before the workshop. This location will be close to Page. We will photograph sunset that evening from a location near Page.

Saturday, April 1st, 2017 
We will begin our day at the famed Horseshoe Bend. This is one of the most hidden treasures of the area and sunrise there can be an unforgettable experience. Morning and mid-day will be spent in Upper Antelope Canyon. This jewel of the Southwest is one of the most sought after photography locations. It will be your turn to create your images of this photographic wonderland. Later on that afternoon we will conduct a print review (bring some of your work, between 4 and 10 prints, 8×10 or larger). In the evening we will photograph sunset over Lake Powell from one of the best overlooks around.

Sunday, April 2nd, 2017 
We will be up early to photograph sunrise over some beautiful Sandstone formations. After Breakfast we will explore and photograph a little known slot canyon (not Antelope Canyon). This will be one of the highlights of the workshop since this slot canyon is little known and rarely photographed. Sunset will be at a little known overlook with fantastic views of the Canyon Country.

Monday, April 3rd, 2017 
We will be up early to photograph sunrise over Lake Powell from a different location than on Saturday evening. After Breakfast we will spend several hours photographing Lower Antelope Canyon. After lunch we will conduct print reviews and afterwards we will continue exploring the sandstone formations near Page and photograph sunset from one of the locations we will be exploring.

Tuesday, April 4th, 2017 
We will photograph sunrise from a new overlook. The workshop ends after breakfast to give everyone plenty of time to drive home.

Sand Waves

About Antelope Canyon
Photographers love Antelope Canyon because it is one of the most photogenic natural sites anywhere in the world. Antelope Canyon actually consists of two separate canyons, about 5 miles apart from each other: Upper Antelope and Lower Antelope. Most workshops take you to either to the Upper or the Lower part of Antelope Canyon, as these two canyons are called.
But, doing so means that you only get to see half of this wonder of the world! Well, not anymore. We have decided to take you to both Upper and Lower Antelope Canyon in the same workshop! That way you can really say you saw it all (and photographed it as well)!Plus, since we will be in Page, land of incredible rock formations and scenery, we couldn’t pass up the opportunity to show you some of our other favorite photographic locations. So, we decided to also take you to Horseshoe Bend, one of the most amazing overlooks over the Colorado River, for sunrise. We will also take you to a remote location where you will find Hoodoos, whimsical rock formations that are particularly photogenic, for sunset. You will also have the opportunity to photograph Lake Powell at Sunrise and at Sunset from two fantastic overlooks. Lake Powell is world-famous for the incredible sandstone formations and for the unique colors the rocks take at sunrise and sunset. Finally, we will be taking you to some of the lesser known areas, some known only to Natalie and I, including slot canyons and other locations that we discovered on our own over the many years we have been exploring this area. This is truly a unique photographic workshop from which you will return with a great collection of images to add to your portfolio!Furthermore, you will be practicing Photographic Skill Exercises daily. We will have handouts for you and will be explaining these exercises in details. We will then work individually with each of you to help you with your exercises. Read on as there is more details about our Photographic Skill Exercises below.

We will take you to each of the locations shown on this page so you can create your own photographs of these incredible places.

You will be able to photograph both Upper and Lower Antelope Canyon, the little known slot canyon mentioned above, plus Lake Powell, Horseshoe Bend, The Hoodoos and several little known locations with Alain and Natalie Briot.

Light Shaft in Keyhole Arch, Antelope Canyon.

 

Workshop focus and Photographic Skill Exercises
The focus of this workshop is Light and Composition. You will be practicing photographic skills exercises daily to strengthen your knowledge of light and composition during the workshop. You will receive handouts with a description of each exercise and we will go over the exercises with you, explaining to you both the theory and the practical side of each exercise. You will then be asked to conduct these exercises on your own. Make sure to bring a folder where you can store your handouts, a notepad to take notes during the workshop, and several pens and pencils.

Don’t let this unique opportunity pass you by!
Seats in this unique workshop are in high demand. To be fair reservations are taken on a first come first served basis.

If you have been thinking about building up your portfolio, if you have been thinking about becoming more serious about your photography, if you want to photograph some of the most beautiful photographic locations while receiving photographic instruction, don’t hesitate another second: sign up now. This is truly a once in a lifetime opportunity!

Horseshoe Bend with Flowers

Registration:
There are four ways you can register for this workshop:
1 – Use the paypal button below:

1 – Use the paypal button below:
Spring 2017
Antelope Canyon
Workshop

Spring 2017 Antelope Canyon Workshop
$1395 only

2 – Call Alain and Natalie toll free at 800-949-7983 (or 928-252-2466 )
3 – Download, fill and return the emailable Workshop Registration Form 
4- Email Alain at alain@beautiful-landscape.com

We accept Visa, Mastercard, Discover and American Express. A receipt will be mailed to you the day after your registration has been processed. You can charge the registration fee in one instalment or in 3 equal installments placed to your card a month apart starting when you register. Just let us know your preference when you sign up.

Registrations are on a first come, first served basis. We recommend you act now because our workshops sell out quickly.

If you have any questions before registering, click here to send us an email inquiry. We are pleased to assist you with any questions. You can also call Alain or Natalie Briot at 800-949-7983 or 928-252-2466 .

Sunset over Lake Powell.

Things to keep in mind:
– Bring clothing suited for a variety of temperatures, from cold mornings to warm afternoons. Also be prepared for potential rain and for active weather. To quote David Muench: “bad weather equals good photographs.”

– Food, lodging and transportation are not included. Some of you may want to camp, some stay in a hotel, some may want to eat with the group while other may prefer to be on their own. This arrangement provides for maximum flexibility while keeping the cost of this workshop to a minimum. It will gives you maximum freedom in planning your meals and give you time by yourself if you choose.

– We will email you directions to Page as well as a list of hotels in Page when you register. You will then receive an email with the Friday evening meeting place and a detailed workshop schedule approximately 2 weeks before the workshop.

– We will be photographing from 4000 to 6000 feet elevation on average. Normally the only problem you can expect is a slight shortness of breath. However the higher elevation is something to keep in mind if you live at sea level or you are prone to encountering physical difficulties at higher elevations.

– You are responsible for your own travel arrangements to Page and back and for your lodging arrangements. We will email you a list of accommodations in Page when you register. The closest major airport is Phoenix, Arizona. Page is located approximately 5 hours North of Phoenix, Arizona.

– A passenger car is suitable for this workshop since we will not drive on 4 wheel drive roads during the workshop. However, if you rent a car, we recommend you rent an SUV as it is more suited to this kind of activity.

-We have a no tag-along policy. Spouses, friends, significant others and non-photographers need to be registered as full-time participants to join any aspect of this workshop. This includes meetings, print reviews, lectures, meals and all other aspects of this workshop. No exceptions. For further details read our Workshop FAQ.

– We do not carry cell phones. We will use walkie-talkies to communicate with each other during the workshop, when we are on location and when we are driving. If you become separated from the group we will call you on your walkie-talkie to find out where you are (provided you are within a 2 or 3 mile range). For these reasons we ask that you bring a walkie-talkie, such as a Motorola Talkabout or equivalent, to the workshop. Please set your walkie-talkie to channel 4-5.

Print Review
A personal print review will be conducted during this workshop. This print review will focus on composition, print quality, image optimization, personal approach to photography, and more. Make sure to bring 6 prints of your work, 8×10″ or larger print size, to share with the group. Our print reviews are friendly and helpful and will allow you to present your work, ask questions, and receive answers and feedback from both the group and the instructors. This is a print review, not a print critique. Our goal is to help you improve your skill and build your confidence level regarding your photographic skills. If you participated to one of our workshops previously we strongly recommend you bring photographs created during this other workshop.

Horseshoe Bend Panorama
Digital collage composed of 5 digital captures stitched together

Instructor Availability
We will be helping you and photographing with you from sunrise to sunset with a break for breakfast and lunch during the entire duration of the workshop.

Cancellation policy:
All monies are non-refundable. If you cancel participation in this workshop your registration fees may be transferred towards registration in another Beaux Arts Photography workshop under certain conditions. Transfer of fees to another workshop is not automatic and is decided solely by Beaux Arts Photography as a courtesy. We reserve the right to decide whether to transfer your fees to another workshop or not. You must register for another workshop within one year from the starting date of the workshop you originally registered for. Participants transferring from another workshop will be registered for this other workshop in excess of the regular number of participants. We can only accept two transfers per workhop. We cannot transfer your registration to the Summit. If you decide to attend a higher priced workshop, or if the workshop fee has increased, the difference in cost between the two workshops will be charged to your credit card when you notify us that you want to sign up for this other workshop. Your registration is guaranteed only when we have payment in full. We reserve the right to change this policy at any time.Workshop fees can only be transferred to another workshop and cannot be used towards purchase of a product such as mats, portfolio cases, CD or DVD tutorials, prints, portfolios, or other. Workshop fees cannot be transferred towards purchase of the Mastery Workshop DVDs. We cannot transfer consulting fees towards workshop registration. If this workshop is cancelled by us you will receive a full refund.

Liability Limitation
Beaux Arts Photography, Beautiful-Landscape.com, Alain Briot, Natalie Briot, guides, and cooperating agents aim to provide every participant a safe, educational, and enjoyable experience. We act solely as agents for you regarding accommodations, special activities, and travel, by any means, and assume no liability for any act, error, omission, injury, loss, delay, mishap, or damage to persons or property arising from any cause during the course of the workshop or in transit thereto. We can accept no responsibility for losses or additional expenses due to delay or changes in the services to be provided. We reserve the right to change our arrangements should conditions necessitate, or to cancel any aspect of the workshop due to exceptional circumstances. In the event that we deem it necessary to cancel the workshop we will provide a full refund which the participant(s) acknowledges as full and final settlement. In the event of a workshop cancellation airline tickets, car rentals and hotel reservations associated with participation in this workshop will not be refunded. We recommend you purchase refundable airline tickets and make refundable car and hotel reservations. We also recommend you carry travel and camera equipment insurance.

As there is always an element of risk in any adventure associated with the outdoors, participants must read this form carefully. This liability release will certify that the participant is physically fit and capable of participating in outdoor photography exercises in field locations, and is fully and completely aware of any associated risks created by field locations and weather.

Meeting times, meeting places and itinerary are subject to changes dictated by the weather, the road conditions and other imponderable variables that are part of doing landscape photography. We do not carry cell phones. You are responsible for being at the meeting place at the designated time and have your photographic equipment with you.

By joining this workshop I acknowledge that I have read the above information concerning responsibility and release Beaux Arts Photography, Alain Briot, Natalie Briot, their guides, instructors and any cooperating agent from any liability. Beaux Arts Photography, Alain Briot, and Natalie Briot will assume no liability for injury, illness, or loss of personal property or expenses thereof associated with workshop participation. I also acknowledge that Alain and Natalie Briot have the right to refuse service to anyone at anytime and that workshop policies are subject to change at any time .

Not sure if you want to attend this workshop?See more photographs of the locations
we will photograph during this workshop
by clicking here now

Text and photographs Copyright © Alain Briot 2017

.

Navajoland Workshop 2017 with Alain and Natalie Briot

 

Navajoland Workshop
— May 5th to 9th, 2017 —


An exclusive five day field workshop to Navajoland with Alain and Natalie Briot

Opened to 12 participants only

5 seats left

Workshop focus: Personal Style, Light and Inspiration


This workshop is open to photographers of all levels of experience, using film or digital.

Shadows, Monument Valley

I wanted to thank you and Natalie for a great Navajoland workshop. The pace of the workshop was perfectly engaging as well as challenging. I came away KNOWING I will be a better photographer and I look forward to honing my skills  using the  Printing Mastery Workshop on DVD.

Thank you again,

Gary Hamilton
Texas

Announcing an exciting Northern Arizona workshop to NavajoLand with Alain Briot and Natalie Briot
Alain Briot, famous large format landscape photographer and Natalie Briot, Painter and Certified Art Teacher “team up” to offer you a unique and feature-packed workshop. Alain and Natalie have lived seven years in Chinle, at the mouth of Canyon de Chelly National Monument and are now taking you to the places they know intimately, the places they have explored inside and out for many years.Visit NavajoLand with two of the most knowledgeable instructors for this location, bring back photographs you will treasure for years to come, and improve your photography skills in record time.

Hello, Alain Briot here. I am pleased to announce some extremely exciting news: Natalie and I are offering a unique, feature-packed workshop filled with exciting and unique photographic opportunities. This workshop will take you to one of our favorite photographic locations: NavajoLand.

About Alain and Natalie Briot
I specialize in creating large format, fine art landscape photographs and I have been photographing since 1980 in Europe and since 1983 in the United States. I have 6 years of experience teaching photography and communication courses at the graduate and undergraduate level at Northern Arizona University in Flagstaff, Arizona and at Michigan Technological University in Houghton, Michigan. I have 20 years of experience photographing the Southwest and NavajoLand, the fascinating region we will explore during this workshop.

Natalie is a certified Art Teacher. She
has been teaching since 1992, first in Houghton, Michigan, then in Chinle, in the heart of NavajoLand, starting in 1995. Natalie loves teaching and specializes in helping her students fulfill their vision through visual exercises. Natalie is extremely patient and attentive to her students’ needs.

We will take you to each of the locations shown in the photographs on this page so you can bring back your own photographs from these amazing places! Here are some of the locations we will be visiting:
– Canyon de Chelly
– Thunderbird trading post
– Monument Valley
– Round Rock
– Church Rock
– Much more!

Clearing Storm over Canyon de Chelly

The four unique and exciting aspects of this workshop:

1- You will be working under the guidance of not one but two instructors: Alain, professional large format photographer and Natalie, painter and Certified Art Teacher.
You will be working with two professional instructors who both have intimate knowledge of NavajoLand and of each location where we will be taking you. Having two instructors for a small group is a huge benefit. It means that you will literally get one-on-one attention. This will result in much faster skill improvements than if you were working either on your own or as part of a large group.

Natalie and I also have a widely different teaching style. I focus upon taking photographs, finding the best light and the best composition possible and then framing the scene, calculating the exposure and so on. Natalie, on the other hand, takes a more relaxed and less driven approach, focusing on helping you build visual skills one at a time and completing your Photographic Skills Enhancement Exercises in a constructive manner. As I said before (and I cannot say it enough) Natalie is very patient and very dedicated.

Working with both of us, and being exposed to our two teaching approaches, will be a pleasurable and effective experience for you. While I will focus on technical photographic aspects as well as on composition and finding the best photograph, Natalie will focus on helping you with your exercises, with answering questions and with providing additional information on a variety of topics.

2-We will take you to some lesser known locations which we discovered after years of exploration.
We found many little known, or completely unknown locations during the many years we spend living in Chinle and exploring NavajoLand. We will be taking you to some of these locations, selecting those that do not require extensive hiking. Of course, knowing me and my work you know that I will choose locations that offer the most exciting photographic opportunities! Of course, visiting these locations is dependent on the weather and on road conditions. We may adapt our itinerary depending on these unpredictable variables.

Spiderock in Snowstorm

3-You will be practicing Photographic Skills Enhancement Exercises daily
In my 9-part article series on Aesthetics in Photography I introduce my Photographic Skills Enhancement Exercises. This concept is based on approaching photography as an activity in which visual training is necessary. This approach is based on conducting specific exercises designed to allow you to practice your photographic skills.

While my articles describe these exercises and provide you with the theory behind them, my workshops are designed to go much farther by providing an environment where you can apply the skills you learned in my articles under the guidance of Natalie and I. Natalie is very personable, very patient and very attentive to everyone needs. I know you will love working with her.

Of course, you can get as little or as much instruction and input as you want. If you prefer to focus on your own work you will have all the time needed to create your images. Just let us know and we will work with you to provide a learning environment tailored to your needs.

4-You will enjoy a visit led by instructors intimately familiar with Navajo Culture
This is a definite advantage for you and the guarantee of an enjoyable visit. As you know Natalie and I have lived in Chinle for 7 years from 1995 to 2002 (we moved from Chinle to Peoria, Arizona, in January 2003). We know the way of life of the Navajos, we are familiar with their customs and their beliefs, and we know how to interact with them. Furthermore, we have been doing business with Navajos since 1995 and have been exploring NavajoLand since 1983, for myself, and since childhood for Natalie who has lived in Arizona nearly all her life.

This intimate knowledge means that we will be able to provide you with a unique introduction to Navajo culture. You will, no doubt, have many questions about the Navajo way of life and about NavajoLand. We will be able to answer these questions, based on our long experience living and working in Chinle. We will also be able to provide you with an insider view of the Navajo Culture and with information about life in NavajoLand that you will not find in guide books.

5- Do not let this unique opportunity pass you by!
As you can imagine seats in this unique workshop are going to be in high demand so to be fair with everyone reservations will be made on a first come first served basis.

Don’t delay. If this workshop is for you, if you have been thinking about building up your portfolio, becoming more serious about your photography, or simply want to visit locations which offer exciting photographic possibilities don’t hesitate: sign up now.

Round Rock and Clouds

7-Your Itinerary
The itinerary for this workshop was designed with two goals in mind: convenient travel arrangements and exciting photographic opportunities. We will start and conclude this workshop in Chinle where Natalie and I will welcome you.
Detailed account of your itinerary:

Friday, May 5th, 2017 
We will be meet you in Chinle, at Tsegi Overlook, one of the most beautiful overlooks of Canyon de Chelly, before sunset. You will receive both a map and directions to Chinle, and to Tsegi overlook, approximately two weeks before the workshop.

We will stay in Chinle on Friday night.

Saturday, May 6th, 2017 
Saturday will be one of the most exciting days in this workshop as we will spend all day exploring & photographing Canyon de Chelly. We will start by getting up before sunrise and driving to the rim of Canyon de Chelly for a sunrise shoot. After breakfast, we will explore the many different aspects of Canyon de Chelly. I will give a presentation on photographic skills and you will start practicing Photographic Skill Enhancement Exercises. These exercises will be conducted throughout the day, preferably when the light is flat so as not to take time away from your personal photography.

We will stay in Chinle again on Saturday night.

Sunday, May 7th, 2017 
We will get up before sunrise, and do another sunrise shoot on the rim of Canyon de Chelly. After breakfast we will be on our way to Monument Valley. On the way to Monument Valley we will photograph Round Rock, Los Gigantes Buttes, the Baby Rocks, and other exciting scenery along the way. Our photographic subjects will be selected based on the light quality as well as our schedule. I will give a second presentation on photographic skills and you will practicing additional Photographic Skill Enhancement Exercises on Sunday.

Lodging on Sunday night will be at the Gouldings Lodge in Monument Valley or at the Holiday Inn in Kayenta. Kayenta is roughly 30 miles one way from Monument Valley.

Sunset at Spiderock

Monday, May 8th, 2017 
Again, we will get up before sunrise and drive the short (6 miles) distance to the Monument Valley Visitor Center to photograph the Valley and the Mitten buttes at the sun rises over the eastern gray to use Emily Dickinson’s famous words. This is one of the most amazing sights I have ever seen and although I have been there many times I never tire of it nor stop creating photographs which continue to enchant me. I know you will love it to! We will photograph from two different locations along the rim of Monument Valley. We will drive into Monument Valley after sunrise and I will give a third presentation on photographic skills.

After breakfast we will continue our exploration of Monument Valley and the surrounding area. We will also drive towards Mexican Hat, Utah, to photograph some little known sites including Valley of the Gods and the Goosenecks of the San Juan River. We will choose our location for sunset based on the weather and on photographic possibilities.

Lodging on Sunday night will be at the Gouldings Lodge in Monument Valley or at the Holiday Inn in Kayenta.

Tuesday, May 9th, 2017 
We will rise early again to photograph sunrise over Monument Valley from a different overlook than the night before. We will then have breakfast in Gouldings. After breakfast we will part ways to give you plenty of time to start heading back towards your home destination.

8-Important things to keep in mind:
– Bring clothing suited for a variety of temperatures, from cold mornings to warm afternoons. Also be prepared for potential rain and for active weather. To quote David Muench: “bad weather equals good photographs.”

– Food, lodging and transportation are not included. Some of you may want to camp, some stay in a hotel, some may want to eat with the group while other may prefer to be on their own. This arrangement provides for maximum flexibility while keeping the cost of this workshop to a minimum. It will gives you maximum freedom in planning your meals and give you time by yourself if you choose.

– We will email you directions to Chinle as well as a list of hotels in Chinle and Monument Valley when you register. You will then receive an email with the Friday evening meeting place and a detailed workshop schedule approximately 2 weeks before the workshop.

– We will be photographing from 4000 to 6000 feet elevation on average. Normally the only problem you can expect is a slight shortness of breath. However the higher elevation is something to keep in mind if you live at sea level or you are prone to encountering physical difficulties at higher elevations.

– A passenger car is suitable for this workshop since we will not drive on 4 wheel drive roads during the workshop. However, if you rent a car, we recommend you rent an SUV as it is more suited to this kind of activity.

-We have a no tag-along policy. Spouses, friends, significant others and non-photographers need to be registered as full-time participants to join any aspect of this workshop. This includes meetings, print reviews, lectures, meals and all other aspects of this workshop. No exceptions. For further details read our Workshop FAQ.

– We do not carry cell phones. We will use walkie-talkies to communicate with each other during the workshop, when we are on location and when we are driving. If you become separated from the group we will call you on your walkie-talkie to find out where you are (provided you are within a 2 or 3 mile range). For these reasons we ask that you bring a walkie-talkie, such as a Motorola Talkabout or equivalent, to the workshop. Please set your walkie-talkie to channel 4-5.

Sunrise from White House Overlook, Canyon de Chelly

9 – Registration:
There are four ways you can register for this workshop:

1 – Use the paypal button below:

1 – Use the paypal button below:
Spring 2017
Navajoland
Workshop

Spring 2017 Navajoland Workshop
$1395 only

2 – Call Alain and Natalie toll free at 800-949-7983 (or 928-252-2466 )
3 – Download, fill and return the emailable Workshop Registration Form 
4- Email Alain at alain@beautiful-landscape.com

We accept Visa, Mastercard, Discover and American Express. A receipt will be mailed to you the day after your registration has been processed. You can charge the registration fee in one instalment or in 3 equal installments placed to your card a month apart starting when you register. Just let us know your preference when you sign up.

Registrations are on a first come, first served basis. We recommend you act now because our workshops sell out quickly.

If you have any questions before registering, click here to send us an email inquiry. We are pleased to assist you with any questions. You can also call Alain or Natalie Briot at 800-949-7983 or 928-252-2466 .

10-Instructor Availability
We will be helping you and photographing with you from sunrise to sunset, with a break for breakfast and lunch, during the entire duration of the workshop.

11-Cancellation policy:
All monies are non-refundable. If you cancel participation in this workshop your registration fees may be transferred towards registration in another Beaux Arts Photography workshop under certain conditions. Transfer of fees to another workshop is not automatic and is decided solely by Beaux Arts Photography as a courtesy. We reserve the right to decide whether to transfer your fees to another workshop or not. You must register for another workshop within one year from the starting date of the workshop you originally registered for. If you need more time we may be able to extend the transfer time beyond 1 year. Participants transferring from another workshop will be registered for this other workshop in excess of the regular number of participants. We can only accept two transfers per workhop. We cannot transfer your registration to the Summit. If you decide to attend a higher priced workshop, or if the workshop fee has increased, the difference in cost between the two workshops will be charged to your credit card when you notify us that you want to sign up for this other workshop. Your registration is guaranteed only when we have payment in full. We reserve the right to change this policy at any time.Workshop fees can only be transferred to another workshop and cannot be used towards purchase of a product such as mats, portfolio cases, CD or DVD tutorials, prints, portfolios, or other. Workshop fees cannot be transferred towards purchase of the Mastery Workshop DVDs. We cannot transfer consulting fees towards workshop registration. If this workshop is cancelled by us you will receive a full refund. By registering for this workshop you agree to this policy.

12-Liability Limitation
Beaux Arts Photography, Beautiful-Landscape.com, Alain Briot, Natalie Briot, guides, and cooperating agents aim to provide every participant a safe, educational, and enjoyable experience. We act solely as agents for you regarding accommodations, special activities, and travel, by any means, and assume no liability for any act, error, omission, injury, loss, delay, mishap, or damage to persons or property arising from any cause during the course of the workshop or in transit thereto. We can accept no responsibility for losses or additional expenses due to delay or changes in the services to be provided. We reserve the right to change our arrangements should conditions necessitate, or to cancel any aspect of the workshop due to exceptional circumstances. In the event that we deem it necessary to cancel the workshop we will provide a full refund which the participant(s) acknowledges as full and final settlement. In the event of a workshop cancellation airline tickets, car rentals and hotel reservations associated with participation in this workshop will not be refunded. We recommend you purchase refundable airline tickets and make refundable car and hotel reservations. We also recommend you carry travel and camera equipment insurance.

As there is always an element of risk in any adventure associated with the outdoors, participants must read this form carefully. This liability release will certify that the participant is physically fit and capable of participating in outdoor photography exercises in field locations, and is fully and completely aware of any associated risks created by field locations and weather.

Meeting times, meeting places and itinerary are subject to changes dictated by the weather, the road conditions and other imponderable variables that are part of doing landscape photography. We do not carry cell phones. You are responsible for being at the meeting place at the designated time and have your photographic equipment with you.

By joining this workshop I acknowledge that I have read the above information concerning responsibility and release Beaux Arts Photography, Alain Briot, Natalie Briot, their guides, instructors and any cooperating agent from any liability. Beaux Arts Photography, Alain Briot, and Natalie Briot will assume no liability for injury, illness, or loss of personal property or expenses thereof associated with workshop participation. I also acknowledge that Alain and Natalie Briot have the right to refuse service to anyone at anytime and that workshop policies are subject to change at any time .


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Photographs and text Copyright © Alain Briot 2016

Summer Mastery Workshop on DVD/USB Special Offer

Summer Mastery Workshop on DVD/USB Special Offer

The Annual Summer Mastery Workshop on DVD/USB Special Offer is live. This offer saves you up to 40% off the regular pricing. It applies to all eight Mastery Workshops on DVD/USB.

It is the perfect opportunity to complete your collection, or to start studying with the Mastery Workshops on DVD series. There are 8 different Mastery Workshops on DVD/USB covering every aspect of Fine Art Photography.

Don’t miss this opportunity to save money! All the information is here.

All-mastery-DVDs-600

The 8 Mastery Workshops on DVD