Bryan Hansel Photography

Workshop Participant Package

Thank you for registering for one of my photography workshops. I appreciate it. I hope the following information will help you prepare for the workshop. If you have any questions, please, reach out.

Thanks,
Bryan

p.s. While it’s covered in the participant package below, I highly recommend that you purchase travel insurance. Depending on the type of insurance you purchase, it can cover the workshop fee, travel costs, and more.

p.p.s Also, I’ve partnered with other photography-related businesses to get you product discounts. Don’t forget to take advantage of those discounts. That’s also covered below.

What is this Participant Package?

This is your comprehensive guide for our upcoming photography workshop. This packet is designed to equip you with all the information you need to make the most of your experience. While the content is extensive, we’ve organized it to be easily navigable. Some sections may be more relevant to your specific workshop than others, so feel free to focus on what’s most pertinent to you.

We encourage you to review this material before the workshop and keep it as a valuable reference for future use. Whether you’re a first-time participant or a returning photographer, this guide will help ensure you’re well-prepared for our photographic adventure together. We update this regularly, so check back for any additions.

Note: We’ve partnered with several retailers, such as SmugMug and KEH, and we may earn commissions if you shop through the links below. As an Amazon Associate, I earn from qualifying purchases.

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Table of Contents

Shopping and Discounts

Product Discounts

I’ve worked with several companies to get my workshop participant’s discount. I use these products or services myself. There are more in a document below.

  • DXO: 15% off their software. Here’s the link: https://wkf.ms/3TEGmvj
  • Backblaze: This is one of the best investments you can make. You should back up your photos in two places: one hard drive in addition to your local hard drive, and you should back up online in the cloud. I use Backblaze. If you sign up through my link, you get an extra month free and I get an extra month free. Here’s my link: https://secure.backblaze.com/r/02tpwk
  • Do you run events? For the longest time, I ran my own cart system and tried a few event booking systems. Recently I found one that made me switch from running my own store. It’s Ticket Tailor. I love it. It’s the best ticketing system that I’ve used, and so simple to use. With my link, you can get 50 free credits to try it out. https://get.tickettailor.com/z87tf8kg3hr4
  • Leofoto USA: Buy direct and get a 12% discount with the code: hansel12
  • Singh-Ray Filters: Buy direct and use the code for a 10% discount. Code: hansel10
  • Kinesis Gear: Buy direct and use the code for a 15% discount. Their F169 is the best filter holder bag on the market. Code: Hansel15
  • SmugMug: If you’re looking for an easy to use website to host your portfolio and offer your images for sale, SmugMug is one of the places. This is company I use for selling my prints. For new users, you get a 10 to 15% discount by using this link: http://www.bryanhansel.com/out/smugmug
  • KEH: If you are looking to sell used gear or buy new gear, KEH is where I turn. I know with lots of photographers switching to mirrorless there are a lot of old lenses to sell and for sale. Give KEH a chance. If you start your transaction through my link, I may earn a small commission.
  • Luminar: This is a image editing program that is powerful and has lots of fun features. It works as a plugin to Lightroom. I wouldn’t buy this as your only image editor, but it does have a lot of automated features that it may work for you.

Registration and Policies

Cancelation and Registration Policies

While you should have read these before agreeing to them at checkout, here’s a link if you need to review the policies: https://www.bryanhansel.com/services/registration-and-cancellation-policies/

Travel Insurance

We highly recommend purchasing travel insurance, including the “Cancel for Any Reason” coverage, to protect against unforeseen events affecting your travel plans. Travel insurance providers offer a range of affordable plans with varying coverage levels.

We suggest using a comparison site like InsureMyTrip.com to review and compare different plan options.

Bryan Hansel Photography LLC is not liable for any expenses incurred by participants in connection with workshop attendance, cancellation, or interruption. This includes, but is not limited to, travel costs, accommodation, workshop fees, and other related expenses. We are not responsible for circumstances preventing participant attendance, such as weather events, flight cancellations, government actions, or any other foreseen or unforeseen events. Bryan Hansel Photography LLC reserves the right to cancel any workshop at its discretion. In the event of a workshop cancellation due to COVID-19 exposure during the workshop, no refunds will be issued.

Final Payment Due Dates

The following dates are when the final payments are due. You can pay anytime after January 1st of the year of the workshop.

Pay here: https://www.bryanhansel.com/shop/photography-workshop-full-payment/

2025 Workshop Due Dates

Workshop Start DateDue DateWorkshop Name
January 31, 2025November 2, 2024Winter Photo Workshop
April 14, 2025January 14, 2025Spring in the Smoky Mountains
May 2, 2025February 1, 2025Waterfall Photo Workshop
May 18, 2025February 21, 2025Milky Way Workshop – Panoramic photography
July 20, 2025April 25, 2025Northern Night Sky
August 7, 2025May 12, 2025Midsummer’s Dream
August 20, 2025May 26, 2025Night Skies of the Gunflint
September 10, 2025June 16, 2025Grand Teton National Park
September 15, 2025June 21, 2025Grand Teton National Park
October 1, 2025July 7, 2025Lake Superior Fall Color Workshop
November 7, 2025August 11, 2025Gales of November
December 5, 2025September 8, 2025Seascapes of Lake Superior

Spouse, Partner, Guest and Caregiver Attendance Policy

All participants must register and pay the full workshop fee. We maintain strict group size limits to ensure quality instruction and comply with regulations.

In special circumstances, we may accommodate essential caregivers or assistants for participants with disabilities or serious health conditions. These arrangements must be discussed with us and approved by us before your registration and are subject to space availability and any applicable permits or regulations. In areas with strict group size limits, caregivers or assistants must pay the full fee and fit within the stated workshop size.

We cannot accommodate additional guests, including spouses or partners, beyond the set workshop group size. However, if there is an open space in the workshop, these individuals are welcome to register and pay the full fee to attend. We appreciate your understanding as we strive to create the best possible experience for all participants.

Alcohol, Tobacco/Vaping, Firearms, and Recreational Drugs

Due to permits, federal regulations, and state park regulations, alcohol, recreational drugs, and firearms are prohibited. Illegal substances are also prohibited.

If you are going to use tobacco or vaping products or other types of inhalers step far enough away from the group so that no one can smell it. Dispose of your cigarette butts properly.  Before offering to drive in a carpool state that you are a smoker or vaper, so people can sort themselves accordingly.

Waivers, Model Releases, and Health Information Forms

All attendees must sign waivers, and model releases. They must also supply emergency contacts. For attendees with any relevant medical conditions that may impact the photo workshop or that you may experience during a photo workshop, you may request a health information form.

We will email you waivers and model releases before the workshop. You must print this, fill it out, and bring it with you to the first meetup of the workshop. You will fill out an emergency contact sheet at the workshop. Turn in completed and printed health information forms at the workshop.

Workshop Overview

Participant Introductions

On of the joys of a photography workshop is getting to know the other participants. To help facilitate that, use Team Reach to introduce yourself. You received your photo workshop Team Reach code when you registered.

During our first meeting, we will introduce ourselves. Some of the information that will be asked of you is your name, photography experience, and what you want to get out of the workshop. You will often be asked an off-the-wall question as well, such as what is your favorite tree species.

We may also use ice breaking exercises during the workshop to help you get to know the other people on the workshop.

Types of Workshops

I offer several types of workshops and the structure is slightly different for each style.

North House Folk School

Takes place at the North House Folk School in Grand Marais, Minnesota. These workshops are run by the North House Folk School and have different registration and cancellation policies than my workshops. Each workshop is ~1.5 days long with a slideshow, field time and an image review.

You can find the NHFS classes that I’m offering here.

Minnesota Workshops

Workshops based in Minnesota have classroom time, outdoor field time, and an image review session during the workshop dates. For 2025, I’ve increased some of my 3-day workshops to 4 or 5 days. This was based on feedback to incorporate more image processing instruction and image feedback.

Destination Workshops

Destination photo workshops are designed for participants that have taken one of my workshops previously or have equivalent experience. For destination workshops, videos of my presentations are available but not required. You can watch them on your own if you wish. The goal of destination workshops is to emphasize experiential learning by spending more time in the field. For destination workshops if there is an image review, the review takes place after the workshop via an online video conference.

Online Photo Workshops

Online photography workshops have multiple online classroom sessions, and depending on the topic, they can have at-home practice time of up to two weeks between sessions. These are designed to help you learn a subject without having to travel to a national park or the Grand Marais area.

Add-On Classes for Some Workshops

There is one possible add-on class for some workshops. If your workshop has an add-on class, the website description will mention it. I’ll also mention it when I send out a reminder that the final payment is due. You can register for these when you pay your final payment. Each has a required minimum number of participants.

Please, don’t register for these add-on classes until I let you know we have enough people.

  • Night Photography Add-on ($100): This extra session includes a two to three-hour long night photography outing. If the stars are out, we’ll concentrate on shooting stars, but if it is cloudy or stormy, we’ll concentrate on learning low level lighting. Depending on the moon phase, we may spend time shooting the Milky Way or spend time shooting the moonlit landscape. This is Sunday evening. Minimum participants: 3

Outdoor Photography Ethics

All my workshops operate under both Leave No Trace and Tread Lightly outdoor ethics. Please, take time to visit those websites and understand the expectations. Download the LNT pamphlet to review before the workshop. The National Forest Service and local parks expect that we will follow these principles. In addition, we will practice my basic outdoor photography ethics and etiquette. The following three points sum up my outdoor ethics philosophy:

  • Only take an action when your action’s impact and anyone else doing the same won’t inhibit the ability of the land to heal itself.
  • Consider the interests of others above your selfish needs.
  • Only act in a way that benefits the group. The group defined as everyone in a location. Further, the group defined as future visitors to that location.

Please, read about my take on outdoor photography ethics and outdoor photography etiquette here:

Workshop Etiquette

During our workshop, we strive to create a supportive and collaborative environment for all participants. Please be mindful of your fellow photographers, respecting their space and creative process. When shooting in groups, take care not to obstruct others’ views or compositions. If you need to move in front of someone, kindly ask permission first and be quick about it.

We encourage open communication and the sharing of knowledge. Feel free to ask questions and offer insights, but please do so at appropriate times to avoid disrupting demonstrations or shooting sessions. Remember that everyone is here to learn and grow, so maintain a positive and encouraging attitude towards your peers, regardless of their skill level.

Lastly, as nature photographers, we have a responsibility to protect the environments we photograph. Always adhere to Leave No Trace principles, stay on designated paths, and avoid disturbing wildlife or plant life for the sake of a shot. By following these guidelines, we ensure a positive experience for all participants and minimize our impact on the beautiful locations we visit.

Pre-Workshop Preparation

Equipment Checklist

For photography gear, bring a wide assortment of lenses and the normal gear that you’d bring. Bring rain gear, camera rain cover and a rain umbrella! The umbrella is handy when or if it rains. Also, bring sturdy hiking boots or hiking shoes. We will hike into several location and the trails are rocky and rugged.

The following checklist is a list of the suggested equipment that you could bring. There are workshop-specific equipment suggestions below.

Filters – Simple Shopping Lists

I’m a Singh-Ray Ambassador and filter designer, so my recommendations are usually for their filters, but they are in the midst of an ownership change and their filters are currently unavailable. Until they are back in production, I’m recommending the following filter kit.

Simplified Shopping List for Filters

If you just want to buy filters with minimal explanations, this is the list. You can see the chart below for specific recommendations for each workshop.

If you printed this off, head back to my website because the links lead you directly to the product. It’ll make shopping easier for you, plus I get a small commission.

Filter Holders for 100mm by 150mm ND Filters

Bag to Carry Your Filters

ND Filters (Rectangular or Square)

If only buying one, get my #1 pick.

Polarizers

If only buying one, get my #1 pick. If you are buying only one for a waterfall workshop, get my #2 pick.

  • My #1 used round filter: Haida NanoPro CPL Filter. Buy this in the size to fit the threads on your biggest thread size and get set up rings to fit this on other lenses. Or buy one for each lens thread size that you have. Buying multiple is more convenient. For example, I have one in 77mm and one in 82mm. Note: if you bought the Haida M10-II Filter Holder Kit with the polarizer, you can use that polarizer instead.
  • My #2 used round filter: Bryan Hansel Waterfall Polarizer. The Breakthrough Filters X4 Dark Polarizer in 6 stops is the closest I’ve found to the filter that I designed with Singh-Ray.

Specialty

  • Night Sky Filter: the Breakthrough Filters Night Sky Filter. Only if you are shooting night sky in light polluted areas.

Super Simple Kit – Budget Kit

If you don’t want to invest in all the above right away, I’d recommend the following.

Note: Haida has a Amazon storefront that can make it easier to shop for all their products.

Filters – Suggested Filters by Workshop

While not required, I suggest the filters found in the following chart.

WorkshopSplit ND Grads (100x150mm)ND Filters (100x100mm)Polarizers (round threaded)Specialty
Winter Workshops3-stop reverse, 3-stop soft5- or 10-stop Mor-sloLB Neutral
Waterfall Workshops3-stop reverse 5- or 10-stop Mor-slo (optional if you have a Waterfall Polarizer)LB Neutral (optional), Waterfall Polarizer
Night WorkshopsFor sunsets, 3-stop reverse AstroVision (not needed for the workshop but is nice for areas with light pollution)
Macro WorkshopsLB Neutral
Fall Color Workshops3-stop reverse, 3-stop soft5- or 10-stop Mor-sloLB Neutral, Waterfall Polarizer (nice to have but not needed)
November Workshops3-stop reverse, 3-stop soft5- or 10-stop Mor-sloLB Neutral, Waterfall Polarizer (nice to have but not needed)
Destination Workshops3-stop reverse, 3-stop soft, All-in-One5- or 10-stop Mor-sloLB Neutral, Waterfall Polarizer (Black Hills, Smokies, Bluff Country, Glacier)

Filters for Outdoor Photography

Camera filters allow us to expand a camera’s capabilities to both get closer to what our eyes see and what our mind in imagines. While you can achieve some of the effects of filters in the digital darkroom, the goal of filters is capturing an image as close to your personal vision as possible in the field.

I use filters, because I like the challenge of capturing an image as close to my vision in a single shot and because it helps me achieve a state of flow, being totally immersed in an activity, which I find creates more creative engagement and results in more evocative work. In some cases, such as with a polarizing filter, aka “polarizer,” or a neutral density (ND) filter, you can’t achieve the effect in the digital darkroom.

Filters attach to the front of your lens and modify how the scene is capture by the sensor. There are 100s of types of filters available to photographers but only a few are needed for outdoor photography.

Why Use Filters?

Many new photographers hesitate to use filters, believing they should capture reality “as is.” However, it’s important to understand that photography, by its very nature, doesn’t capture reality exactly as we perceive it.

Photography transforms three-dimensional space into a two-dimensional form, creating an illusion of reality rather than capturing direct reality. Consider these points:

  1. Framing: A photograph has defined edges, including only what the photographer chooses, unlike our full field of vision.
  2. Equipment impact: Lens choice affects perspective, while camera settings control motion blur and depth of field.
  3. Limitations: Camera sensors can’t match the dynamic range of human vision, nor can they capture ultraviolet or infrared light.

By choosing photography as a medium, we’ve already decided to interpret reality rather than capture it exactly. Filters, like lens choice or camera settings, become another tool to express our artistic vision.

Embracing Photographic Art

To grow as a landscape photographer, consider shifting your mindset: instead of trying to capture reality, view reality as the foundation for your photographic art. Filters are simply another means to shape your artistic expression.

Three Essential Filter Types

For outdoor photography, three types of filters can dramatically expand your creative possibilities:

  1. Split Neutral Density Graduated Filters (ND Grads):
    • Description: A rectangular filter that is split in the center. The top has a dark coating applied to it, and the bottom is left clear.
    • Size: Rectangular (100mm by 150mm)
    • Use case: Balancing exposure in high-contrast scenes, particularly landscapes with bright skies and darker foregrounds.
    • Example: Capturing a sunset over a beach without losing detail in either the vibrant sky or the shadowed sand.
    • Benefit: Allows you to retain detail in both highlights and shadows in a single exposure, reducing the need for complex post-processing or HDR techniques.
  2. Polarizing Filters:
    • Description: A polarizing filter selectively reduces certain types of light reflections and glare. It works by only allowing light waves oriented in a specific direction to pass through, while blocking others. This unique property gives photographers greater control over reflections, color saturation, and contrast in their images.
    • Size: Round (sized to fit your lens) or designed to fit a rectangular filter holder via differing attachments.
    • Use case: Reducing glare and reflections, enhancing color saturation, and increasing contrast in skies.
    • Examples: a) Deepening the blue of a sky and making clouds pop. b) Eliminating reflections on water to reveal what’s beneath the surface. c) Reducing glare on wet leaves or rocks to enhance color and texture.
    • Benefit: Achieves effects that are difficult or impossible to replicate in post-processing.
  3. Neutral Density (ND) Filters:
    • Description: A solid ND filter is a uniform, light-reducing filter that darkens the entire image without affecting color balance. It’s like putting sunglasses on your lens, allowing less light to reach the camera sensor. These filters come in various strengths, measured in stops of light reduction.
    • Size: Square filters (100mm by 100mm)
    • Use case: Reducing light entering the lens to allow for longer exposures or wider apertures in bright conditions.
    • Examples: a) Creating silky smooth water effects in daylight by using long exposures. b) Capturing motion blur of crowds or traffic in bright daylight. c) Using a wide aperture for shallow depth of field in bright sunlight without overexposing.
    • Benefit: Expands creative possibilities by giving you more control over shutter speed and aperture, regardless of ambient light conditions.

What do I carry and why?

The following filters are filters that I carry and why.

  • Rectangular or Square:
    • 3-stop Reverse Graduated ND (ND Grad, NDG): This filter splits in the center with an abrupt break from clear to the darkest part of the filter. The darkness fades as it goes higher on the filter. This is my #1 used filter for sunrise and sunset, especially when shooting over water or flat horizons.
    • Solid ND Filter 5-stop or 6-stop: This is a 100mm x 100mm filter that is complete solid in a neutral grey color. This is used to blur water or any other motion. I use these primarily at sunrise and sunset to blur the motion of wave action on the Great Lakes or when on the ocean. I also have a 10-stop version that’s nice for blurring cloud motion.
    • 3-Stop Soft Graduated ND (ND Grad, NDG): This filter splits in the center with a soft break and gradually gets darker towards the top of the filter. These work well when shooting away from the sun or when the horizon is jagged. You can also combine this with the 3-stop Reverse when you need to tame a really bright sunrise or sunset or when shooting in the mountains. If you want a lot of options, buying a 2-stop Soft NDG is a good addition. It allows you to combine two softs in a variety of ways for unique situations.
  • Round
    • Polarizer: This filter eliminates reflections, glare and that in turn intensifies colors. These are great for shooting around water or where there are reflective surfaces, such as leaves during fall color. If you shoot these with a wide angle lens, you need to be careful if you have a lot of blue sky. It can create lopsided color in the sky. 35mm or longer lenses don’t have this issue.
    • Bryan Hansel Waterfall Polarizer: Designed specifically for shooting waterfalls. This combines a polarizer and a 3-stop Solid ND Filter with a little secret sauce. This allows you to get shutter speeds of around 1 to 2 seconds on overcast days. That’ll make waterfalls get that blurry, silky look.

Each of these filters allows you to capture images that would be impossible without them, opening up new creative paths in your photography. By mastering the use of these filters, you’ll have greater control over your images and be able to more accurately translate your artistic vision into compelling photographs.

Filter Types and Systems

Understanding the different types of filters and how to use them is crucial for expanding your photographic capabilities. For outdoor photography, there are two main filter types:

  • Threaded
  • Rectangular filters (Invest in 100mm by 150mm, which are sometimes called 4-inch by 6-inch)

Threaded filters screw directly onto the front of your lens and remain in place once attached. They’re convenient for filters used frequently, such as circular polarizers.

Rectangular filters, on the other hand, are square or rectangular in shape and slide into slots of a specially designed filter holder. These offer more flexibility, especially for graduated filters, and are preferred by many landscape photographers, including myself. While most filters are available in both types, certain situations may favor one over the other.

Sizing Round Filters

When it comes to sizing round filters, it’s important to note that they are designed to fit specific lens thread sizes. If you have multiple lenses with different thread sizes, you may need multiple filters of the same type. However, to save money, space, and weight, you can consider using step-up rings. For example, a 52-77mm step-up ring allows 77mm filters to be used on 52mm lenses. This approach lets you buy one size filter for multiple lenses, which can be cost-effective.

Rectangular Filter Systems

As an alternative to threaded filters, rectangular filter holder systems offer a versatile solution, especially for ND Grads and ND filters. These systems consist of an adapter ring that screws onto your lens, a filter holder that attaches to the adapter ring, and slots in the holder where you can slide in multiple filters. The main advantage of filter holder systems is the flexibility they offer in positioning graduated filters and their ability to accommodate compositions that screw-in filters can’t handle. They also allow for easy stacking of multiple filters and quick filter changes without unscrewing from the lens.

Use Both Types of Filters

When choosing between threaded and Rectangular filters filters, it’s important to consider your shooting style, the types of filters you’ll use most often, and your budget. Many photographers find that a combination of both systems works best for their needs. Ultimately, the right choice will depend on your specific photographic goals and the types of scenes you typically shoot.

Filter Holder System For Rectangular and Square Filters

To use 100mm by 150mm or 100mm by 100mm filters, you’ll need a filter holder system. After testing numerous options, I highly recommend the Haida M10-II Filter Holder Kit with polarizer and adapter ring. When purchasing, select the version with an adapter ring that fits your main wide-angle lens thread size.

Key Components:

  1. Filter Holder: The Haida M10-II is my top choice for its quality and functionality. If you can find the older version 1, it’s equally good and potentially more cost-effective.
  2. Adapter Rings: These allow you to use the filter holder on multiple lenses with different thread sizes. To determine your lens thread size, look for a symbol like ⌀77 on the front of your lens (indicating 77mm threads).

Adapter Ring Sizing:

  • Common sizes: 95mm, 86mm, 82mm, 77mm, 72mm, 62mm, 58mm, 52mm
  • Product naming convention: “XXmm Adapter Ring for M10 100mm Filter Holder HD4251-XX” (where XX is your lens thread size)
  • Specialty sizes are available for certain lenses (e.g., Nikon Z 14-24 f/2.8 S). Here’s an example: specialty holder.

When ordering, ensure you select the correct adapter ring size for each of your lenses. This system allows for versatility across your lens collection while maintaining the ability to use high-quality 100mm filters.

Note: The filter holder system is an investment in your photography toolkit, providing flexibility and enhancing your ability to control light in various shooting scenarios.

Other options:

  • The best cheap filter holder that I’ve tried is the Sioti 100mm Square Z Series. The Sioti only comes with one adapter ring. Choose the size for your wide-angle and mid-range zoom.
  • If the Haida doesn’t appeal to you, get the Lee100 Filter Holder.
  • If you plan on using only glass filters, the Kase K9 works well. Unfortunately, it’s hard to use with resin filters.

Filter Pouch/Bag

You’ll need a bag to carry your filters in. The Kinesis Gear F169 is my favorite. It holds all the above filters and the holder. It has a quick clip to attach it to your tripod. It opens easily and keeps everything secure. Buy direct and use the code for a 15% discount. Code: Hansel15

Other options:

  • MindShift Gear Filter Hive Storage Case: I like this case, but I wish that the zipper opened up on the opposite side of the holder. It’s a little bigger than the Kinesis Gear holder, but it also holds round filters. I’m trying to use this holder more this year to see if I can simplify my filter management while in the field. I may modify it to fit my needs.

Filter Care and Maintenance

Proper care of your filters is essential to maintain image quality and prolong their lifespan. Always handle filters by their edges to avoid fingerprints and smudges on the glass surface. Clean filters gently using a microfiber cloth or lens tissue with a small amount of lens cleaning solution. For stubborn marks, use a gentle circular motion from the center outward. Store filters in a dedicated case or pouch to prevent scratches and dust accumulation. When not in use, keep your filters in a cool, dry place away from direct sunlight. Regularly inspect your filters for any damage or debris, and avoid stacking filters when stored to prevent scratching. With proper care, your filters will continue to enhance your photography for years to come.

Demo Filters and Discounts on Singh-Ray Filters

I have three sets of Singh-Ray demo filters. Each set includes:

  • Split ND Grads (4×6-inch filters): 3-stop reverse, 2-stop soft
  • ND Filters: 5-stop Mor-Slo
  • Polarizers: LB Neutral Polarizer

If you are interested in using a Singh-Ray demo filter set during the workshop, let me know. Because the number is limited, the first three people that want to use a set get dibs. Note: If you plan on using a demo filter set, you will need to buy a 4×6-inch filter holder and an adapter ring to fit your wide-angle lens and any other lenses that you wish to try filters on.

Filter Discount

Singh-Ray Filter discount. Order direct from www.singh-ray.com and use the code “hansel10” at checkout to get a 10% discount. I use and recommend Singh-Ray. I’m also a Singh-Ray Filter ambassador and designer. Right now their filters are not available due to the death of the owner.

Filters that I Use from Singh-Ray

These are the Singh-Ray Filters that I use. When they are back in production, I’ll start recommending these again.

LCD Loupes

LCD loupes are a nice product that can help you see your LCD screen better in the outdoors. You hold it over your camera’s LCD, and it cuts glare. The Hoodman loupe also has a built-in diopter, so you can adjust it to your eyes. If you need reading glasses, it acts like reading glasses. These are great to help review your images in the field. This isn’t required, but it can be nice to have.

Tripod

A sturdy tripod is a must for great landscape photos. While a plastic tripod with a pan/tilt head bought from a big-box store may seem like it will work. It likely won’t. Cheap tripods are just that. They’re cheap. They break. And worst of all, they are NOT steady.

While you don’t need to spend $1000 to get the latest carbon fiber tripod from Gitzo or RRS, I do suggest that you consider buying a good tripod if you don’t already own one. You won’t regret buying an expensive tripod. I love my carbon fiber RRS tripod and RRS BH-55 ball head.

If you are looking for an inexpensive first tripod that’s a bargain, check out this article.

I often get asked what tripods that I use. This are the models:

Workshop-Specific Equipment

Find more equipment info for:

Grand Marais Fall Equipment Notes

For photography gear, bring a wide range of lenses from wide angle to telephoto. Make sure that you bring a polarizer. It’s an essential filter for fall color. Bring rain gear, camera rain cover and a rain umbrella! The umbrella is handy when or if it rains. Also, bring sturdy hiking boots or hiking shoes. We will hike into several location and the trails are rocky and rugged.

Destination Workshop Equipment Notes

For photography gear, bring a wide assortment of lenses and the normal gear that you’d bring. Bring rain gear, a camera cover, and a rain umbrella. The umbrella is handy when or if it rains. We stay in the field during rain. Also, bring sturdy hiking boots or hiking shoes. We will hike up to 4 miles round trip and some of the trails can be considered moderately rough. See the equipment list for more details.

Consider bringing a super telephoto zoom, such as the Sigma or Tamron 150-600. This works well if we run into any wildlife, and it works surprisingly well at sunrise and sunset. You will also want a wide lens for the stream photography.

Infrared Workshops Info

For infrared photography workshops, consider whether or not to convert your camera. If you know you will do infrared often, consider it. If your mirrorless camera can use their magnetic internal filter system, I’d recommend getting a full spectrum conversion from Kolari, and then buying the internal filters you want. If you’re just trying infrared and may do it now and then, then get a filter. Don’t convert a camera.

IR Filters

The standard IR filter over the years has been the Hoya R72. The hardest part is deciding what size to get because until you try the filter on a lens, you won’t know if your lens is going to work well with infrared. Kolari offers a Hotspot Database that you can consult. You want to make sure that your lens doesn’t have a bad hotspot before committing to use it for infrared. If it’s listed as good in Kolari’s database, it’ll likely work well with the R72.

Once you figure out if your lens will work well for IR photography, you can buy the filter in that size. The other approach is to buy a filter in 82mm, and then buy step-up rings to use it with other thread sizes. As far as step-up rings, it really doesn’t matter for brands. Brass are more expensive but are less sticky. KASE makes good ones, but any $10-15 step-up would be fine. Here’s a listing of step-up rings on Amazon. Breakthrough Filters makes great brass step-up rings.

Camera Conversions

If you know you will do infrared often, consider a camera conversion. If your mirrorless camera can use Kolari Vision’s magnetic internal clip-in filter system, I’d recommend getting a full spectrum conversion from Kolari, and then buying the internal filters you want. For the class, I’d recommend either a 590nm or 720nm. The 590nm is more versatile when it comes to false color, but the 720nm is the classic for white foliage and blue skies. Also get the Hot Mirror filter to be able to use the camera for visible light photography.

Macro Workshops: General Gear

The following advice will help you prepare for your macro photography workshop. You don’t need to buy any of the discussed equipment, but I highly recommend bringing either a macro lens, close-up filters for your telephoto lens, or extension tubes.

Marco Lens

I recommend using a 105mm or longer macro lens for this workshop. If you don’t own one and don’t want to buy one, then consider buying macro diopters or extension tubes.

Close-up Filters (Macro Diopters)

If you don’t have a macro lens or don’t want to buy one just yet, then you can use close-up filters, also known as macro diopters. Here’s a link to an Amazon search for these filters: http://amzn.to/1EEhYZA Close-up filters screw onto the end of a lens and help the lens focus closer. Combining close-up filters and a 55-200mm or a 70-300mm lens can create a serviceable macro lens. When ordering a close-up filter make sure the thread size matches the threads on your lens. If you plan on doing lots of macro photography, you’ll be happier with a 105mm or 200mm macro lens.

Extension Tubes

Macro Workshops: Extension Tubes

Extensions tubes are a simple device that can give your lens a macro capacity. While I love shooting macro, I don’t always enjoy carrying a macro lens with me. They can be large and heavy. If I know I’m going to be shooting macro, I’ll bring one.

Every now and then I’ll find a macro subject, but I won’t have my macro lens. By having extension tubes with me, I can put one between my camera and lens and that will allow me to get closer to the macro subject than without it. I like using them with my 24-120 lens at about 90-105mm. The best part about extension tubes is that they are light and cheap. You can pick up a set for between $30 and $100. I use the Meike brand.

Here’s a link to an Amazon search for these filters: http://amzn.to/1G7r2NP

Should I Buy Close-up Filters or Extension Tubes?

Either approach will work, but the close-up filter approach is easier to learn. If you buy a high-end close-up filter, the results are typically good. Extension tubes are harder to learn, but can provide a better result than a close-up filter.

Camera

Before you come to the workshop, check your manual to see if your camera can do focus stacking. If it can, it will help you practice this technique should you desire to try it.

Light Diffusion: Umbrella, Scrim or Plastic

Making macro images on a bright sunny day is difficult. A white photography umbrella, like you’d use for portraits, helps block the sun and lets just enough diffused light into the photo to give a nice soft glow. I carry a Wescott 32-inch umbrella with me for macro. Here’s a link to it at Amazon: http://amzn.to/1EEiTJw

Instead of an umbrella, you can use any scrim-like material, such as the translucent part of this reflector: http://amzn.to/1LO2B6T

For a budget option, consider using Visqueen, a brand of polyethylene plastic sheeting used in housing construction. Often contractors will have left over Visqueen they will give you for free. Look the opaque, 6-mill style. I like to use a big enough piece to cover the subject and camera.

Tripod for Macro

When buying a tripod, consider a tripod without a center column. This allows you to get the tripod low to the ground. A better option is a tripod that features a column that can be turned parallel to the ground. This provides much more flexibility.

Beanbag

A beanbag allows you to set your camera almost completely on the ground and helps provide stability on uneven grounds.  My favorite is the Kinesis SafariSack. You can get the SafariSack with plastic bead filling or filled with buckwheat. Although much heavier, I prefer the plastic bead filling. Here’s a link to the SafariSack at Amazon: http://amzn.to/2nBbLQq The SafariSack also works great when balancing your lens out of your car window to shoot wildlife. If you buy direct, save 15% with the code “hansel15”.

Flash and Flash Brackets

Using an off-camera flash for macro photography can help you get pictures when it’s windy and it also can help you handhold a camera to get into a tricky location. Flashes aren’t necessary, but if you have one it consider bringing it. I won’t cover this topic in the workshop.

5:1 Reflector

A reflector allows you to bounce light back onto your subject when it is under an umbrella or scrim. You can buy a big studio-sized reflector like that shown in the above photo or you can buy something more portable. I like a reflector that is about 20 inches. The Etekcity 24″ 5-in-1 Portable Multi-Disc Collapsible Photography Photo Reflector is an ideal reflector for macro photography.

Amazon.com link: http://amzn.to/2nBhZ2M  

Miscellaneous Equipment

If you have extra clothespins or small spring clamps around, bring some along. These can help hold plants out of the way while you shoot your flower. Ideally, we don’t want to harm any plants while photographing our subjects, and clothespins help us Leave No Trace.

A small, soft paint brush or makeup brush can be useful if you need to clean and dirt off your subject.

Use a spray bottle to add water droplets to your subjects. This gives them that morning dew look that looks great in shots.

If you really want to be geeky, bring along an 8×10 or 8×12 matt photo of a blurred forest, grassland or something with uniform color. You can hold these photos behind your subject and get a beautiful blurred background while maintaining significant depth of field in your subject. 

Macro Specific Equipment List

This is in addition to the other equipment. You don’t need all this equipment, but I highly recommend either a macro lens, close-up filters or extension tubes.

  • Macro lens
  • Close-up Filter
  • Extension tubes
  • 5:1 reflector
  • Clothespins or clamps
  • Soft brush
  • Spray bottle
  • 8×10 or 8×12 matt pictures of blurred backgrounds

Night Sky Workshop: Equipment Notes

For photography gear, a fast, wide-angle lens is highly recommended. For full frame, the perfect setup is a 14-24 f/2.8 (or 16-35 f/2.8), 20mm f/1.8 and a 35mm f/1.4. If you don’t have those lenses, a wide and fast lens will work.

Also, bring sturdy hiking boots or hiking shoes. We will hike up to 1.5 miles round trip on trails considered easy to moderate. See the equipment list for more details on shoes and clothing.

Sunsets on the Gunflint can be buggy even in August. Consider bringing a bug shirt or a bug head net.

  • Bring bug spray and head nets!
  • Bring a headlamp.

For photography gear, bring wide and fast lenses. What you bring doesn’t have to be exactly what I use. As long as you have a f/2.8 or faster lenses that goes as wide as 24mm on full frame or 16mm on cropped sensors, you’ll be fine. It is nice to have a wider lens. As an example, my typical night sky gear includes the following cameras and lenses:

  • Full-frame camera
  • 14-24mm f/2.8
  • 20mm f/1.8
  • 35mm f/1.4

If you shoot a cropped sensor camera, the list might look like this:

  • APS-C camera
  • 11-20mm f/2.8
  • 14mm f/1.4
  • 24mm f/1.4

Sometimes condensation can be an issue at night. To help prevent it, bring hand warmers, like you’d use in winter, and a rubber band or wrist sweat band to hold the warmers on your lens. There are also electronic versions that are powered by a USB power bank.

There’s more info about lighting for night photography in step four. See below.

Night Sky Workshop: Lighting Equipment

The following equipment is what you may see me use during demonstrations on the workshop or when I’m setting up shots with lighting equipment.

Lighting Equipment for Night Photography

I’ll provide this lighting equipment for the photography workshop, so this is a reference for the equipment I use for natural low-level lighting for Nightscapes. All the links go to Amazon.com.

Learn more here:

Lighting

My favorite for low-level lighting. If you are going to buy one do-it-all light, this is the one.

Lights that work fine, but not my current choice:

Extra Lights

Umbrella

Light Stand

Miscellaneous

Lightning Trigger

A lightning trigger can help you capture lightning. I use the Pluto Trigger. It requires a smartphone, but it offers many other features that will help trigger your camera in unique circumstances.

Night Sky Pano Workshop: Milky Way Panoramic Gear Info

Introduction

This gear guide is specifically for the Milky Way Panorama workshop. You won’t need this equipment for other night sky workshops. Only the Learn Panoramic Photography to Capture the Milky Way Photo Workshop covers Milky Way panos.

Lens Recommendation

  • Ideal focal length: 20-24mm
  • For June shoots: Bring a lens that can go as wide as 14mm
  • Recommended lenses: 14-24mm f/2.8 or 16-35mm f/2.8

Note: Really wide lenses make stitching the panorama together more difficult. The sweet spot is around 20 to 24mm, but in June, we often need wider than that to capture the top of the Milky Way.

Required Gear

To ensure a smooth workshop experience, the following items are required:

  1. Ballhead with Arca-Swiss Quick Release
  2. Indexed 360° rotating base
  3. L-Bracket for your camera
  4. Nodal Slide
  5. Sturdy tripod

The above photo shows the required gear for this workshop. A tripod is missing. Clockwise from the upper left: 1. Indexed 360° rotating base, 2. Ballhead, 3. L-bracket, 4. Nodal Slide.

Ballhead

  • Recommended brands: Really Right Stuff, Kirk
  • Must have an Arca-Swiss compatible quick release plate
  • Allows for quick leveling of the rotating base

Note: If your quick release plate isn’t Arca-Swiss compatible (e.g., Manfrotto), you’ll need an adapter. Ballheads allow you to quickly level your rotating base, saving time during night shoots.

L-Bracket

  • Choose one designed for your specific camera model
  • Recommended brands: Kirk, Really Right Stuff
  • Ensure it has center markings on both horizontal and vertical sides

Note: You can search Amazon using terms like “L-bracket [Your Camera Model]”. Make sure the one you get marks the center of your camera body on both horizontal and vertical sides.

Indexed 360° Rotating Base

Note: These items often go in and out of stock. Make sure the base you buy is indexed with detents that you can feel as you turn the clamp. The reason for this recommendation is that you need to be able to rotate the camera for each individual shot in a controlled way. By using a Indexed 360° Rotating Base, you can feel a click at each point you need to shoot a shot.

Warning: Make sure the Indexed 360° rotating base that you buy is indexed with detents that you can feel as you turn the clamp.

Nodal Slide

Note: This item slides back and forth in your Indexed 360° rotating base to put the lens’s anti-parallax point over the center of rotation. This will be explained during the class, and we will find these points as a group.

Optional Gear

Note: Extra bubble levels can be useful as not everyone’s gear levels perfectly. With extra levels, you can determine which way your gear is off and balance it accordingly.

Gear Assembly

The above photo shows all the required gear assembled except that ball head would be attached to a tripod. From top to bottom: 1. Camera with L-bracket attached, 2. Nodal Slide, 3. Indexed 360° rotating base, 4. Ball head.

  1. Attach ballhead to tripod
  2. Clamp indexed 360° rotating base into ballhead
  3. Attach nodal slide to rotating base
  4. Attach L-bracket (with camera) to nodal slide

Note: All connections should use Arca-Swiss compatible quick release systems. The indexed 360° rotating base clamps into the ball head because it has a quick release plate on the bottom. The nodal slide easily clamps into the rotating base because the base has a quick release clamp on top. The nodal slide has a quick release clamp that clamps to the L-bracket.

Winter Workshop Equipment Notes

Please, study the section on cold weather in the participant package. I recommend that you bring more batteries than you think you’d need, because the cold saps batteries. It sucks when a participant’s batteries give out in the early afternoon.

Also, consider bringing an airtight backpack or plastic bag to put your camera and lenses in when bringing it into the hotel after being outside the entire day. This will prevent condensation from getting into the electronics.

Hiking crampons or cleats are a must. I’ve seen one broken wrist on a workshop when someone forgot their cleats. Please, read: Winter Traction Devices. We will also use snowshoes which you can rent at the Lake Superior Trading Post. Phone: 218-387-2020.

Waterfall Workshops

For north shore waterfalls, you’ll want to cover both wide and long lenses. On full-frame cameras, I’d suggest having lenses from 20mm to 200mm. If you plan on doing the night photography session, then I’d suggest a wide and fast lens.

The most important filters for this workshop are the polarizers. If you are going to purchase one filter, I’d suggest the Bryan Hansel Waterfall Polarizer. This is a 3-stop ND filter combined with a polarizer. It is the filter that Singh-Ray and I developed specifically for shooting waterfalls. A regular polarizer combined with a ND can also work well. When you buy filters direct from Singh-Ray use the code “hansel10” for a 10% discount.

For sunrises, the Singh-Ray 3-stop reverse ND grad is what you’ll use. If your focus isn’t on sunrises and sunsets, then you can skip this filter. But, if you shoot lots of sunrises and sunsets, then I’d suggest picking one up. It’s the filter that I use for 90% of my sunrises and sunsets.

This time of year can be rainy or snowy, so bring lots of clothing and don’t forget your rain gear. An umbrella is a relief on rainy days. A camera rain cover is a worthwhile investment.

Physical Preparation

Fitness, Medical, and Hiking Considerations

To reach some of the field locations, we may have to hike several miles. The hikes are considered easy to moderate. To participate at that field location, you must be able to hike one- to four-mile round trip on moderate and uneven terrain. If you have concerns about your physical fitness, call us to discuss. You can also sit out a field location. There are plenty of subjects to photograph near the parking lots.

  • Check the Activity Level on the workshop product page to see the expected type of hiking.

You are responsible for determining your fitness for any trip. If you have any medical conditions that require regular treatment or that is affected by activity, weather, foods, natural conditions, you must notify me in advance of the trip. Health information forms forms are available upon request.

Bryan Hansel Photography LLC assumes no liability for medical care. Bryan Hansel Photography LLC makes the ultimate determination of your fitness to embark upon or to continue a trip.

Medical conditions are not considered exceptions to the cancellation policy.

In addition to the location-specific recommendations below and the recommendations above, we want to emphasize bringing multiple layers of clothing. That should include base layers, insulation layers, and rain suits.

You may find the following video useful as you prepare for your winter photo workshop. This activity is made possible in part by the voters of Minnesota through a grant from the Arrowhead Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund.

Clothing for Winter Workshops

Temps can range from -30 to +30°F so make sure to bring a wide range of clothing. We will be outside even if it’s -30°F and a blizzard out. While it may sound daunting if you haven’t spent time outdoors in sub-zero temps, wearing the right clothing makes the cold bearable and enjoyable.

A key concept to keep in mind during winter photography is thermoregulation, which is
keeping your body temperature within a range around normal body temperature of 98.6°F (37°C).
Your body has mechanisms designed to help you maintain your normal body temperature. When
you’re hot, you sweat. When you’re cold, you shiver.

Clothing affects body thermoregulation. If you have a ton of warm clothing on and you start sweating, you’ll likely continue to sweat and soak your clothing making it more difficult to stay warm. If you have too little of clothing on in the winter, you’ll likely shiver and get too cold and perhaps end up with some of cold related medical issues. You need to select your clothing to help your body’s thermoregulation succeed. When in the field, you need to adjust your clothing to help maintain normal body temperature.

One way to help your body maintain the proper temperature is to use a method of dressing known as layering. Layering is the use of several different pieces of clothing known as “layers” to give you flexibility in how much clothing you have on at any one time. The clothing system consists of three parts: a base layer, mid-layer (or insulation) and a shell. Each of those components accomplishes a different function.

When using layers in the field, if you get too hot, you can start to shed layers until you’re just right. If you’re too cold, you add layers until you’re just right. One common problem with photographers is that we’re often put into two different types of clothing situations in the same outing. We may stand still in one place for a long period, which requires warmer clothing, and then hike on to the next photo location, which requires fewer items of clothing. Those two situations put two different types of strains on our bodies and you need to be proactive to avoid any problems.

While standing around waiting for a photo, you’ll need to add layers, and before you get overheated and start sweating on the hike, you need to remove layers. I like to keep an extra layer of clothing handy in my backpack and then put it one while standing around. Before I set off on a hike, I’ll often remove clothing even if it feels slightly cold, because I know I’ll soon be warm. The other way to do it is start hiking and when you feel your body just starting to heat up, but before you start to sweat, remove a clothing item. Through practice, you’ll find exactly what you need in each situation, but before you do that, just add and subtract layers to stay just warm enough so you don’t soak your clothing with sweat.

Gloves

You need to be careful with your hands, because if you touch metal in below zero temps with bare skin, you could end up with a cold injury (remember not to stick your tongue to your tripod as well), and exposure to the cold air and wind can drop the temperature in your hands quickly making them extremely uncomfortable and more susceptible to cold injuries. You need a glove system that allows you to access and control all the functions on your camera while keeping your hands protected and warm. For that, a three-layer system works well.

In that three-layer system, I recommend wearing a thin synthetic or wool liner glove under your other gloves. The liner acts like a base layer, but more importantly you always keep the liner glove on and it’s thin enough to accurately push buttons, turn knobs and spin dials. One consideration when choosing your gloves is whether your liners will fit comfortably under your next layer, so bring your gloves with you when shopping.

For the next layer of gloves, you’ll need something that provides insulation and helps stop the wind. Windstopper fleece or other types of softshell gloves work well for this. Don’t write off insulated leather work gloves. Even the inexpensive brands lined with Thinsulate from home improvement stores provide lots of warmth for the weight. The downside with leather gloves is that it gets wet more easily than fleece or soft shells.

With practice, you can learn to manipulate all the parts of your camera with both the liner and insulation-layer gloves on. This is something you can practice while sitting on the couch at home. Once you’re in the cold, it’s much harder and more frustrating to learn to manipulate the controls with two layers of gloves on your hand.

For shell gloves, look for something that fits over your other gloves and can be quickly removed, such as a Gore-Tex over mitten. An example is Outdoor Research’s Mt. Baker Modular Mittens. Over-mittens, such as these, trap the radiant heat near your hands and prevent convective heat loss. A nice feature to look for is a lanyard attachment. With a lanyard, you can clinch the strap around your wrist or forearm and let the mitten dangle when you take it off. This is much easier to do in winter, especially when it’s windy, then trying to tuck it into a pocket or stuff it under your armpit or between your knees. The only disadvantage to using a lanyard is that over-mitts work well as extra insulation under your knees if you need to kneel and a lanyard makes it inconvenient to use in this way.

If you get cold hands using hand warmers in your gloves works well to keep your hands warm. Some styles of gloves and mittens feature zippered pockets designed for the chemical hand warmers packs. Typical hand warmers, such as Grabber’s, maintain temps of 135 to 156°F and last up to seven hours. At less than a dollar a pair, it’s good insurance to carry these in your backpack for the colder days.

NOTE: If you have a touchscreen on your camera, you must buy a pair of gloves that works with a
touchscreen. Taking your gloves off in sub-zero temps is not an option.

Balaclavas

On your head, I recommend wearing a balaclava and synthetic or wool hat. If you’re a glasses wearer, you need to buy a balaclava that directs your breath downward instead of towards your eyes and glasses; otherwise your glasses will fog and ice up. Balaclavas that work for glasses wearers usually have an opening for both your nose and mouth. If you don’t wear glasses, you can use whatever variety of balaclava you like.

Snowshoes and Traction Devices

There are two pieces of specialty gear that are required for the workshop: snowshoes and
ice cleats. We’ll use the snowshoes to hike up frozen river canyons and we’ll use the ice traction
devices along Lake Superior’s shore. See below for more info on cleats.

If you need to rent snowshoes, reserve a pair from the Lake Superior Trading Post (218-387-
2020).

The following photography resources are those that I love. The online ones are ones that I check out often for inspiration or just because they’re interesting. The books are ones that I return to now and then for inspiration, especially the Galen Rowell books.

On the Web

  • The Online Photographer:  Consistently the best and most intelligent photography resource on the Internet. Michael Johnston, the primary author, has figured out a way to make money in photography by running a blog and there’s good reason that he makes his living via the blog. It’s always good. It’s the first thing that I read on my RRS feed each day.
  • Nikon Rumors: I mainly shoot Nikon and like to read rumors about what is coming next. It helps me plan for future expenses and such. There are rumor sites for all major brands, so if you’re a gearhead, they can be fun. If you’re not, then not so much.

Books

  • National Geographic Photography Field Guide: Landscape: This book is a solid introduction to landscape photography. It’s pithy and has beautiful photography. National Geo produces several photography field guides covering all kinds of subjects.
  • Galen Rowell’s Inner Game of Outdoor Photography: This is a good starting point to Galen Rowell and a book I come back to over and over, but I come back to his books all the time. He passed away before his time, but his look still feels modern and has impact. Once you finish this book, you should get the rest of his books. The subject matter is diverse and the tricks and tips you find in his books are like finding gold in the bottom of your pan.
  • Ansel Adams’  Examples: The Making of 40 Photographs: Do you question whether you should use filters, develop your images using Photoshop? If so, pick up a copy of this book and you’ll see everything that Ansel Adams did both in the field, during developing and in the darkroom to make his prints. If you’ve never shot black and white, some of the technical terms will go over your head, but he talks about his vision and then what he did to make that vision happen on the print.
  • John Shaw’s Guide to Digital Nature Photography: Great beginners guide to nature photography. Recently updated to digital.
  • Art Wolfe’s The Art of the Photograph: Essential Habits for Stronger Compositions: While not written by Wolfe, the book has amazing photography and good advice.
  • Art Wolfe’s The New Art of Photographing Nature: While not written by Wolfe, the book has inspirational photography and good advice.
  • Bruce Barnbaum’s The Art of Photography: An Approach to Personal Expression: The first seven chapters of this book are pure gold. While I disagree with some of his ideas about why composition works and the elements of composition and think he mixes composition technique with the elements of composition, this book covers a wide range in a short time. The stuff about film can mainly be ignored and there is no “zone” system for digital. For digital, we call it expose to the right and it exposes differently than the zone system, so you can read the chapter, but it’s just a solid okay. Chapters 13 onward are all excellent. This is a worthwhile book to own and study.
  • Why You Like This Photo: The science of perception, and how we understand photographs Hardcover by Brian Dilg: One of the best photography books on how your mind sees the world and how to exploit that using photography.

Magazines

  • Outdoor Photography Magazine is a good magazine.
  • LensWork is a great magazine and well worth subscribing to.

       •     Adventure Cycling Association’s Blog Post on Travel Insurance: http://www.adventurecycling.org/resources/blog/travel-insurance-be-protected-from-the-unexpected/

Podcasts

Here are a few photography-related podcasts that I find interesting:

  • This Week in Photo (TWiP)
  • Lenswork – Photography and the Creative Process
  • The Candid Frame: Conversations on Photography
  • The Digital Story Photography Podcast
  • Picture This: Photography Podcast
  • PetaPixel Photography Podcast
  • B&H Photography Podcast
  • Glacier National Park Podcast: Season one of the NPS Podcast Headwaters is worth listening to to get you into the spirit: https://www.nps.gov/podcasts/headwaters.htm

Others that relate to Outdoor Photography in tangential ways:

  • Wild Ideas Worth Living
  • Live it UP with Mountain Life
  • The Sharp End
  • Outside Podcast
  • The Dirtbag Diaries
  • Nature’s Archive
  • Universe of Art
  • The Landscape

Phone Apps

Phone apps are handy for planning. Here’s what I use for my Android. Some have iPhone versions as
well:

  • PhotoPills: Allows you to see sunrise, sunset, Milky Way and more. You can plan out photo
    shoots based on future sun locations (it finds the date the sun will be where you want it based
    on where you want to stand). You can add those plans to your calendar, and it will remind you
    that you have a shoot coming up. There’s a VR mode. It offers DOF and hyperfocal tools and
    more.
  • NOAA Weather International by Pandamonium Software: Breaks down the weather by hour and
    gives you cloud cover percentages.
  • Stellarium: It’s a planetarium for your phone. It’s handy to give you names of the stars and
    planets that you are seeing in the sky and also for planning Milky Way shots.
  • Space Weather Live: Alerts you when there’s a chance of the northern lights. It’s the best one that
    currently works.
  • ISS Detector: Let’s you know when the space station is going to fly over

Photography Techniques and Resources

Photography Guides

Here are two downloads to look over:

Software for Night Sky Photography

For more advanced night sky imaging techniques, I suggest several different programs.

  • Landscape and Night Sky Stacking: Sequator (PC) or Starry Landscape Stacker (Mac)
  • Affinity Photo for deep sky astrophotography
  • StarStaX: A star trail stacker.
  • Lightroom Classic and Photoshop
  • PhotoPills: For Milky Way positions
  • Stellarium: For Milky Way and star positions
  • Adobe Lightroom Classic AI Noise Reduction for noise reduction

Picking a camera system

If you’re still working on building a photography system, learn more in this article:

The Landscape Photography Zine

This is a one-page ‘zine that I made about landscape photography

Travel and Accommodation

Getting There

  • Badlands: The Badlands National Park and Wall, South Dakota is located about 55 miles east of Rapid City, South Dakota on Interstate 90. From Minneapolis, it’s a 7.5-hour drive via US-169S to MN-60 W and I90 (check Google Maps for the exact route). Rapid City has a small regional airport (RAP). Devil’s Tower is 107 miles north or Rapid City (check Google Maps for the exact route).
  • Glacier: Amtrak’s Empire Builder serves Glacier National Park from a number of locations. The closest airport is Kalispell (FCA). The hotel is located in St. Mary, Montana. For exact routes, see Google Maps.
  • Grand Marais: Grand Marais, Minnesota is 110 miles north of Duluth, Minnesota on Highway 61. Duluth boasts a small international airport. Grand Marais is 260 miles north of Minneapolis, Minnesota, which has an international airport that also acts as a regional hub. Grand Marais is 128 kilometers south of Thunder Bay, Ontario on Highway 61. Thunder Bay has a small airport. Car rentals are available at the airports.
  • Tetons:

Lodging

You can find the lodging information in the registration email you received after you registered for the workshop.

Food

All meals and drinks are the responsibility of participants. After sunrise, we will break for breakfast. The exact timing depends on the conditions. We will often eat lunches in the field. Most dinners will be after sunset.

Each day, you should bring two to three water bottles (insulated for winter workshops) and snack food, like energy bars or GORP. If you’re not used to eating in the field, peanut butter and jelly sandwiches, an apple, and chips work well. Both peanut butter and jelly survive fine without refrigeration for the time we’ll be in the field. A thermos of hot chocolate or coffee is a welcome treat.

  • Badlands (Wall): Wall offers a limited number of restaurants and a small grocery store. If you are flying into Rapid City, consider grabbing groceries there.
  • Black Hills (Custer): Custer offers a wide range of restaurants and has a nice grocery store.
  • Grand Marais: Grand Marais offers a wide range of breakfast and dinner menus at various restaurants. If we plan on eating lunch in the field, you can order box lunches from Java Moose in town or pack your own. I highly recommend the Java Moose lunches.
  • Glacier: The best grocery store is in Browning, so I’d recommend stocking up there before heading to the park.
  • Iowa: Dubuque offers a wide range of restaurants and grocery stores. Some of the small towns that we will visit offer gas station food and maybe a restaurant or two.
  • Smokies: Gatlinburg has amazing and abundant restaurants and I’ve tried many of them. The surrounding towns also have great food. You can expect to secret stops for ice cream and other treats on this workshop. The best grocery store in Gatlinburg is Food City, 1219 East Pkwy.

Park Stickers and Entrance Fees

Most of the locations we will visit require park permits. Each car will need either a National Park Pass for destination workshops that go to national parks or a state park pass. The following states require permits: Minnesota, South Dakota and Wisconsin. Great Smoky Mountains National Park requires a parking permit that is different from the National Park Pass. Even pass holders need to purchase the parking permit.

You will need to purchase permits before the workshop. You can purchase these at the park office, park entrance or online before the workshop.

On-Site Logistics

First Meetup Times

These are the tentative meetup times. If the specific time isn’t listed, I’ll email the exact time about two weeks before the workshop. We will generally meet either in front of the hotel or in the hotel lobby or conference room. I’ll email the exact location about two weeks before the workshop. In some parks, our lodging might be spread out, so we will meet either in a conference room or a central location. I’ll communicate any changes to these times and locations via email before the workshop.

In Grand Marais, we meet either in the lodge or conference room at the Aspen Lodge, 208 East Highway 61.

For 2024, the workshop descriptions have the meet up times in the tentative schedule.

2024 Minnesota Photo Workshops

2024 Destination Photo Workshops

Carpooling

We will carpool during the workshop. We need to use 5 or fewer cars in most locations. If a location requires fewer cars, I’ll let you know about two weeks before the workshop. When carpooling, you always wait for the car behind you before making/leaving a turn. Everyone should grab a map from the local gas station or visitor center, and all drivers should talk to me about our next destination before leaving. Depending on the location, the permit may require that I drive my own car without passengers.

Cell and Internet Service

Cell Service is limited in many of the places that I run workshops. You should not expect to have cell service for most of the day when we are in the field at national parks or national forests. For workshops in Grand Marais, you can expect that most locations won’t have cell service.

Bryan’s cell number is 218-370-8351.

In some locations, the internet service at the resorts or hotels is slow due to its remoteness. Call ahead if you think you will need fast internet.

Itinerary

All itineraries are tentative and will change based on conditions. You can find the general tentative agenda on the workshop page. We will email you with an updated itinerary about two weeks before the workshop.

Sunrise and Sunset Times

My favorite application for finding sunrise and sunset times in PhotoPills. We will try to be at the sunrise or sunset time about 45 minutes to an hour before. When planning for sunrise, you also need to account for drive times. Most of the locations are 30 minutes away from our hotel, but sometimes the locations can be more than an hour away. Plan to wake up early.

Team Reach

Before and during the workshop, you can use the Team Reach app to communicate and coordinate flights, rooms, and car rentals. We may also use it during the workshop to communicate. Check your registration email for the Team Reach code.

Location-Specific Information

Weather and “What if it rains?”

Weather

  • Badland and Black Hills in the Fall: In the Badlands, the average temps are 42°F for lows and 69°F for highs. In the Black Hills, average temps are 39°F for lows and 63°F for highs. Expect windy and potentially stormy conditions with cold wind chills at sunrise.
  • Blue Ridge and Smoky Mountains Spring: The average temps are 35°F for lows and 68°F for highs. In the mountains, average temps are 33°F for lows and 53°F for highs. Expect windy conditions on the tops of the mountains with bitter cold wind chills at sunrise. It could be much colder at the higher elevations, so expect winter conditions.
  • Glacier: The average temps are 38°F for lows and 60°F for highs. In the mountains, average temps expect temps to be 15-20°F colder. Expect windy conditions on the tops of the mountains with bitter cold wind chills at sunrise. It could be much colder at the higher elevations, so expect winter conditions.
  • Grand Marais Early Winter: For December, the average high temp is 27°F and the average low is 12°F. The beginning of the month is generally warmer. Expect cold, icy conditions.
  • Grand Marais Fall: The average temps are 37°F for lows and 52°F for highs.
  • Grand Marais November: The average high temp is 39°F and the average low is 25°F. The beginning of the month is generally warmer. Expect cold, icy conditions.
  • Grand Marais Spring: The average temps are 32°F for lows and 45°F for highs. The records are -8°F and 83°F. Snow and ice is possible.
  • Grand Marais Summer: The average temps are 54°F for lows and 71°F for highs.
  • Grand Marais Winter: The averages are 10°F for lows and 28°F for highs. The records are -34°F and 58°F. Count on snow on the ground and ice.

What if it rains?

If it rains, we go out shooting. Challenging conditions provide some of the best photographic opportunities. The potential rain makes better photos than sunny days.

To make it easier, bring good raingear and an umbrella. I like Gore-Tex raingear, but if you don’t want to spend much money on raingear, consider rubber raingear or something like Frogg Toggs. The Frogg Toggs don’t usually last as long as Gore-Tex, but they work and are an inexpensive option if you are only going to use the raingear now and then.

A shower cap over your camera protects it from the rain. Considering buying a dedicated camera rain cover for the most protection.

Seasonal Considerations

Crampons Required For Late Fall, November, Early Winter, and Winter Workshops

Crampons with spikes are REQUIRED for workshops in Grand Marais during the following months: November, December, January, February and March. Slipping on the ice during these months can result in broken bones and other injuries or a slide into the freezing cold water of Lake Superior. Crampons help mitigate those risks.

I recommend the following crampons:

You can learn more here: https://www.bryanhansel.com/2015/winter-traction-device-winter-photography-dont-fall-ice/

Wildlife Safety (Must read for Glacier or Grand Teton)

Bears (Glacier NP and Grand Teton NP)

Glacier National Park and Grand Teton National Park are home to grizzly bears. As we will be traveling in the backcountry, we may encounter bears. Please, read the Bear Safety Pamphlet in the online participant package. Other locations we go, such as the Blue Ridge, northern Minnesota and Wisconsin, and the Smoky Mountains have black bears.

Bear Safety PampletDownload

Grizzly Bear Safety Video for Tetons and Glacier – MUST WATCH

This is a must watch for those heading to the Tetons or Glacier.

In Glacier, I highly recommend carrying a can of bear spray on the outside of you camera pack.

Bugs and Things That Bite

During the spring and summer months, especially in June, you can expect bugs. I highly recommend bringing bug spray, and for workshops in June and July a head net or bug jacket. You have a couple of great options:

Workshop Activities

Classroom

Minnesota-based workshop offer classroom time. Typically a classroom session will have a presentation. Some workshops have preparation exercises during the classroom times. Others feature processing work sessions.

Field Sessions

All workshops feature field sessions. During field sessions, we will be outside for extended periods of time. You should bring all your gear and equipment and be prepared for whatever weather that we encounter.

Usually we meet at the hosting hotel before the field sessions.

Image Review

On workshops that have image reviews, you should sort images you’ve made during the workshop and find five to share with the class. Convert all images to jpeg with 1500 pixels on the longest edge and email them to me.

Safety and Conduct

If You Get Lost

While it doesn’t happen often, it is possible to get lost. If you get lost, my cell number is 218-370-8351. Keep in mind that cell service is limited in many of the workshop locations.

To prevent people from getting lost, I always wait at each turn for the next car in the carpool. You must wait for the car behind you. If it seems like the group is getting strung out, I’ll pull over and wait. Look for my car.

Post-Workshop Engagement

Alumni Groups

Bryan Hansel Photography Workshop Facebook Group

After the workshop, you’ll receive an invite to a private photography group. You’re welcome to share photos there, comment on other photos, keep in touch with other photographers on the workshop or ask questions. It’s a fun and supportive group of photographers made up of former workshop students.

Bryan Hansel Photography Fan Supporters Page

For $5 a month you can become a supporter of my work. Supporters receive additional bonuses Facebook posts from me each month. These posts may be processing videos, quick tips or notices of workshops. This is an evolving group. You can sign up here: https://www.bryanhansel.com/out/support

Newsletter

Subscribe to my newsletter to get tips, read musings and get announcements for photo workshops.

Alumni Workshop Registration

You are now an alumni of a Bryan Hansel Photo Workshop. Congratulations!

Each year, we offer priority registration will for alumni and Facebook Subscribers, two days before general registration begins. A limited number of seats are reserved exclusively for this alumni registration period. Remaining spots will then be made available to the public when open registration commences. Please note that alumni are also welcome to register during the public registration phase. This allows another opportunity to secure your spot for those who missed out on the pre-registration window.

Alumni registration usually occurs at the end of April. The exact dates are announced in the More of Less About the Photo newsletter.

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