During July, I participated in a photography workshop run by Charles (Chas) Glatzer in New Foundland. During the workshop, I was intrigued by a question one of the participants asked me, "Why do you attend workshops?" The implication was that since I teach photography and have 14 years of experience behind the camera, I probably do not get as much out of workshops than someone with less experience.

To be honest, the question took me by surprise. Over the years I have attended six workshops and at least as many organized field shoots. In each case the time was well spent. The question of course, is why? After some careful thought, I have identified three reasons I continue to attend workshops; organization, camaraderie, and creative development.

Anyone who has organized an extended photography trip knows that it is a lot of work. Not only is it necessary to schedule lodging and other logistics, but one must become familiar with the photographic opportunities before arriving. Identifying photographic hotspots after arrival results in lost shooting time. For photographers working in their own backyard, this is not an issue. Personally, I would never think about attending a workshop located in the Wasatch Mountains of Utah. Not because I wouldn't learn something, but Utah was my backyard for years. With few exceptions, I know more about the area, where to go and what to look for than any trip leader. For someone traveling 2,000 miles with only a week of vacation time, however, time management is a key issue. My trip to New Foundland was productive because of Chas's knowledge. This was Chas's fourth trip to the area, and we did not waste time wondering where to shoot. Instead, our time was spent actually shooting or traveling to locations that were known to provide numerous opportunities. Good workshop leaders have knowledge of the area and a good timetable about where to go and what time to be there, assuming the responsibility for organizing the travel details.

One of the greatest workshop benefits comes in the form of friendships and developing shared experiences. Nature photography is often a lonely endeavor, and having the opportunity to work with people with similar interests can be stimulating. Not only are images shared at the end of the day (one of the benefits of digital), but a synergy often develops in the field as images are created. Beginning photographers have the opportunity to observe and talk with more experienced photographers at work. This provides them with ideas ranging from how to approach subjects to understanding proper exposure. From the opposite point of view, experienced photographers can use the energy and fresh perspective of the novice to see things in a new light.

Finally, we come to my primary reason for attending workshops, creative development. I am selective in which workshops I attend. I evaluate workshop leaders based on two criteria; I must like their work, and I need to be able to learn something from them. There are many highly skilled photographers out there, but most of them are not able to pass their skills on to others. Passion for photography is not enough; I need teachers who are both willing and able to explain what they are doing and why they are doing it.

With Chas, both of these points are met. Regulars at PhotoMigrations will have seen enough of Chas's images to know his abilities are exceptional. Chas routinely produces images that differ not only from what others are creating, but also from his own work. His images contain both technical and artistic elements that make them unique. By attending one of Chas's workshops, I hoped to gain some insight into his photography so that I could incorporate some of his ideas into my own work.

Fortunately, I got what I was looking in the New Foundland workshop. Through conversations, I learned that Chas approaches each photographic opportunity with an open mind. Rather then preconceived ideas, each opportunity is evaluated based on the situation. Instead of imposing his vision on the situation, Chas determines how he can produce the best possible image given the current conditions. If the conditions don't fit the idea, the idea is modified to fit the conditions. This sounds obvious, but most of us fall into a photographic rut because we like to take certain types of images. Flight shots, for example, are "supposed" to be taken with the light coming over your shoulder and the wind at your back. Without blue skies, the camera might as well go back into the bag. This ability to work with changing conditions to produce a variety of images is Chas's greatest strength as a photographer.

Throughout the workshop, Chas worked with each participant to develop their skills. For some, emphasis was placed on exposure and learning to read the light. In my case, suggestions focused on creative effects that produced unique images. In most cases, suggestions took the form of a sentence or two, but they changed the way I viewed and approached my subjects. What follows are four examples of helpful suggestions Chas made to me during the workshop and the images those suggestions helped to create.

"Flight shots don't have to be taken against a blue sky. Use different backgrounds for variety and change lens to change perceptions and to record a sense of place."

"After sunset it is too dark to freeze birds in flight. That doesn't mean you have to stop taking flight pictures."

"Don't be afraid to use high ISO settings. Do what you need to do to capture the image you want."

"Yes, it's very foggy. Why aren't you shooting?"

Were Chas's suggestions and tips unique? No. I had heard most of them before and I had even used many of them in the field. The difference is that I didn't think to apply them until the suggestion was made. As time passes, we often get into a rut with the images we produce. Some categorize this as "personal style" but I think it is more accurately called "personal stagnation." The best photographers are those who push themselves to explore outside of their comfort zone. Style is distinctive, but it should also be in a constant state of metamorphosis. From learning new techniques to the personal satisfaction of hearing colleagues say "wow," photographic workshops have the potential to help us develop our creativity and push the boundaries of our imagination.

One final question is what does any of this have to do with digital? After all, digital photography and digital imaging is what these articles are about. While any of these images could have been captured using film, digital provides immediate feedback that film does not. No, I am not talking about reviewing images in the field. The more time spent looking at the camera's LCD screen, the less time spent photographing. Digital does, however, provide the opportunity to review your images at the end of each shoot. Over dinner and back at the hotel, it is possible to review your images and to share them with other workshop participants. Comments and critiques soon follow and inspiration is often found. New techniques are evaluated and what works is identified so that it can be repeated. Friendships are made and ideas are exchanged over laptops late into the night. Both digital and film are effective means of capturing images, but digital acts as a major shortcut for stimulating and teaching photographers before their next trip into the field.

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Chris Gamel has been an active wildlife photographer for the past 14 years. The combination of his biological research and photographic interests has taken him around the world. In 2001, Chris discovered the joys of digital photography and he hasn't looked back. Chris lives with his wife and daughter in Salt Lake City where he teaches courses at Weber State University and Salt Lake Community College. To see more of Chris's photography, visit his web site at www.Animal-Antics.net.