I’m thrilled to announce that my 2014 Utah wall calendar is now available for pre-order!  The calendar features twelve gorgeous photos of Utah’s breathtaking landscapes by yours truly and my good friend, Todd Caudle.  In addition to the main photos each month, the date grid features even more images to ensure your Utah wanderlust is kicked into high gear.  Each calendar measures 11″ x 14″ closed and features 13 full color photographs printed in high resolution on thick, glossy paper.  Calendar binding is saddle stitched to ensure that it won’t fall apart half-way through the year.  These suckers are about as high quality as a calendar can get.

The retail price of the 2014 Utah wall calendar is $11.95.  However, between now and May 30, 2013 I’m offering it at a special pre-order price of $9.95, plus $4.00 shipping and handling anywhere in the U.S.  All pre-orders will ship in early June, at which time the calendar will also be available at The Edge Gallery (at full retail price).

To get your hands on one, all you need to do is place an order on my website.  If you are outside of the U.S. and would like to order a calendar, email me your address and I’ll respond with a shipping quote.

I’m excited to announce the dates of some great workshops and tours this year, both of which are among my most popular offerings: the Nature Photography Boot Camp and Undiscovered Moab Photo Tour.  Read on for full details!

May 25 & 26 – Undiscovered Moab Photo Tour
June 15 – Nature Photography Boot Camp in Jackson, Wyoming
July 13 – Nature Photography Boot Camp in Moab, Utah
August 10 – Nature Photography Boot Camp in Moab, Utah

This year I’m offering my most popular workshop, the one-day Nature Photography Boot Camp, in two locations – Moab, Utah and Jackson, Wyoming.  In Moab we’ll visit Dead Horse Point State Park and Canyonlands and Arches National Parks, where we’ll spend ample time working in small groups to learn basic concepts of nature photography to include creating dynamic compositions, using available light to maximum benefit, controlling depth of field and using filters in the field.  Everyone in the workshop will also participate in a fun and educational mid-day group image critique, which is consistently one of the most popular aspects of the Boot Camp.  Join me June 15 in the Tetons, or July 13 & August 10 in Moab for one of these great workshops.

If you’re a veteran photographer of the Moab landscape, you’ve already got images of all the iconic locations in your portfolio.  Now it’s time to branch out by exploring a few off-the-beaten path locations that are every bit as impressive as the hot spots – but without the crowds.  Join me May 25 & 26 for the Undiscovered Moab Photo Tour and we’ll spend two full days accessing several spectacular locations via rough four-wheel drive roads and arduous hikes.  You’ll be rewarded with solitude and gorgeous images of waterfalls in slot canyons, jaw dropping canyon views, towering sandstone spires and remote arches – none of which are on the radar of most tourists to Moab.  The only catch: you’ve got to be physically fit and able to carry all of your camera gear over rough terrain for up to nine miles.  The Undiscovered Moab Photo Tour is limited to 3 participants and I’ve only got two spots left.

To learn more about or to register for the Nature Photography Boot Camp or Undiscovered Moab Photo Tour, please visit the workshops page on my website.  I hope to have the opportunity to work with a few of you at one of these events!

My eight year old tripod is on its last legs – literally.  There’s so much sand, grit and grime inside the twist-lock mechanisms that they’re alternately almost impossible to loosen or they just won’t stay tight.  For the last few months I’ve made it work because the thought of dropping several hundred dollars on a new carbon fiber tripod simply didn’t excite me.  A rock solid, dependable tripod is perhaps the most important piece of equipment for any outdoor photographer but it lacks the sex appeal of a new lens or the latest and greatest huge megapixel camera body.  But, if you want to make sharp images when working at the edge of light, a good tripod is an absolute must.

Induro doesn’t make a good tripod.  They make a great tripod.  Several of my friends have been using Induro tripods for years and without exception they’ve all raved about them.  So, when Induro offered me a sponsorship it didn’t take long for me to accept. 

Last week I received a box full of awesomeness from Induro.  In it was my new tripod, the carbon fiber CT213.  This thing is a work of art.  Seriously.  I know, I know – I just said that tripods weren’t sexy.  I lied.  If you, like me, appreciate attention to detail and design, you will find Induro tripods to be pretty damn sexy.  All decked out in smooth, strong 8 layer carbon fiber with a matte black magnesium alloy spider and weighing in at a svelte 3.3 pounds, it truly is a beautiful piece of kit.  But it’s not all about looks, is it?  Thankfully, Induro tripods are built to take all the abuse outdoor photographers dish out.   Dust and water resistant leg locks, interchangeable feet, an integrated bubble level and adjustable leg angles are among the many fantastic features that make these tripods so great.  Though they can’t be characterized as inexpensive, Induro’s carbon fiber tripods cost 20% to 40% less than the competition without giving up any quality and durability.  Induro also manufactures a line of aluminum tripods with many of the same features as their carbon fiber models but at a more modest price point.

If you’re interested in trying out an Induro tripod I’ll be renting them at The Edge Gallery in Moab.  I’m also in the process of becoming a dealer.  I should have a small selection of Induro tripods on display and for sale at the gallery by late spring/early summer.  If you find yourself in Moab I hope you’ll stop by to check them out.

I’m thrilled to be the newest member of Team Induro.  Thanks to Brian and the crew at Induro for the opportunity to use and promote their top-notch equipment!

If you’ve ever gazed upon a map of Yellowstone National Park you were likely struck by the massive size of the area it encompasses.  A wee little park it is not.  If you’ve ever visited Yellowstone intent on photographing landscapes – not wildlife – at some point you probably found yourself feeling a bit frustrated.  I certainly have.  In the neighboring Tetons, subject matter beckons to you at every bend in the road or trail.  Yellowstone is more subtle.  There are a few obvious locations, namely dramatic waterfalls, but much of Yellowstone requires a little more work and a little more thought to create compelling landscape images.

Bozeman based photographer Dean Sauskojus has spent the last twenty years exploring Yellowstone with his camera.  In that time Dean has developed an intimate relationship with the Yellowstone landscape, learning the nuances of each season and compiling an unparalleled knowledge of America’s first national park.  Lucky for us, he’s decided to share this treasure trove of information with other photographers in his spectacular new e-book, “The Ultimate Photo Guide to Yellowstone National Park“.

Between the virtual covers you’ll find a whopping 43 locations throughout Yellowstone.  You’ll no doubt recognize some of the icons like Lower Falls from Lookout Point.  What really makes “The Ultimate Photo Guide to Yellowstone National Park” so special are the lesser known or even unknown locations Dean shares that are every bit as breathtaking as the iconic hot spots.  No other guide I’ve ever used covers such a diversity of locations.

Speaking of locations, Dean makes it easy to find sites that pique your photographic interest.  The table of contents divides the locations into three main categories: Thermal Features, Creeks, Lakes and Rivers, and Mountain Passes, Valleys and Waterfalls.  Below each category you’ll find a list of locations to photograph.  If you’d rather search for locations based upon the best time of day to photograph them you can do that, too.  Dean has included a handy page that displays the locations by sunrise, sunset and even quite a few that can be photographed all day long.  Still not satisfied?  There’s an interactive park map to help you discover locations based solely upon location within the park.

No matter how you choose to find a spot to photograph, just touch a location name and you’re taken directly to its page where you’ll find everything you need to know to make incredible photographs there.  Literally, everything.  Even GPS coordinates.  Dean knows these areas so well he not only shares important information like how to get there, access difficulty and what gear you’ll need – he even recommends specific months that are most interesting for photography!  That kind of information only comes from years of experience getting to know and photographing the area.

Many of the photo guidebooks I’ve used contain useful location information but less than stellar photography.  Not so with Dean’s e-book.  Every location is accompanied by one of Dean’s gorgeous photographs to inspire your own photographic ambitions.

I use an app called GoodReader on an iPad 2 as my default e-book reader.  Dean’s e-book downloaded without any hitches and works flawlessly within GoodReader.  Have no fear if you’re using a device other than an iPad, i.e. a laptop or even an Android, Nook or Kindle Fire – “The Ultimate Photo Guide to Yellowstone National Park” is available on nearly every platform.  Dean has included a helpful appendix with instructions that detail precisely how to download and view the e-book on each device.

“The Ultimate Photo Guide to Yellowstone National Park” is easy to use, filled with valuable information and a bargain at only $14.95.  Whether you’re a serious photographer with expensive equipment or a tourist with a point and shoot, you’ll find Dean’s e-book to be a much referenced companion on your next trip to Yellowstone National Park.

I’ve had a few days with the new Craft & Vision magazine, Photograph – Issue Two, and am once again thoroughly impressed.  If you aren’t familiar with the magazine you might want to read my review of Photograph – Issue One, which fully explains what you can expect to find in each issue.  This time around, I immediately dug in as soon as the download to my iPad was complete.  Much to my surprise and delight I found articles and/or portfolios by several friends: Andy Biggs, Jay Goodrich, Nicole S. Young and Younes Bounhar.  Surely I must be moving up in the world to have friends whose work is being published in such a high-quality magazine!

Andy’s portfolio of black and white images produced during his many safaris in Africa took my breath away.  His portfolio is accompanied by an interesting interview with him in which he discusses some of his in-the-field workflow and shares an inspirational anecdote about one of his safaris.  Jay’s article about an autumn leaf peeping trip with his three year old daughter is heartwarming.  The photo that accompanies the article could make even the most miserable tyrant smile.  Nicole writes about exposure and metering modes, and she leaves nothing to the imagination.  If you’re struggling to understand how your camera’s meter determines what it believes to be the proper exposure and, more importantly, when you need to take control and adjust that exposure, this article will get you up to speed pronto.  Last, but certainly not least, is Younes’ informative piece on long exposure photography that will make you want to head out the door right now with camera and tripod in hand.

In addition to the aforementioned content you will find stunning portfolios by Martin Bailey and Chris Orwig (killer black and white portraits), articles by John Paul Caponigro on creative composition, a review of the popular Fujifilm X-Pro 1 camera by Al Smith, two great articles by the publisher himself, David DuChemin, and lots more.

Photograph – Issue Two is available now for $8.00.  Better yet, subscribe for four issues for $24 and save yourself $8.00.  I’m subscribed and will continue to do so as I’ve not found another photography magazine with such high quality content.

This summer Jason Hatfield and I are partnering with NatureScapes to offer an immersive, three-day workshop in Grand Teton National Park outside Jackson, Wyoming.  Early summer marks my favorite time to explore and photograph this mountain range of dramatic, snow covered peaks towering 7,000′ above the valley floor.  Whether you’re standing among fragrant sagebrush surrounded by colorful wildflowers, at the edge of the mighty Snake River or along the shores of a crystalline alpine lake – summer in the Tetons is an experience that stirs the soul.

Our basecamp for the workshop will be the luxurious Hotel Terra in Teton Village, only minutes from the park entrance.  We’ll meet in the lobby on the afternoon of Thursday, June 20, 2013 for an informal meet and greet before heading off to the world famous Mangy Moose restaurant for dinner and socializing with our new friends.  After dinner we’ll carpool into the park to photograph sunset along the Moose-Wilson Road, where bears and other megafauna are often spotted in late afternoon.  Best to bring your long lenses, just in case!

On Friday, June 21, we’ll photograph sunrise at Oxbow Bend, where the hulking massif of Mount Moran reflects in an abandoned meander of the Snake River.  After sunrise we’ll retreat to a comfortable meeting room at Hotel Terra where Jason will deliver the first of two inspiring presentations on using Adobe Lightroom to develop your images using an efficient and powerful workflow.  We’ll also utilize some classroom time to do group image critiques, which I strongly believe are one of the very best ways to improve your skills as a photographer.  Following an afternoon break to rest, recharge and eat dinner we’ll travel back into the park to photograph sunset at the iconic Snake River Overlook.

Saturday, June 22 dawns early as we head out for another sunrise inside the park, this time among the sagebrush and, conditions permitting, wildflowers on Antelope Flats.  We may also spend some time photographing beautiful old barns on Mormon Row with the jagged skyline of the Tetons as a backdrop.  When our memory cards are full we’ll head back to Hotel Terra for another Lightroom workflow with Jason and more image critiques.  Before we wrap up for the afternoon I’ll lead a discussion on using Nik Software’s Complete Collection of powerful and intuitive Lightroom plug-ins to creatively process your images.  After class we’ll take a break before traveling back into the park for sunset at the Cunningham Cabin.

On our last morning together, Sunday, June 23, we’ll photograph sunrise along the shoreline of String Lake, where the rugged Cathedral Group and Mount Moran reflect in the calm and often misty water.  After sunrise we’ll return to Hotel Terra to wrap up and say our good-byes.

Your workshop registration fee includes lodging for three nights at Hotel Terra and dinner on Thursday night, as well as plenty of attentive instruction in the field and classroom.  Jason and I are passionate about helping other photographers to learn the art and craft of photography.  Our entire focus is on helping YOU to improve your skills and creativity.  We will not abandon you to make our own photographs when the light gets good.  We’re both easy going and approachable, and we encourage questions and group interaction.  We would love for you to join us in the Tetons!

To learn more about or to register for this workshop, please visit the NatureScapes Workshops website.  As always, I welcome your questions about this or any of my workshops via email: bret (at) bretedge (dot) com.

I’m kicking off the new year by doing something I’ve never done.  For the first time ever, I’m releasing a limited edition print.  Until now, all of my prints have been available as an “open edition”, which is another way of saying that I can make as many prints of any given image as I see fit.  There is no self-imposed limit on the number of prints that can be made available for sale.  As you may have deduced, a limited edition print is exactly the opposite: the print is offered in a limited quantity.  Once they’re gone, they’re gone.  No other prints of that image will ever be offered for sale.

Beginning in 2013 I will choose one image each year to release as a limited edition print.  The image you see above, “Winter Aspens II, Utah”, is the first print to join this exclusive collection.  The edition is limited to twenty five 8″ x 12″ prints and three artist’s proofs, one of which I will keep for display in my gallery.  All prints are made on 11″ x 17″ Moab Entrada Rag Bright 300 paper.  I chose this 100% cotton paper because of it’s substantial weight, subtle texture, and brilliant white, neutral surface that accurately reproduces tones and colors.  It has a lovely matte finish and when displayed under non-glare glass there are no reflections to interfere with the viewing experience.

Each print will be custom made by me on an Epson Stylus Photo R2880 printer using Epson UltraChrome K3 inks.  This paper and ink combination results in exceptional archival quality prints with lightfastness ratings that exceed 200 years for black and white prints when properly displayed, i.e. under glass and out of prolonged exposure to direct sunlight.  I will sign and number every print in the white margin on the bottom right edge of the print.  A signed and numbered certificate of authenticity will accompany every print.

Prints will be shipped flat to avoid the dreaded curl that often results when prints are rolled and shipped in a tube.  They will not be matted or have any kind of backing permanently affixed to them.  These are loose prints and they should be framed as soon as possible upon receipt to minimize the risk of damage.  The print in my gallery will be displayed with a thick black wood frame and a 3″ bright white mat.

Prints are available for $300 each.  Shipping is $20 anywhere in the continental United States.  International or overseas shipping is available and a delivery quote will be provided upon request.

Orders are currently being accepted on my website or via email.

The folks at Craft & Vision have been on a tear lately, releasing a fantastic new magazine and several new e-books.  They’re not slowing down, either.  Today they announced the launch of an all new e-book, their biggest ever, “Lightroom 4 Unmasked: A Complete Guide to Adobe Photoshop Lightroom” by Piet Van den Eynde.  I got my hands on an advance copy and have only skimmed through on my iPad but it looks to be an awesome resource for photographers using the latest version of Lightroom.  Lightroom 4 Unmasked will appeal to all Lightroom users, whether you’re an old pro or just digging into this powerful software for the first time.  Because I’m a long time and experienced Lightroom user, one of the things I appreciated most is that any feature that is new to Lightroom 4 has been called out using text boxes labeled “New in Lightroom 4″.  Genius!

If you’re not using Lightroom, you should be.  It’s easy to use, incredibly powerful and, if you think you might ever want to enter the stock photography market, unmatched in its ability to catalog images for easy retrieval – if you do your part with good keywording.  Unlike Photoshop, which requires years to truly master, a neophyte can pick up Lightroom in just a couple of weeks.  Having a handy reference manual like Lightroom 4 Unmasked will flatten a learning curve that already looks more like a bunny hill than a black diamond run.

Lightroom 4 Unmasked: A Complete Guide to Adobe Photoshop Lightroom is available for $20 on the Craft & Vision website.  If you use coupon code LR4FIVE you’ll get a $5 discount, bringing the total cost to $15, but only through November 27th.

There’s no shortage of magazines dedicated to photography in all its many forms.  Some are good, some are terrible, and every once in a while, one comes along that is exceptional.  Such is the case with the new digital only magazine from Craft & Vision.  Simply titled “PHOTOGRAPH“, the new magazine is touted as a “digital quarterly magazine for creative photographers”.  I was lucky enough to receive an advance copy of issue one.  It downloaded quickly to my iPad and opened without issue in Good Reader, which is the app I prefer to use to view most e-publications.

Impressively, PHOTOGRAPH is 100% ad-free.  Pick up any other photography magazine and from the very first page flip you’re assaulted with advertisements.  I don’t necessarily have anything against advertisements in magazines though I can’t help but think that some of the larger corporations, whose ads may encompass two or more pages, hold some sway with the magazine publishing company.  How do you avoid the issue of advertising dollars creating a bias?  Simple – you don’t sell ads.  Bravo to Craft & Vision for stepping out of the mainstream to produce a magazine whose sole intention is provide photographers with informative articles written by some of the most passionate and talented photographic artists working today!

What’s on the Outside

I’m a bit of a design geek.  Okay, I’m really just a geek but that’s beside the point.  At any rate, PHOTOGRAPH is beautifully designed with a layout that never gets in the way of the experience of enjoying the magazine.  It’s simple, elegant and nicely supports the content.

What’s on the Inside

Content.  Oh boy, is there ever content.  PHOTOGRAPH contains portfolio sections filled with outstanding imagery from several photographers.  In issue one you’ll be inspired by portfolios from three uber-talented photographers: Bruce Percy, Nate Parker and Art Wolfe.  Bruce Percy’s beautiful collection of ethereal photographs from Iceland were especially impressive.  I’ve long wanted to visit and photograph Iceland and this assemblage of images only deepened that desire.  At the end of each portfolio is a Q&A with the photographer.  While I always enjoy viewing gorgeous photography, I’m also interested in and find great value in learning about the motivation, techniques and backgrounds of the photographers whose work I find so inspiring.

If the portfolios are an appetizer, the articles are haute cuisine.  I’m not talking about sensationalistic pieces with titles like “Shoot Like Ansel Adams!!!!” or “The Best Cameras of the Week for Photographers Named Bob!!!!”.  The articles in issue one of PHOTOGRAPH dive deep to cover useful and informative topics with titles like “Creative Composition”, “Backlight” The Art of Silhouettes”, “Dark & Moody, Black & White – Conversions Using Lightroom” and “The Colour Management Myth”.  My favorite article, “The Missing Spark” by Chris Orwig, is an honest look at how we, as creative professionals, will most likely burn out at some point in our career and what we can do to recognize and reverse it.  It isn’t often that you find an author willing to delve into the darker side of creating art as doing so involves a level of intimacy we may not always want to share with the world.  Bravo to Chris for being brave enough to share his experience so that others may learn from it.

Flip to the last few pages of PHOTOGRAPH and you’ll find the “Gear is Good” section.  These are equipment reviews, but because PHOTOGRAPH doesn’t accept advertising, I can’t help but think they’re less biased than the reviews in other magazines.  Some of the reviews take a look at gear that isn’t sexy, but is important – stuff like “L” brackets and AA batteries.  You may not lie in bed at night dreaming about rechargeable batteries but you sure as hell want ones that are powerful and reliable.

What I Don’t Like

Honestly, I found nothing in issue one that didn’t impress me.  If I have to pick a nit, it’s that PHOTOGRAPH is a generalist’s magazine.  I’m an adventure and nature photographer.  I don’t have much need or interest (at this time) in learning how to build a homemade fluorescent lighting setup, but I know there are photographers who do.  You’ll find a little bit of everything in these virtual pages and some of it won’t appeal to you – but most of it will regardless of what genre of photography you enjoy.

In Summary

There is no fluff.  There is no hype.  There’s just good, solid content.  PHOTOGRAPH, issue one, is 132 pages of it.  Craft & Vision already has my 24 bucks.  If you’re looking for a fresh, inspiring and informative photography magazine you won’t regret subscribing to PHOTOGRAPH.

Click here to subscribe to PHOTOGRAPH for one year.

Click here to purchase PHOTOGRAPH – Issue One.

I’m stoked to announce a new sponsor: Black Rapid, makers of the finest camera straps on the planet.

I stopped using camera straps about eleven years ago, about the same time I started using a chest pack to carry my camera.  I started with the cheap-o Canon strap that came with my camera, then moved on to what was a hi-tech solution at the time, an Op Tech neoprene strap.  I never felt 100% confident that the strap or one of the plastic Fastex buckles wouldn’t break, sending my camera careening to the ground with catastrophic results.  Perhaps this fear was directly related to the fact that I was shooting more climbing photography at the time.  Neither strap was terribly comfortable and I eventually gave up, going strapless (insert prom dress jokes here) for many years.

And then I tried a Black Rapid strap.  Well designed, built for comfort and security.  Black Rapid straps use the tripod screw on the bottom of your camera as an attachment point.  This allows the camera to hang upside down, making it very easy to put the camera into action.  That, combined with the innovative sliding mechanism, means you can go from camera at your side to camera at the ready and in action in one quick draw motion.  And comfort – yeah, you won’t find a more comfortable camera strap.  The wide, padded and adjustable strap carries the weight of even a pro DSLR w/ a longer zoom lens with the utmost comfort.

One of my other sponsors, Acratech, will soon launch a product called the Swift Clamp that makes Black Rapid straps even more utilitarian.  The Swift Clamp is a Quick Release (QR) clamp that attaches to the screw on your Black Rapid strap.  Your camera attaches securely to the Swift Clamp using any Arca Swiss compatible QR plate.  This makes it super simple to switch between using your camera with a Black Rapid strap or a tripod, as is often the case with me.  Genius!

Black Rapid offers several models of straps.  There are basic models, one designed specifically for women, a strap that carries two cameras and finally, the model I favor, the RS-5 Cargo.  Several small pockets on the strap allow you to carry a point and shoot or iPhone, memory cards and other small accessories in a handy location with quick access.  They’re not all about straps, though.  They’ve got a great line of small camera bags and accessory pockets, as well as some innovative rear lens caps called Lens Bling that make it easy to distinguish which lens is which in a bag full of look-alike lenses.  You know, if you’re so fortunate as to have several expensive lenses in your bag at any one time.

I’d like to thank Black Rapid for placing their faith in me to represent their great line of products.  I look forward to developing a long-term relationship with them and sharing their products with my guided and workshop clients!