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OUR WORKSHOPS MAX OUT AT 12 STUDENTS WITH ONE INSTRUCTOR FOR EVERY 6 STUDENTS

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April 17,18,19 Shenandoah Photography Workshop Shenandoah and Surrounding area Click for details

Early Spring flowers awaken with beautiful rich colors, the grasses take back their color and the spring flow of the beautiful Shenandoah streams give birth once again to all shades of moss, the trees and shrubs are either budding or newly alive.

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April 25th The Backroads of Leesburg, Virginia Leesburg, Virginia SOLD OUT SOLD OUT SOLD OUT

Once again, we shall take our students through the wonderful back streets, to photograph beautiful spring gardens, wonderful old archectecture, colorful local landscapes, old churches, while learning how to make the light work for us to produce dramatic results.

We shall meet early in the morning to take advantage of the early golden light.

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We shall be visiting Nol Putnams forge and have the unique opportunity to photograph this wonderful, talented, and famous Blacksmith, while he works.

The flying sparks, the glow of the forge, the red hot work of art being molded and hammered, and cooled. The photography you will have a chance to do,will be the whole working area, the tools, the creation of the art, and all of the wonderful art he has in the area. DO NOT MISS OUT ON THIS OPPORTUNITY.

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May 3rd Greenspring Gardens-Macro/Landscape Fairfax, Virginia Click for details

This is a wonderful place to learn how to deal with macro and closeup photography. The beautiful flower gardens, the landscapes, birds, insects, are all within easy walking distance making it easy, to comfortably get incredible photographs. You will not only have great subjects, you will be learning how to modify your light, with reflectors, diffusers, and flash and how to compose these beautiful subjects.

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May 22,23,24 Cape Charles & the Beauty of The Eastern Shore Click for details

The eastern shore provides a multitude of shooting opportunities from incredible birding, to architecture and scenics, and always coupled with a chance to do macro. This workshop will allow you to work with your instructors to enhance your skills working with exposure, composition and technique.

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June 12,13,14 Macro/Closeup/Tabletop Photography, and image processing, Sperryville, Va. Click for details

We shall travel through Rappahannock county visiting some incredible areas where you can hone your skills over Friday, Saturday and Sunday,
by choosing, photographing, learning how to light, and how to develope your incredible images into final works of art. This shall be a busy workshop with many hours dealing with everything in the creative process. You will have an opportunity to work with our Brian Zwit in developing your images and you will work with field instructors in learning composition, depth of field, lighting modifiers as well as creative flash.

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This area has been a favorite of photographers for many years. You will have the opportunity to photograph beautiful lillies, and lotus flowers as well as bees, frogs, birds, and scenics. This is a wonderful place to get around. There are wonderful images to be created from the fields of flowers to the virtually untouched wooded areas.

Learn light modifying techniques including the use of fill flash, and how to compose your closeups and macro shots.

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July 18th Rappahannock-Just you and us on special private farm land Click for details

This event was such a huge success last year that we are doing it again. This private farm land which has been cultivated back to original Virginia flowers and forests,gives our students to photograph the virginia mountains in their most natural state. Beautiful flowers and plants. Bumble bees, butterflies, humming bird moths, great scenics,will allow you to enhance your skills, while learning how to use the light, modify the light, and add your own light, to dramtically photograph your subjects.

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WE NOW HAVE THE DATES POSTED FOR OUR FINE ART WORKSHOPS. These are workshops, presented by Barbara Ellison, that promise to take you further and deeper into the fine art concepts, from special printing techniques providing exquisite and unique output, to the presentation of your finished prints.

Presentation, the final print and how it is shown to those friends, customers, organizations that are so important to you is what it is all about. Learn from Barbara Ellison, one of the best, and innovative Photographers in the in the region, how all of this is done, and how you create your own personalized look, in three individual classes.

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THE GREAT MEADOWLARK EVENT IS ABOUT TO TAKE PLACE-DON'T MISS OUT ON ALL THE PLANNED PHOTOGRAPHIC EVENTS

Since 2002 Meadowlark Park has hosted this wonderful show, where the camera clubs of Northern Virginia, display their best of the best images for your pleasure. There are vendors from different companies displaying their wares, and will have tables set up, offering specials on products

PLEASE BE SURE TO COME TO THE BLUE RIDGE WORKSHOPS BOOTH WHICH LOCATED BY THE MAIN DESK, AND THE ENTRANCE TO THE PHOTOGRAPHY DISPLAYS AND LEARN MORE ABOUT THE WORKSHOPS, CLASSES, LECTURES AND SPECIAL SERVICES WE HAVE TO OFFER

There will be lectures by various photographers which are listed on the Meadowlark Website. (click here) for more information on this very worth while event.

BLUE RIDGE WORKSHOPS WILL HAVE A D R A W I N G FOR SEVERAL DIFFERENT WORKSHOPS, AT THE BOOTH. PLEASE JOIN US AND SIGN UP FOR A CHANCE TO WIN.

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I have written several times about gear and camera bags and each time I decide to broach the subject, another 100 models have been added to the mix of bags and perhaps to the gear we put in them. Are the choices really any better than they were before? Sometimes they are. As bags evolve, if that is possible, they become more comfortable, in many cases, to use. There again, some of them become less comfortable and less practical. This is why it is crucial to take all of your camera gear to your local camera store so that you can sit there and try different bags with your equipment. Load up and walk around. Make sure it is the right bag for you.

My concerns when it comes to backpacks, shoulder bags, is how much do you really need. Beyond the need, how much can you really carry comfortably. Everyone likes to have all of their gear within inches of them just in case an opportunity arises that you believe can only be taken advantage of, if you have every piece of equipment you own at your side.

35 years ago I thought nothing about loading up a bag with 40 pounds of gear, and hiking for hours to get to places I thought I would achieve the ultimate photograph. I carried everything with me just to be safe. Not safe from injury, which a 40 pound pack can create, but safe because I had every focal length, extra camera bodies, etc.

Many years ago, my dad, who is now 93, and another smart gentlemen named Joe Kensicki, he’s in his 80‘s, at separate times, told me to “WORK SMART.” That applied to carrying my gear, digging a hole, hammering a nail, or any other task. These were wise men with a smarter approach than I had. My aching back and joints at times prove the point.

So this is about doing as I say, and not what I have done in the past.

Even if you own a camera and a couple of lenses and a flash and a few accessories, or If you own a bunch of gear, or plan in the future to add to what you currently own, then there are some points in the article that you may benefit from.

There are cases made, by a variety of manufacturers, i.e. Tenba, Tamrac, Lowepro, Think Tank, to name a few, that have roller type bags in different sizes and weights, for holding your gear for easy on the ground or in the air transport. These same manufacturers make back packs of all different sizes and styles that can more than fulfill your needs. There are shoulder bags that are either designed to fit over the shoulder or across the chest, enabling quick access to the gear, and there are one shoulder backpacks, that fit across ones chest for easy access to gear. Some companies have “day packs” which are a cross between a small (limited gear) back pack, and a “lunch box” The bottom part carries a body, couple of lenses and maybe a flash, and the top part can carry snack bars, a hat, light jacket, and items that might be essential for a comfortable day out.

There are systems for carrying gear like Think Tank, that offer belt systems and shoulder harness systems allowing quick access to your most crucial gear for the location you are shooting in. They also make shoulder bags, backpacks and roller bags.

One of the most important things to learn is restraint. Restraiin from thinking you have to have everything you own just inches away from you. Decide what it is you want to accomplish with the days shoot, and only pack the equipment you REALLY NEED. If you come across a shot that you would have liked to have another lens to use, learn to make the equipment you took with you to work for you.

So what is the best bag or system for carrying your gear? Only you can make that decision based on what you own. I think what is important is what will prove to be the most comfortable way for you to carry what it is you want to carry.

1-Backpacks

Backpacks are great. I certainly own a few, and from time to time I do use one, but believe it or not, I now store my gear in the larger of the backpacks and keep that in my car trunk when I am out for the day taking pictures. I can pull from that bag, based on my intentions for the day. I then have a smaller back pack, THE THINK TANK STREET WALKER, should I want to use one, that carries a small system based on what I intend to shoot. That makes it easier to hike a distance with only what I feel I shall need. If I come across an image that a different lens could have covered better, then I have to use my experience to make what I have with me, work for me.

The only drawback I find to a back pack is the ability to get to another lens or body or accessory I might need without putting the pack on the ground. Not always a big deal, but it can be a hassle. There are some bags that allow side access to lenses, but I found it was a real pain to reach around to get them out. BUT OF COURSE YOU KNOW THERE IS A SOLUTION.

The THINK TANK STREETWALKER allows you to remove the waist strap, and replace it with one of their special belts designed to hold their lens cases, etc. So now you can have gear in the bag in case you need it, and have your most important stuff at the moment on each side of the back pack ready to use. CHECK this out at Penn Camera Tysons.

2-Shoulder Bags

This type of bag is great and it is what I have used most of my life. I use a newer designed >>>Think Tank bag. I use the Urban Disguise bags.<<< The key here is to approach the purchase of this bag carefully. They come in all sizes and shapes and paddings. I own quite a few of this type of bag in all sizes. But I find myself going back to only one of them. It holds my Nikon D700, 14-24 zoom lens, 24-70 zoom lens, and 70-200 zoom lens and SB-900 Flash and a TC-17 teleconverter. Quite often I will leave the 14-24 behind and put an extra flash and a 50mm 1.4 or a 105 vr macro in its place. (D700 is a full frame camera). The majority of my shooting needs can be covered by this system. On other days when I want to shoot i.e. Macro / Closeup, I take less of a bag, and carry the D700, Flash, 105 macro, macro rail, 50mm 1.4 and some closeup filters and a 24-70 2.8 zoom. Take what you need to get the job done.

It does have some weight to it, so my location and the weather will determine how comfortable the system is really going to be.

3-”SLING BAGS”

This type of bag is like using a backpack for carrying purposes, but fits across the chest with one backpack type strap. It allows you to swing the bag from your back to your chest and reach in to grab your equipment. This has become a very popular style of bag, but I find that for the gear I carry, especially the 70-200 vr Nikkor with hood, makes the bag impractical. In the largest sizes, I don’t find a real major advantage over a regular back pack. But that is my PERSONAL opinion, and there are many who would disagree and love their sling type bag. Tamrac, Lowepro, and Kata make bags like this.

4-Shoulder Harness and / or Belt Systems

This type of system has become my favorite. The favorite of choice is Think Tank, which allows unlimited combinations of gear carrying solutions. The only camera store in the area that carries a lot of the Think Tank brand is Penn Camera, and the largest selection is at Penn Cameras Tyson store off of Route route 7 in the Marshalls Shopping Center. You can buy several different types of belts that fit around your waist, with slots for accessory pouches of all types. There is also several harnesses that fit the belts. The harness can hold a quick release system for carrying a camera and lens, the belt can hold different pouches for flash, long lenses, short lenses, accessories, extra body, ect.

The weight is nicely distributed off of your neck and back and placed around your hips. With the harness you get a nice balance between your shoulders and your waist. It has proven to be my most comfortable way to carry my gear and have quick access to everything I want. When I am done shooting I can place the whole rig on my car seat or in the trunk of my car and still have quick access. BECAUSE OF THE WAY THE BELT IS DESIGNED, THE ACCESSORY POUCHES SIT BACK FROM THE STOMACH AND I HAVE BEEN KNOWN TO COMFORTABLY DRIVE WEARING THE WHOLE SET UP. At times I won't use the harness and just wear the belt with a few pouches to cover just what I shall need.

5-Padding

Avoid excessive padding. It adds weight, takes up too much room, and limits even the smallest amount of gear. While it is important to protect all of your gear, there is such a thing as over kill. Don’t let excessive padding rob you of needed space for your gear.

IS THERE A PERFECT BAG? NOT THAT I HAVE EVER FOUND, BUT THE THINK TANK LINE COMES PRETTY CLOSE.

BY TRAVELING LIGHT, YOU WILL FIND THAT YOUR DAY OUT OR DAYS OUT WILL BE MORE REWARDING. BY CARRYING TO MUCH GEAR, YOU WILL TIRE YOURSELF, BE UNCOMFORTABLE AND ROB YOURSELF OF YOUR MOST IMPORTANT PIECE OF GEAR. YOURSELF.

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MARCH 28TH IS COMING FAST, THERE ARE ONLY A FEW SEATS LEFT FOR OUR $99.00 ADOBE LIGHTROOM CLASS

WORKFLOW - ADOBE LIGHTROOM CLASS - MARCH 28TH 2008 - SATURDAY - 8:30 A.M. TO 4:30 P.M. - 15 STUDENTS MAXIMUM - CURRENTLY 5 SEATS LEFT

THIS CLASS IS DESIGNED TO GET YOU ON THE RIGHT TRACK FROM THE CAPTURE OF YOUR IMAGES TO THE FINAL PRINTING OF YOUR IMAGES. IT IS GEARED TO ALL OF US WHO ARE LOOKING FOR AN EFFICIENT, LOGICAL AND CREATIVE APPROACH TO THEIR DIGITAL ENDEAVORS. LEARN IN DETAIL, ALL OF THE LIGHTROOM MODULES AND HOW THEY ALL WORK TOGETHER TO ENHANCE YOUR PHOTOGRAPHY. ONE CLASS, 8 HOURS WILL PROVIDE YOU WITH THE KNOWLEDGE YOU NEED TO APPLY FROM WORKING WITH THE LIBRARY TO YOUR FINAL OUTPUT. ------NO EXTRA CLASSES SHOULD EVER BE REQUIRED TO GET YOU TO YOUR DESTINATION.

JOIN BRIAN IN THIS CLASS AND ENJOY HIS RELAXED AND PROFESSIONAL TEACHING TECHNIQUES. BRIAN HAS DESIGNED A CLASS THAT WILL GET YOU WELL ON THE ROAD TO ACHIEVING YOUR PHOTOGRAPHIC GOALS IN BOTH WORKFLOW AND CREATIVITY WITHOUT THE NEED TO TAKE ADDITIONAL COURSES OR ADDITIONAL INSTRUCTION. LEARN WHAT YOU NEED TO LEARN IN ONE CLASS AND THEN BEGIN TO APPLY THIS KNOWLEDGE TO YOUR OWN WORK IMMEDIATELY.

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IT'S NOT THE SAME - A SELF TIMER DOES NOT REPLACE A CABLE RELEASE DESIGNED FOR YOUR CAMERA

Your on that great tripod / head combination we told you to buy a while back, and you are using your camera and tripod for macros, scenics, portraits and more. And yet, you may still be finding that you are not getting what one would have expected from this great combination.

There may be one missing ingredient that can make all the difference in the world and that is the inexpensive 3 foot long electronic CABLE RELEASE. This, easy to pack, easy to use accessory is absolutely essential for getting that perfectly sharp, vibration free image that you have bought all this other expensive camera gear to produce.

I have heard that there are those that think all they have to do is use their self time for vibration free pictures. Well maybe, but more than likely probably not. There will be those times when the 2 second to 5 second made up rule just won't work and you will wind up with not so very tack sharp images. In a pinch, when there is nothing else available, the self timer can help, but it is nowhere as good as a good electronic cable release.

Let's see now, for a great tripod combination, let's say you spent from 200.00.00 to 1000.00. For your fantastic camera and lens, oh, maybe about 1200.00 to 8000.00. And your images are still not tack sharp? Well one of these cable releases will cost you between, 25.00 to 100.00. All of your camera makers have them, and there are also some off brands, WHICH I DO NOT RECOMMEND.

Stop by your CAMERA STORE, and check out what is available for your camera. Today.

NIKON ANNOUNCES AN INEXPENSIVE 35MM 1.8 LENS FOR THE APS/DX SIZE SENSORS. EQUAL TO A 52MM LENS. FINALLY A GOOD NORMAL ALTERNATIVE-delivery March 2009

All new fast aperture, DX format prime lens

The AF-S NIKKOR 35mm f/1.8G has two focus modes, M/A (manual override autofocus) and M (manual focus). The M/A mode enables instant manual switching during AF operation. The lens also features a rubber seal to minimize moisture ingression around the mount and can focus down to 0.3 meters (0.98 ft).

Nikkor 35mm F1.8 lens specifications

The AF-S DX NIKKOR 35mm f/1.8G is supplied with 52 mm snap-on front lens cap LC-52, rear lens cap LF-1, bayonet hood HB-46 and flexible lens pouch CL-0913. The AF-S DX NIKKOR 35mm f/1.8G will be available as of the middle of March 2009 and retail at a MSRP 199.00 US

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For years and years the majority of the seasoned photographers shot a great many images uses "normal lenses." Of course back then, zoom lenses were far and few between, and those that were available were no match for prime lenses.

In todays world of photography many people are using zoom lenses, and depending upon budgets either shoot with zooms that are 2.8 aperture lenses, and the price for these is generally quite high, over $1000.00

But normal lenses are still around and have been popular for many because of these benefits:

1-They are small which means the load you are carrying is lighter and because they are small they are less obvious if you are into street shooting.

2-The are generally fast, meaning that they are 1.8 or faster in regards to the aperture and the amount of available light they let in. That means you can shoot in lower light situations at higher shutter speeds.

1-Limited range means you have to move closer or further away from the subject to properly frame the image.

So! Move around a bit, look at your subject, frame your subject, catch it from different perspectives, and walk up five feet or back up five feet, and get an incredible image with a NORMAL lens, and enjoy the fact that you are probably shooting in lower light, hand held with less overall effort. Get and use a normal lens.

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The Case Against Zooms

By Mike Johnston

I’m well known for having a prejudice against zoom lenses. I generally don’t like them, generally don’t shoot with them, and generally don’t recommend them.

Again and again, I’m asked to explain this, usually in a sort of bemused way, as if I’m some sort of strange curiosity who can’t get along with the other kids on the playground. Everybody uses zooms, right? Why “limit” yourself? As if I suffer from some sort of cantankerous hard-heartedness and haven’t thought out my opinion. So here, once again, is my case against zooms.

Learning How to Visualize

The only reason not to shoot with a zoom lens is this: a zoom lens has no point of view. A fixed-focal length (a.k.a. "prime") lens imposes its point of view on you, and, consequently, you can learn to impose its point of view on the world. If you routinely photograph with a fixed-focal-length lens, sooner or later you will not need to look through your camera to know what the lens will see—your eyes will know, your mind will know. You won't even need to have your camera with you to organize pictures out of the visual chaos of the world. Your eyes and your brain will be able to visualize without aid from the viewfinder.

A zoom is a crutch to aid visualization, but, ironically, it is an impediment to learning how to visualize. If one wants to learn how a camera sees, the best and easiest way is to deal with a lens you can learn, instead of a lens that's a chameleon.

Are there other disadvantages of zooms? Of course. For one, they are usually as large as the largest focal length lens they replace, and as slow as the slowest focal length lens they replace. Plus, they add another control which must be manipulated in between two events that ought to be linked as closely as possible: recognizing a picture and taking the picture. Many times, one might have time for this. But maybe not.

Can good photographers who know how to visualize already use zooms effectively? The answer has to be yes. Are zooms often useful when you can't choose your standpoint, as when you're behind a barricade at a sporting event, or one one side of a mountainous valley taking pictures of the other side? Of course.

Zooms are most especially useful, I think, at the telephoto end of the focal length range—because the longer the lens, the more difficult and time-consuming it is to change your framing by moving yourself.

I've reviewed hundreds of photographers' portfolios, and if I had to guess, I would say that generally, photographers who use zooms don't frame pictures as well as photographers who don't. Does this mean this generalization is true in every instance? Naturally not. Some photographers have such skill or experience that none of this matters much.

Just because I say that zooms encourage some students of the art to be sloppy and prevent them from learning visualization easily, can we extrapolate from that that zooms are bad and no photographer can make a good photograph with a zoom? That would be an egregious logical fallacy, of course, and I would never claim such a thing.

I do have a prejudice against zooms, though, for this very simple reason: I don't think they help most photographers do better work. I think they are an impediment to learning how to see better. But do I have a prejudice against people who use zooms, or pictures made with zooms? Not at all. Those two things don’t logically follow one from the other.

Exercises
So how can you tell for yourself? Easy: try it.

I don’t know if you’re in the habit of giving yourself exercises, and maybe it betrays my fundamentally teacherish nature that I like 'em. But I do think that exercises help. They help get us in shape, help us "tone our muscles" as it were, help us hone our skills.

One great advantage of DSLRs over digicams is that we can choose which lens we want to use. Zooms, found on most (all?) digicams, are perfectly appropriate for them—they add more flexibility into a small, all-in-one package. (A digicam is like a jackknife—useful for many things, perfect for very few.) And a DSLR allows us to add lens capability, it’s true—and this is what most people are concerned about. Can you photograph a gnat’s tooth at one knuckle’s distance? Can you get everything into the picture from one side of a broad room to the other? Can you zoom in on a distant squirrel and cut out all the surrounding clutter? Can you handle every possible situation? That’s what most people think about. And let’s face it, it’s more fun to buy new lenses than it is to learn to use the ones you already have.

A digicam—here, the super-cool Pentax Optio S in an Altoids Tin(!)—is a jackknife, useful for many things.

A zoom makes sense on 'em since you can’t change lenses.

But a DSLR also allows us to limit lens capability, too—if for no other reason than as an exercise. You can pick one single-focal-length lens and use it for a week, a month, or a year, and really learn how to see with it. Try it. I can virtually guarantee it will improve your eye.

It’s probably true that we shouldn’t be doctrinaire, and that letting preferences harden into prejudices isn’t a good thing. Even for a photographer who uses mostly primes, one zoom might come in handy sometimes. (I keep meaning to get one.) But, just as surely, every photographer ought to have at least one fixed-focal-length lens in his or her bag.

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Originally published on The Luminous Landscape, July 2003.

Copyright 2003 by Michael C. Johnston—All Rights Reserved

THINK TANK - REPRINTED ARTICLE FROM A RECENT NEWS LETTER FROM THE FINE FOLKS AT THINK TANK with their permission

Modular belt systems are an excellent, versatile way for you to pack your camera bodies, lenses and accessories. With our Modular system and our Skin system, you can select how lightweight and how much protection you desire based on your preference.

With both systems, with our "Rotate and Lock" design you can either lock the pouches "in place" or you can us the hook and loop fastener on the flap of the pouch to secure it to the belt line. Keeping the pouch "in place" has the advantage of securing the pouch to a specific location on your Skin Belt, Pro Speed Belt, or Steroid Speed Belt. Once in place, you now have your gear in the exact location of choice.

Attaching a pouch solely with the hook and loop fastener allows you to rotate your pouches freely around the belt to change the weight distribution on your waist. One of the greatest benefits of our belt systems is that they keep the weight of your gear on your waist and off your back. You also have the added benefit of greater mobility and quick gear retrieval when you need it.

We have designed two distinctive modular belt systems. They are:

Modular Set -- We have produced a wide variety of pouches and cases for this belt system to accommodate the lenses and accessories most often used by photographers. These pouches and cases can be bought individually or in our 6-piece Modular Set. This set includes the Large Lense Drop In (holds an ultra wide-angle lens), the Lens Changer 35 (holds a 24-70 mm 2.8), and the Lens Changer 75 Pop Down (perfect for a 70-200 mm 2.8 lens). Have a flash? You also get the Lightning Fast for your SB-800 or equivalent. You also receive the Lens Changer 50 (holds zoom lenses, such as the 16-35 2.8 and 17-40, with the lens hood attached) and the Speed Changer for all of your accessories. Overall, this 6-piece set is an excellent way to get started on building your modular belt system

Skin Set -- This non-padded, lightweight, 5-piece modular system allows you to organize your gear on all Think Tank belts while working quietly. With the Silencer Flap there are no hook and loop fasteners "scratching" when you open them. In contrast to the Modular system, these bags have no foam. The set includes the Skin 50 (for zoom lens such as the 16-35 2.8 with hood in position), Skin 75 Drop Down (holds larger lens such as the 70-200 2.8 with hood reversed, or "pop-down" for hood in position), Skin Double Wide (holds two larger lenses such as the 70-200 2.8 with hood reversed and 24-70 2.8 with hood in position, in one unit), Skin Strobe (for your SLR flash), and Skin Chimp (the perfect solution for carrying one digital SLR body, as well as other SLR equipment).

While the bags are interchangable on our belt systems, photographers tend to select one style of modular system or the other. Those who seek that extra layer of protection for their expensive gear prefer the Modular system because of the foam padding. Those who prefer being able to "compress" their belt system into their travel bags so that it takes up the minimum amount of space while in transit, prefer the Skin system. It really depends on your personal preferences.

One secret professional photographers use with both belt systems is that they figure out what shooting situation they are about to enter and pre-load it with the gear and bags they anticipate needing. That way when they hit the ground they just extract the belt system from their roller or transportation backpack and strap it on, ready to shoot.

PENN CAMERA - WILL BE DISPLAYING AT MEADOWLARK PARK ON MARCH 7TH AND 8TH. VISIT PENN AND ALL YOUR FAVORITE REPS - FOR SOME VERY SPECIAL SURPRISES

Also Check out our Meadowlark story above, for more information on lectures and events that will take place over two wonderful days.