With that being said, here was my thought process. Street photography made me think of Sandy Foster, who’s street photography images are stunning. Which made me think she needs to get signed model release forms which reminded me of a class Jack Reznicki and Ed Greenberg taught on model release forms. That made me download Jack and Ed’s simple model release form which made me think of a post Larry Becker did on “Invite Models to Your Pad”. The pad being your model release forms made into a pad from an office supply company. While editing the form in Adobe Indesign, I thought of a class Terry White did at Photoshop World that taught us how to use conditional text so the forms can be changed on the fly. Now you have a glimpse of what’s inside Vanelli’s  head when he prepares for a project!

So to recap before I explain what I did… Street photographers (Sandy Foster) need model release forms (Jack Reznicki and Ed Greenberg), and it would be convenient to have the forms on a pad (Larry Becker) that can be designed (Terry White) so other photographers could use them too! Whew that was a lot of thought to prepare for one photography class (Joe McNally and Moose Peterson).

The Model Release form

Jack and Ed drilled into our heads the importance of  having a signed release form. Even if you don’t think you are going to use the images in the future, it’s a great safety net that can protect you if you change your mind. I am not a lawyer, so the best advice I can give you is to take their class or watch it on Kelby Training.com. This way you are getting first hand information. I asked Jack if I could share the Limited Model Release form and he was more than happy to let me share it with you.  Keep in mind, this is a generic form. Each state has their own laws.

Limited Model Release

I give Robert Louis Vanelli (“Photographer”) and designees and those acting with Photographer’s authority permission to use the photographs created or made on _____________ for the sole purpose of fine art gallery shows and exhibits, photography books and video tutorials, and for use in photographer’s portfolio, self-promotion, lectures, and books.

I waive any right to inspect or approve the finished images, or other printed matter that may be used in connection therewith. Except as stated above, I do not give permission for the use of my name or said photographs for the purpose of advertising or endorsing any goods or services.

Model acknowledges that he/she has read this release and has received a copy of this release.

_______________________________________         _______________________________________
Model’s Name                                                                                    Model’s Signature

_______________________________________         _______________________________________
Address                                                                                                Date

_______________________________________         _______________________________________
Witness Signature                                                                            Witness Address

If you plan to use this form, please send Jack and Ed a simple thank you email.

Designing the form

I wanted to keep the form small enough to carry in my bag yet big enough for the model to fill out. I chose to use legal size; 8.5 x 14, paper and print 4 to a sheet. The final form size is 6.5 x 3.75. Using concepts from Terry White’s conditional text tutorial, I made the Photographer’s name, address and phone number conditional text. Now I can print the form for other photographers without changing my design.

Creating the Pad

Larry Becker’s post, “Invite Models to your Pad” gives great advice about creating a pad for your model release forms. After reading it, I went to Staples to have them make a pad for me. The only problem, Staples has a 3 day turn around. I called Office Depot and they have a one day turn around. My last call was to Kinkos. They have a 4hr turnaround! I went there and the staff was great. I explained what I needed and they suggested an alternative option. For 30 cents a sheet they can print the form on a carbon paper. At first this sounded expensive but then I realized I’m printing 4 forms to a sheet. The cost would be $5.00 for a total of 80 forms or 6 cents a form. The downside, the forms would be individual not a pad. I decided to stick with my original plan  and have them make a pad for me. The cost is about $9.00.

Street Photography

I can’t wait to go on the NAPP Photo Safari with Moose and Joe. I really can’t post anything on the actual shoot until we go. Look for my review later in the week.

Moral of the Post

Integrate lessons you are taught by different instructors!

Think in terms of global and local change. When you make a global change, you effect both the camera and the flash. When you make a local change, it effects the camera or flash separately. The example I’m giving is aperture priority mode using f/8 with an off camera SB 800 flash set to remote and TTL (through the lens). The camera sees the scene and  exposes it correctly with the proper shutter speed. It then sends a signal to the flash and tells it how much light it needs. This is seamless and yields great results using an auto mode.When you want to be creative this is where we make the camera dance with the flash. Dialing the camera with a -2 EV (exposure value) will trick the camera into underexposing the scene by adjusting the camera and flash equally. The dance begins when you adjust the TTL flash by adding a +1. Now you made a local change to the flash that will effect the power of it. A great example is found in Joe’s new book, “The Hot Shoe Diaries“. Look for cowboy Chris standing in front of a barn.

We then boarded two buses and headed to our ghost town. The bus ride is always informative. I had the pleasure of sitting with Drew Gurian, Joe McNally’s assistant. Drew’s knowledge on lighting and skills as a shooter are amazing. Joe answered people’s questions and gave advice on how to capture the ghost town. When we arrived, we were set free to shoot on our own for a few hours. Joe and Moose were always in range to answer any questions. As an added bonus, Laurie Excell and Sharon Peterson were also on hand to answer questions. I was extremely impressed with their wealth of knowledge. They definitely have emerged from the legendary shadow that Moose cast. Before the class split into two groups, Adorama‘s very own Jeffrey Snyder captivated the crowd as he gave pointers on how to shoot a moving subject with flash. I’ve known of  Jeffrey as the Pro Service Account Executive for Adorama, but I had no idea he was a great shooter. He was motivating and inspirational as he pumped up the crowd. Then Joe and Moose took their group and gave a lesson on flash photography. When we finished, we boarded the buses again and headed home. It was great hearing fellow participants share their adventure!

We arrived back around 8:00 p.m., just in time to attend the Tweeter meet up at the House of Blues. At first, Larson thought there was going to be dead silence as tweeters sat and text each other instead of speaking. Just kidding! It was great putting faces to people that you have only met through text.

Although it is always best to attend the seminar, I hope this can be another alternative.

Peachpit has been publishing top-notch books on the latest in graphic design, desktop publishing, multimedia, Web design and development, digital video, and general computing since 1986. They are sponsoring a special contest for Photoshop World attendees.

The bright lights of…Bakersfield, California are calling your name! Or perhaps it’s Tempe, Arizona. Or Butte, Montana. It’s time to capture the Neon in Your Neighborhood! Quick! Before it’s replaced with energy efficient bulbs. Grab your camera and take a few shots of your favorite local neon signs or art and submit one to flickr.

Your friendly photog authors, David DuChemin and Chris Orwig will pick 20 of their favorites to win a Phantastic Photowalk at the Neon Museum Boneyard in Las Vegas and lead them on a photo adventure that will include many more prizes and a few other great authors to help: Matt Kloskowski, Russell Brown, Frederick Van Johnson, Jeff Revell, Rick McCleary and more!

My talented neighbor, Scott Larson, and I went around Melbourne Florida taking photos of neon signs. Like most cities, neon signs are hard to find. Scott went out the night before scouting locations for our shoot. Here are a few tips from the shoot.

1. Scout ahead for locations
2. Wear a white shirt: I was heading out the door and I realized I was wearing all black. Not a good idea at nighttime. If you have a reflective running shirt that would be a better choice.
3. If people are working where you are shooting, go inside and tell them what you are doing.
4. Tripod, Tripod and….Tripod: The best way to get night shots is by using a tripod.
5. Use a remote trigger for the camera: This will lowers the chance of camera shake.
6. Experiment with a circular polarized filter and your EV mode (exposure value)
7. Shoot in Aperture priority mode using a high F-stop. (Most of our shots were F/11 to F/22)
8. Experiment with moving the camera around or zooming in or out after you press the shutter release. This will give you some interesting effects.
9. Shoot high, shoot low, take shots from all angles.: My tripod enables me to shoot at ground level. I also raised it as high as it could go and shot down.
10. Talk with you partner and give each other advice!

Camera gear: Nikon D300, Nikon 80-200mm f/2.8 D lens, Nikon ED 17-55mm f/2.8G IF DX and a circular polarizing filter. Larson had the Moose Peterson’s warm circular polarizing filter.

I had to take this shot for the staff at NAPP. They seem to love Krispy Kreme. We shot at this location for a short time. We really weren’t feeling the creativity. There was a lot of street lights around and cars were coming in and out. I went inside to let the manager know what we were doing. I was tempted to grab a nice hot doughnut but the health freak Larson made a comment that he couldn’t believe the amount of people going in for junk at this time of the night! Wish I brought Reinert, he would have gone in on a few doughnuts!

To get the shot of the logo’s reflection in the window of the truck, I had to raise my tripod as high as it would go. Once I did, I couldn’t see what  I was shooting. I realized the Nikon D300 has live view. I never used it before and I heard it’s a battery killer. After Larson showed me where it was, I fell in love with it. I should add, Nikon is loaning me the D300. I normally shoot with the D200 and D2h. The point I’m making is you should know your equipment before you go out and shoot. I didn’t have the manual with me and it was too dark to see the dials. I was lucky Larson has the D300!

We went onto Checkers! I forgot to tell the manager what we were doing and they came out to inspect us. (Must have been the tripods.) I explained what we were doing and I apologized for not asking permission. She was more than happy to let us shoot. At first we shot in the drive thru and we realized that may not be the best place with the cars coming in from behind us. We moved all around the building and found the front to be the best. My tripod enabled me to lay flat on the ground.

After several traditional shots, I looked over at Larson and saw he had a blurry photo. He said he moved the tripod during the exposure. That gave me an idea. We started to shake the camera on purpose to get a few crazy shots. Back on the tripod, I experimented with long exposures using F/16 and -2 EV (exposure value). This gave me about a 10 sec exposure. After pressing the shutter release, I slowly zoomed my 17-55 in and out. I found that starting at a focal length of 55 and then zooming out to a focal length of 17 showed the logo of Checkers better. Plus it made the words “Order” and “Pick up” jump out of the frame.

I used Lightroom to boost the colors and added a -74 Post Crop Vignette. My goal was to do everything in the camera. I must admit, I did take a safe shot at first; meaning I didn’t move the lens. This gave me a fall back plan if the wild stuff didn’t work. I could have used Photoshop to get similar results, but it is always best to get it right in the camera.

On June 29, 2009 I had the honor to be a guest blogger for Scott Kelby. I have re posted the article here on our web site.  I want to thank Terry Reinert and Sandy Foster for their valuable input.

Before I begin I want to thank Scott for including me as one of the weekly guest bloggers on his blog. To say it’s an honor for being one of the 52 guests he has per year is an understatement! You wouldn’t really think that being a guest blogger for Scott is an intimidating task until you are given the opportunity. Only then does the truth of the matter come out! I myself, a man of many words, struggled with what I should talk about and who I should target my post for. Then I remembered the KISS method; Keep It Simple Silly. For the more complex theories and techniques, I will guide you to the experts that I pull my inspiration and knowledge from. Please don’t mistake this for name dropping for shameless plugs for my friends… As they say, “it takes a village to raise a child”. In this case the saying would be “a community of artists draws inspiration”!

Title: Creative Ways to Mass Produce a Photo Shoot

There are many different types of photo shoots that a photographer can do. Although the concept of photography in general is the same, each area within photography comes with its own set of rules that have been predetermined by photographers, editors, and clients throughout the past. It is up to each individual photographer to determine which rules to follow and which ones to break in order to achieve your goal. Our goal here is to create a template that can be reused to get the same results. I am not talking about an Adobe Photoshop or Adobe Lightroom template but a template that takes us from Click to Print. The final output from our Click to Print Template will be package printing; wallet size, 5×7, 8×10, 10×13 and 16×20, all from the same print without compromising our creativeness.

The major steps that we will complete in this project are 1) doing the mass photo shoot, 2) applying any post processing, and 3) send the images off to a lab. Yes, I said a lab. In the past I did it all which included the printing, packaging, and shipping. I wanted to learn the entire process and offer custom sizes. I also wanted the ability to fix anything I screwed up in the shot! I recommend completing a full scope project like this on your own a few times so that you can gain the insight in each area of the process so that you can mitigate any risks or problems for future projects. But I know that some people do not have the ability to create high quality prints themselves so that is what this whole post is about; giving you some of that insight to help you mitigate your risks without having to drop a ton of time and money on new equipment.

Prior to diving into the details of what I am going to explain I want to tell you a quick story that shows the usefulness of what I am going to tell you. I had an opportunity to photograph one of the most sought after high school football players, a young kid named JJ Keels. My game plan seemed pretty simple; I wanted to capture his humble demeanor but at the same time make him look like a tough college level player. Another intention of the shoot was to experiment with lighting in stages and to develop a tutorial on it. At first, I took the standard safe portrait shots. Then I had my assistant, Terry Reinert, spray JJ down with water to get that sweaty tough look. Then we took it another step further into the experimental range by spraying water in the path of the lights to create the images you see here. After the shoot, I used Adobe Photoshop to continue creating my vision and also to experiment even more. Once I had the format down, I took notes on what I would do different on the next shoot so I wouldn’t have to spend a day in Adobe Photoshop for the next one. Take note, if I took on this shoot with 60 football players waiting in line, I would have to edit 60 additional images to get the results I got. There is no way that I could have done that without having done a test shoot first and got my game plan together. The test shoot enabled me to develop a format that I can use to mass produce the same type shot in the future. I was also able to develop a predefined lighting system to use as a starting point for other shoots.

Doing the Mass Photo Shoot

Running a karate studio gives me a huge pool of talent to pull from for my photography experiments. I am never limited on subjects to try out my ideas on. I emphasize the words try out because you are doing just that; experimenting to determine what will work for your upcoming mass photo shoot. Find someone that can benefit from your time and energy for your test shoot. Explain that this is a test shoot and you are experimenting with different lighting configurations and poses. In return for their help, you can provide them with the photo package that you create or put the images on a CD for them. This practice is generally known as a TFP (Time For Prints). Use your neighbors, friends or family members but I do recommend not using children or someone who is overly shy because you will need to focus on the photography side of the experiment and you won’t want to take on the added worry of dealing with your subject. Another good source for test subjects is networking websites like Model Mayhem or One Model Place. Look for upcoming models that can’t afford to pay for a portfolio and ask them if they would like to participate in your experiment and receive portfolio pieces. Word of caution, have an assistant or an escort with you when dealing with strangers for both personal and legal reasons. It pays to be safe!

Regardless of who you use as your test subject, make sure you have them sign a model release form. Ed Greenberg and Jack Reznicki teach a class at Photoshop World called, “Everything Legal”. In this class they explain the legal aspect of photography including model release forms and copyrighting your images. You can also read their column in Photoshop User Magazine. In short, Jack gave an example of a photographer doing a free shoot for a friend’s neighbor. In exchange for the shoot, they get a set of photos and the photographer gets to use the images on his web site. He didn’t have them sign a model release form because it was a free shoot. Everything was fine until the couple divorced. After that they asked him to remove the photos from his web site. The photographer doesn’t have a leg to stand on. Another area Ed explains is why you want to copyright ALL your images. These two are a great resource for legal advice. Jack is also an incredible photographer by the way! Check out his portfolio.

So now you have your test subject and are ready to begin the photo shoot. The first thing that you have to do is keep an open mind. Have a game plan but be flexible and also be ready to change it. The next important thing that you should adhere to is to avoid the pitfall of filling the whole frame with your image. Moose Peterson just had a heart attack; did Vanelli just say NOT to fill the frame??? Moose has an incredible ability to capture what he sees without cropping. He fills the frame using every pixel the camera will allow. This is what we are suppose to do and should do except on this project. After the test shots with JJ, I was ready to try a mock shoot with Brad Holmes, one of my Black Belts. I learned from the test shoot that I had to shoot a little wide to give me room to crop the image to different aspect ratios needed to create the photo package. Keep in mind that we are losing pixels which will eventually result in loss of image quality. However, the loss in quality is not enough to make a difference on the standard package sizes. You may see a slight difference on a 24×36 print but prints that large are extremely rare for photo packages.

Finally, be consistent with the composition of the shot, the pose, and the special effects. Things like fog machines, spraying water into the path of the light, and, in the case of shooting my karate students, kicking or punching are impossible to repeat for each subject. For custom shoots you should be the artist that you are and go crazy with the creativity. For mass shoots you should be creative but also a little flexible in that you can be creative but also consistent.

Once I was happy with the results I was seeing in the camera, I acted like I had 60 people standing in line waiting for their turn in front of the camera. I put pressure on myself to get the shot and move on. This is very important especially when dealing with subjects that have limited time to be at the photo shoot.

Applying Any Post Processing

My first word of advice here is to use Adobe Lightroom! This part gets confusing to most people. If I have Adobe Photoshop, why do I need Adobe Lightroom? Think of Lightroom as a digital darkroom where you go to develop your digital photos. Photoshop’s purpose is to manipulate the image. Lightroom not only organizes your photographs and projects but it allows you to quickly and efficiently post process your photos.

I always start my Lightroom work flow by following a series of simple steps I learned from the Guru himself, Scott Kelby. His book “Lightroom 2 for Digital Photographers” has a permanent spot on my desk. When I can’t quickly find what I need, I log onto Kelby Training and watch the Lightroom videos. For this article I outlined my steps below. For a more detailed look at my work flow I created a video tutorial for you to follow along.

1)     Import all images from the shoot in DNG format.

2)     Select the keepers and delete the unusable shots.

3)     Color correct one image and, if the lighting is the same, apply it to all the images from the same shoot.

4)     Adjust the exposure.

5)     Fix the eyes.

6)     Remove any skin blemishes.

7)     Smooth the skin on females.

8)     Export image in Photoshop

9)     Add a vignette, if any, at the very end (more on this later)

Looks like a lot? It should only take about 45 seconds per image. David Ziser, best known for his outstanding wedding photography, developed a system with his employees. He is able to tell you how much each image cost him to have his employees process them. Once you get a system to work for you, use it!

On step 8 above we export to Photoshop. Now we are into the Mack Daddy of all imaging programs (sorry Rod Harlan for using your well deserved nickname but it was for a worthy cause). Photoshop has grown so much over the years and has developed into an overwhelming program for beginners. I remember working with version 2.0. I must have called Adobe Tech Support three times a day. Finally one patient technician told me that their support system is for when the program didn’t work and not for learning how to do something. I asked how I was supposed to learn this stuff. He turned me on to KW Media. KW stood for… Kelby and Workman. I wish I knew the name of that technician. I’d bring flowers to the insane asylum I probably sent him to. The moral of this story is save an Adobe technician and go to Photoshop World.

Once I import my photograph with the Lightroom adjustments, I open a template I created; merge the two files together, and save the photograph using the same name that you imported it with. Showing how I created the template is beyond this article but I do have a video that shows the process. Using this process organizes the files better in Lightroom.

Send Images Off to the Lab

The last stage in the process is to crop the images and get them off to the lab. I use a Nikon camera that has a native 2/3 ratio. This gives me an 8×12 image that, when cropped, will keep my project centered. Upload the image to your lab of choice. Use their tool for cropping the package sizes. Remember back in my work flow I left the vignette until the very end?  This is why; if you apply a vignette to the original image the outcome will not be what you are looking for when you go to crop the image. If you need to apply a vignette, use the printing lab’s tool for that. If you are printing the project yourself, start with the 8×12 print and crop from there. Each time you crop, save the image and then start with the 8×12 again. Don’t crop and then crop the crop. This will throw your ratios off. You’ll notice certain sizes crop even such as wallets (2.5×3.5) and 5×7 or 8×10 and 16×20. To make printing this package easier, use the built in picture package feature in Lightroom. If you use this feature, you don’t have to crop, the picture package will do it for you and the vignette will look consistent.

Printing is an art by itself. In my case it pays to have Miller’s Lab do my printing and packaging for me. The cost is very reasonable and the quality is impressive. I have an Epson 9800. I can print as wide as 44″ by almost any length. Although the printer can do mass printing, I use it for my proofs and for large scale one print projects. Anything in quantity, use a lab. It takes a large load off of me and allows me to spend more time doing what I would rather be doing than sitting next to my printer cutting and packaging images.

Last Word of Advice: Game Day!

You have everything set. The lights are on, battery is charged and now you are ready for the first subject. Before any participant steps in front of your camera, make sure they filled out an order form, signed model release form, and made their payment ahead of time. Your assistant can collect them one at a time. After you take the shot, record the photograph number on the subjects order form. This way you are not scrambling to put a name to a face. Play music, be pleasant, and have fun with what you are doing. If something goes wrong you will have the knowledge to fix it on the fly; that’s what the test photo shoot was for! When the day is over, follow the Lightroom and Photoshop work flow. Make sure you keep a back up of all the photos just in case something goes wrong!

I mentioned having an assistant at the shoots quite a few times. I am a firm believer that every photographer should have someone assisting them on shoots. This frees your time to be creative and the assistant will gain valuable knowledge. My assistant, Terry Reinert, is more of a colleague than an assistant. When Terry has a shoot lined up, he sometimes asks me to assist him. When I do, I keep my mouth shut and let him run the show. I only give advice when asked. I’ve developed this concept while teaching karate for the past 28 years. It turns students into instructors, helps them grow, and develops a tight bond. One of my most memorable photo shoots, using this theory, was when I was in Los Angeles visiting Mike Kubeisy. Ben Willmore heard I was in town and made a special trip to see us. How incredible it was to shoot with these two creative shooters. We took turns assisting each other on the shoot. I learned so much from keeping my mouth shut and ears open. Thanks Dad for teaching me that one!

Conclusion

So there you have it, from Click to Print. I hope that I was able to give some insight into each of the steps that will guide you in the right direction when doing a mass photo shoot. I mentioned many names in the article in the hopes you will research these talented artists and draw inspiration from them. Thank you for reading and thank you again to Scott for this great opportunity.

One of the questions that Moose was asked a lot by attendees is what his favorite lens is. He takes a lot of different lens out with him and one thing Vanelli noticed is that there are a lot of fixed lens in the bag. But he always takes a wide angel and a fish eye lens with him as well.

On the photo safari itself Vanelli said that he stood right next to Moose and used Moose’s camera with all the same settings but his photos were not anything like the ones Moose was taking. Moose just has a great eye for composition and capturing that moment. Another thing to note is that Moose does not crop his photos at all. What you see composition wise is what came out of the camera from the exposure he took. When using a zoom lens he said to move forward or back; don’t use the zoom!

Some more good information from Moose… he doesn’t use a flash on most animals, only birds. Using a flash with birds will bring out their color. Another thing to think about is that when an animal gets wet, a bear for example, there will be a lot of spectral highlights because of the light reflection off of the water.

He also picked up a few tips on composition from Moose… the minds eye goes to the whitest and brightest point. There is also a strong tendancy to start at the top of an image and go down. So those are two things to think about when composing a scene. You want to lead the viewer through your composition instead of having their eyes wandering around aimlessly. Exposure and light produces emotion, mood, and passion. Make sure that your composition tells a story so include or excluse various things to make sure you are telling the story that you want to tell. He also looks for sharpness and depth of field in his compositions.

With Joe McNally, the master of light, they were using a lot of diffusers and reflectors in his shooting. The distance of the lights from the subject depends on how much you want the light to spread. Of course using a diffuser and reflector will change this variable as well.

One killer thing to think about that Vanelli picked up from McNally is this… when you change the EV setting in your camera it is a global change. So everything is effected by it. When you change the EV on your flash, it is a local change. So if you use a light meter and exposure for the background and then change the EV in your camera, suddenly your exposure on the background is going to be off. To shoot with a model you shoot your background first and get the exposure right using the camera settings. Changing the EV on your camera will help to saturate the colors in the background scene. Then you bring your model in and use the EV on the flash units to change the power to get the proper exposure of the model.

So there you have it… Vanelli’s experience and knowledge that he picked up from the NAPP Photo Safari pre-conference work shop. And, of course, right as I finish typing this up Vanelli sends me a photo he took from his Black Berry of him and Ben Willmore hanging out. Apparently Ben’s question to me is “Where are you??” My answer… “Sitting at home typing up Vanelli’s notes!”. Photography assistants never get the glory. *Sigh*

The Boston National Historic Park / Charlestown Navy Yard!

We’ll be shooting along the HarborWalk with special interest in two ships – the USS Constitution, the oldest commissioned warship afloat in the world, and the USS Casin Young, a World War II destroyer. This area offers many interesting opportunities, as it is a historic Naval Yard with artifacts that span its 174-year history.

Once we get there, we’re going to have several models on hand to pose for us. Our instructors will be working with the models to teach us lighting or posing techniques.

About our instructors…

Moose Peterson is an author, lecturer, and well-known wildlife photographer. He is also the first major wildlife photographer to begin shooting exclusively in digital format back in 1999. He made it his lifetime goal to photograph North America’s most elusive and endangered wildlife using the most advanced tools and techniques possible. But, Moose gets true personal and professional satisfaction from teaching others to express themselves artistically through photography.

Joe McNally is an internationally acclaimed commercial photographer and long-time photojournalist. He was LIFE magazine’s staff photographer from 1994 until 1998 and he was selected as one of 10 photographers worldwide to work on promoting the 2008 Olympic Games in Beijing. Joe’s most recognizable work is a collection of 246 giant Polaroid portraits taken in a three-week period immediately after the events of 9-11 known as “Faces of Ground Zero – Giant Polaroid Collection.”

As you can probably see, we are in fairly capable hands for this outing. They have been doing these Safaris for a while now, and have yet to lose anybody…to boredom or to “the wild.” It’s guaranteed to be a fun-filled day, and we are bound to learn a lot from both Joe and Moose…as well as our fellow attendees.

Stay tuned for notes on the safari!