Robbie Jeffers

COMMERCIAL PHOTOGRAPHER

TEACHING OFF CAMERA LIGHTING, PUSHING/PULLING, AND METERING

Prior to entering the photography world, Robbie was one of the lead marketing forces behind the successful skateboarding divisions of international powerhouses Nike SB and Stüssy. During his tenure, he was often asked to capture images for ad campaigns. On his first day of shooting, Robbie captured iconic images of Stüssy team rider Richard Mulder for a print ad – which has now been ranked as #3 in the Top 10 Stüssy ads of all time by Complex magazine.

His natural ability and passion for capturing raw and honest imagery transitioned him out of his marketing role and segued into a full time photography career.  Now with over 17+ years in commercial and editorial photography his continued success has to do with who and what he is. He is directly connected to the imagery he creates -- resulting in thorough, bold and soulful documentation.

His client roster ranges from international apparel brands to iconic hip hop bands, and he is a frequently featured artist in print media including Rolling Stone, Slap, Slider, Transworld, Frank 151, Stüssy Mag, Kinari and Complex.


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Sarah and Ben Collier

WEDDING PHOTOGRAPHERS

TEACHING HOW TO DITCH DIGITAL AS A CRUTCH, METERING, LIGHTING FOR WEDDING RECEPTIONS, EDITING YOUR SCANS AND MORE

We both began learning photography (on film of course) when we were children and began photographing weddings and portraits in 2008 through a series of unexpected events. Digital photography was becoming more common at that point and had the full attention of the number of rising photographers flooding the professional market. After using digital equipment for several years, we had a profound disappointment at what our equipment was producing and felt that it just wasn't what we were looking for. We decided to return to film photography in 2013 to see if it was the direction we wanted to take our professional work. 

With a Mamiya rb67 purchased on eBay, one of the most impractical cameras we could have used, we realized that it was exactly what we had been missing. We quickly began switching from digital work. In 2015 we struggled to shoot as "hybrid" photographers at our weddings (portraits had long been all film), too scared to let go of our digital crutch, yet finding that it made the day extremely stressful and we were producing mediocre work at times because of it. We knew we needed to choose one or the other to produce the best work that we could for our clients, and we felt strongly that film was what fulfilled our vision in the best way. We've realized that, in many ways, film is much easier to shoot in different lighting situations than digital, and we've fully embraced it as our medium of choice. 


Aaron Carver

TEACHING BEHIND THE SCENES AT A LAB, EVERYTHING YOU NEED TO KNOW ABOUT HOW IT WORKS

Aaron has spent the last few years as the talented lead film scanner at Pro Photo Irvine. He received his formal training in video production, but always loved film photography. Aaron found his way into the scanning job by accident and gravitated towards color correction, finding scanning to be something he really enjoyed. He has worked closely with many photographers to craft the specific look they desire in their scans and has a deep knowledge of how the scanning and editing process works. He is now the proud owner of way too many film cameras and has fallen in love with the medium.


The Details

PRICE

Tickets are $1995, spaces are limited! 

The price INCLUDES a beautiful and delicious welcome dinner, 2 full days of classroom learning and shoots, lodging for 3 nights and all meals (the food is amazing here!) during the workshop. Photographers local to Temecula, please inquire about rates not including lodging.

The price does not include airfare or transportation to venue

TRAVEL & VENUE

Temecula Creek Inn is about an hour from Santa Ana and San Diego Airports and about 2 hours from LAX (much more in rush hour traffic). We recommend planning to arrive sometime in the early afternoon of the first day so that you're good and ready for the fabulous welcome dinner we have planned. We're still in the planning stages of something fun and relaxing for the last morning.


WHAT YOU NEED TO BRING

This is an all film workshop, so no digital cameras allowed. You can bring your 35mm, medium format, or event large format cameras. Bring different cameras if you'd like, but we recommend bringing the one you use the most and/or want to become the most comfortable with. Here's a list of other things you'll need:

-Your favorite film stocks, 10-20 rolls for each day of 120 and half that for 35 depending on what kind of a shooter you are. Both color and black and white will be talked about.

-Light meter

-Clothes suitable for being outside throughout the day and maybe a little light hiking. Don't forget to check the weather a couple of days before you come.

-A willingness to be in community with others, we'll be spending a lot of time together and want to foster friendship, support, and community with everyone involved. 

-You'll get out of this what you put into it. We'll provide you with the knowledge and support, it's up to you to use what we give you and ask as many questions as you can!


WHAT YOU'LL LEARN

-Off camera lighting and challenging lighting situations, practice shoots included and with different types of lighting equipment including flash, LED lights and strobe. 

-Wedding reception lighting on film

-Metering, and why you've probably been getting metering information that's sabotaging your scans

-Posing vs. guiding your subjects

-What different film stocks look like, how to meter them and how to choose them for different lighting situations

-What pushing/pulling means and how/why to do it

-How a lab really works and why working with one consistently is extremely important to achieving the look you want

-Going from hybrid to all film or more film, and how easy it really is

-Editing your film scans

-Pricing for profit