The Mystic Seminars run from January 6-9 and yes, that's in Mystic, Connecticut. Not terribly far from the famed aquarium, so you could really hit two birds with one stone, if fish is your thing. I assure you, that both will be fascinating, but the former will actually inspire your photography and may just make you more money in 2011.

So, my question to you is a simple one: are you attending the annual Mystic Seminars?

Here is the complete lineup of speakers:

Yervant, Jennifer Hudson, Jesh De Rox, Cliff Mautner, David Beckstead, Justine Ungaro, Michael Greenberg, Joseph Victor Stefanchik (JVS), Todd Laffler, Davina + Daniel, Chuck Arlund, Matt Mendelsohn, Sergio, Sean & Melanie McClellan, Angela Carson, John Edgar, Doug Gordon, Andrew “Fundy” Funderburg, Richard Esposito and of course Mystic Seminars' founder, Walter Van Dusen.

It's going to be quite a show. Some are well known names in the business. All of them have been around the block and know what's what in the industry. A few photographers on that list offer workshops and I have attended them (yes, on my own dime). Some, I can even claim to call my friends. But it isn't some freakish form of nepotism that makes me ask the question again: are you attending the annual Mystic Seminars?

If you have the usual gremlins asking, no, doubting your intentions for going to the Mystic Seminars this year, here are 5 reasons why you should attend this annual event:

1) You'll be inspired by what other photographers are doing – craft, vision and business.

2) If you consider yourself even a wee-bit shy, the seminar is a great place to break the ice and connect with other photographers. Think networking for referrals or 2nd shooter opportunities.

3) It will put the “social” back in social media. Do you follow some of the speakers I mentioned above on Twitter or Facebook? Well, there is no better opportunity than the seminars to step up and introduce yourself.

“Social media shouldn't replace being social in person. It should enhance it. Nothing beats face to face.” – Scott Stratten

4) Giving yourself the time to get out of the home-studio/cubicle for a few days to recharge your batteries is the sanest thing you will do for yourself and ultimately your business

5) It's at the very beginning of the year. What you are doing now and in the early part of the year for your business can make or break it.

If you are a wedding photographer or a portrait photographer, it just makes sense to register for this event. This year, the presentations will run over four days at the Mystic Marriott. Each of the photographers mentioned brings a completely different aesthetic to their approach. The diversity is intentional and I applaud Walter for bringing us a very well organized event year after year.

The cost for early-birds like me was $400. If you want to go now, it will be $600 and I say it's still worth it. If you can't make all 4 days, don't fret. Walter is offering day passes at a very reasonable $200, until TODAY or whenever they get sold out.

Yes, the event is in January. Brrr! Right? Well, thankfully the presentations are all going to be indoors. And I really have no excuse to miss it since this takes place right in my back yard (well, close to it).

So, who will I see at this year's Mystic Seminars? Sound off below. If I hear from a bunch of you, perhaps we can plan on doing dinner together? Let me know. I know it will be fun to connect with you all. Let's take this opportunity in early January to reinvigorate ourselves for what will be an incredible 2011 wedding and portrait season.

Tiffinbox, at its core, is about providing solutions and resources for photographers, by building a community of “go-givers.”

Will you join me in making this happen?

For 2011 and beyond I am looking to grow Tiffinbox into something much bigger. As the diversity of guest blogs have shown in 2010, I know that a group effort is much more interesting for all.

7 Things You Can Expect From Tiffinbox In 2011?

1) Video Interviews with photographers

2) Tips on how you can use social media to grow your photography business

3) Portfolios from emerging photographers that will inspire you

4) Reviews of the following:
– popular Photoshop Actions and Lightroom Presets
– photography equipment
– workshop DVDs, seminars and conventions
– online solutions to streamline your studio workflow

5) More fun contests and giveaways of products you will actually use

6) Opinion-editorials on a variety of topics (some even controversial because we still need to discuss them!)

7) A brand new design that will make it easier to find and share information and connect with other photographers

Seeking Your Support

So, if you are just starting out, or, you've been in the photography industry, for a while, I would love to hear from you. If you have any questions, suggestions, tips or heck, even strong opinions about one topic or another, please feel free to email me at – seshu at tiffinbox dot org.

I might be able to answer your question(s) or someone who has guest blogged here might jump in. Or, even better, someone who hasn't written for Tiffinbox before might offer an answer in the form of a quick article.

a) Guest Blogging For Tiffinbox

My heartfelt thank you's to ALL the 2010 guest bloggers here on Tiffinbox.

If you are interested or even ready to guest blog for Tiffinbox, feel free to submit your ideas now. I am scheduling guest posts for 2011 and will publish them in the order they are received. The sooner you send me your pitch, the sooner your post will show up on the site.

If you have been following my Twitter stream @PicSeshu, you'll know that I am pretty good about promoting the articles you see here on Tiffinbox.

The benefits of guest blogging can be summarized by these three points:

1) Helps you take the first steps in establishing yourself as a credible authority
2) Link back to your site from mine (happens to be a PR5 site)
3) Gain a loyal following of your own if you publish regularly here

b) Tiffinbox began as a labor of love. It will remain so for the most part, but I do have expenses to deal with. If you find the content here valuable, please consider the following 7 ways to support this site:

1) Express yourself. Write a guest blog post.

2) Make a small monthly donation of $1 or more (my PayPal address is – fei8ht at gmail dot com)

3) Buy the e-books you see on the right hand side of this site. I wouldn't recommend anything if I didn't think it was of value. Yes, I make a small commission off of each sale.

4) Buy all your camera equipment from Adorama using this affiliate link: http://www.adorama.com/?kbid=66174. Their prices are competitive and their customer service is awesome!

5) If you are into blogging yourself, consider using WordPress and the Thesis Theme (great for SEO) and Hostgator for your hosting needs. Go on click on those affiliate links and sign up.

6) Help Me Spread the word! Tell your friends, blog about Tiffinbox, Tweet or use Facebook to mention a specific blog post.

7) Sponsor a series of posts in a particular month. Contact me for details on ways that I can help publicize your company in exchange as well.

The end goal at Tiffinbox is to create a community of passionate photographers who are looking to openly learn from each other, elevate their craft and thrive in their businesses together.

Thoughts, reactions, responses, suggestions or opinions? Sound off below in the comments. I would love to hear from you, especially if it is constructive. [grin]

Happy New Year To You All!

I can't remember when I first joined the National Association Of Photoshop Professionals (NAPP). I do vividly recall thumbing through the slick, glossy Photoshop User magazine and drooling over the step-by-step tutorials, the featured artist and the succinct product reviews. The magazine was and is designed to inspire. There is no doubt about that. Each month, I look forward to the new issue, almost always wrapped in a plastic cover. And yes, I will confess to being a geek – I do read it cover to cover. Being an even bigger geek, I will also confess to still having every single issue of the magazine since I first joined the organization. For Photoshop and Lightroom information, the NAPP cannot be beat. It is THE place to go to first.

The Benefits Of Becoming A Member Of The NAPP

When I was starting in the photography business, the benefits of being a member counted where it mattered most – my wallet. As a photographer who occasionally bought camera equipment from B&H Photo Video, I shuddered every time shipping charges were levied to my final bill. Even though I live in Connecticut, the UPS shipment was almost in the neighborhood of $25 to $30. Well, with my NAPP membership, the same UPS ground shipping was $0. That's right. Four purchases in a year just about paid for my NAPP annual dues ($99). It was a no-brainer for me. Not only was I getting a valuable resource in a magazine that was chalk-full of great examples, I was also able to get my gear delivered to me at no extra charge. That shipping “discount” is also offered by Adorama.

What's Better Than A Ginzu Knife

But wait, there is more. Yes, lots more. Over the course of the next few months, I will present all of the other benefits and features for becoming a member of a community of creative people, including a whole bunch of photographers. The big announcement I alluded to on Twitter is this – The NAPP has tapped me to be one of their ambassadors. I am truly honored to serve in that capacity.

The Bonus

For a limited time, when you become a member of the NAPP and use this promotional code – “PicSeshu” – you will receive Matt Kloskowski's Lightroom 3 Power Session DVD (a $69.99 value), absolutely free PLUS get $10 off your annual membership fee.

My Promise To You

If you are a loyal subscriber you already know that I diligently apply the “credibility-test” before promoting products, services or vendors. Tiffinbox remains a no-shill zone. I promise to be transparent with you and will let you know if I directly or indirectly benefit from any transactions that I am asking you to embark on. In some, if not all, cases I will try the product, service or vendor before I will ask you to buy it. And in most cases, I pay for it by myself. When it is a gift, I will let you know.

In this case, let me candidly tell you that about a month back, I renewed my NAPP membership through 2014. This was before I was approached to become an ambassador. I paid for the renewal myself. When I did that, I received a couple of DVDs, including the one mentioned above. Having found it useful, I figured you would too when you sign up to become a member.

I want it also known that being an ambassador may present opportunities to get involved with Photoshop World or access to Kelby Training's online courses. If and when those things do happen and I happen to blog about them, I will be sure to let you know in advance.

So, I hope that my relationship with the NAPP is as clear as a sunny f/16 day.

If you have any questions, suggestions, opinions or otherwise friendly banter, pen your thoughts below in the comments section. I do want to hear from you. You voice is heard here. If you do decide to become a member of the NAPP, please let me know. “Welcome,” in advance!

This isn't a plug for the Fuji FinePix X100 camera. I am just posting this video clip up here just in case you are a street photographer like I was back in the day. This camera will quite likely be THE camera to have with you at all times. No, it doesn't look like it will fit in your pocket, but then again, what camera would you want at the ready – one that is slung over your shoulder or the one tucked into your pant pocket – to capture your next great image?

Tell me this doesn't look like an early Leica rangefinder camera. Yes, it's all digital. How I wish Fuji will come out with an all-black version of it. That would really bring back memories of my Leica M6.

So, what do you think? Will you consider buying this camera? Word is it won't be out till Spring 2011. As I told my friend Jigar on Twitter – I want it NOW! Brace yourself, though, as the retail price is likely to be close to $1000 or more.

This is a very special interview with an international, award-winning photojournalist G.M.B. Akash. He is based in Dhaka, Bangladesh and represented by Panos Pictures. Wrangling him into finding the time to answer these questions took some doing because he was always on the road working on one project or another. So, I am truly honored to host his images and his responses to a few of my questions here on Tiffinbox. If you have any questions or comments for him, please do submit them at the end of this post!

1) Tell us a little bit about yourself. Where are you from? How old are you?

I grew up in a home far removed from my profession. Throughout my childhood I did not have access to photographers, their work, or even a camera. Photography did not exist for me in theory or in practice. Then a decade ago I found my father’s old camera and my life took a different turn. My fascination for the captured image was uncontainable and overcame everything — even my inexperience. Not knowing what I was doing or why, I went everywhere shooting anything and everything that caught my attention. The only thing I was certain of were the subjects I photographed. I concentrated on people living on the edge of society because their faces, lives, and living conditions held a particular fascination for me. Gradually I became absorbed in their daily lives for months on end, learning from their experiences. My desire to capture it all on film pushed me to go to places and to meet people I never would have encountered otherwise. Each visit gave me a deeper understanding of humanity.

I am from Narayangonj, a city which is 200 km away from Dhaka. I come from a middle class, very ordinary family. I was born in 1977. I was always a last bencher in my school. I always felt inside that I have no talent like other kids. But photography gave me a new life.

2) Some would consider you Bangladesh's best known photojournalist. What has led to that success?

Hard work, honesty and respect towards the people whom I photograph.

3) Where were you trained as a photographer? And why, photojournalism? Why not advertising or travel?

My passion for photography began in 1996. I attended the World Press Photo seminar in Dhaka for 3 years and graduated with a BA in Photojournalism from Pathshala. I believe that the formal study of photography is necessary to survive in the industry today. But most important things are to be really passionate and dedicated.

The formal study helped me a lot but most of the time I learned from other photographers. I have learned from painting, songs and movies as well. Everyday I go through the work of other photographers and I learn from them. I have learned from many photographers.

Photography pushed me to go to places and to meet people I never would have encountered otherwise. Each visit gave me a deeper understanding of humanity. Today, I count myself blessed, having become a photographer. To be able to articulate the experiences of the voiceless, to bring their identity to the forefront, gives meaning and purpose to my own life.

In 1998, I saw a photo exhibition on AIDS victims, titled ‘Positive Lives’ at gallery in Dhaka. And realized for the first time how images can influence social perception. My first reaction, on seeing the exhibit was a complete subversion of my original perception of AIDS patients. It struck me how patients with AIDS are alienated and scorned by us because of social misconceptions, and I realized how I as a photographer could help dispel these misconceptions. I discovered the power that images have over us.

To me, photojournalism is a huge responsibility and a tough job. A photojournalist must be honest, hard worker, punctual, and he or she must respect other people.

I believe photography can bring lot of changes in our life. It can bring positive changes. In my case, “my images are my voice, I want to show the things that should be corrected or should be appreciated.”

4) What drives you to make images? Do you see it as a job or as a calling?

What I find most amazing about the work I do is that it opens my eyes to all these little pleasures of life. There is great pleasure in meeting people who are despised by the world, in sharing a cup of tea with them, and discovering that they are still capable of affection, though they themselves go unloved.

This is not a job about making money or succeeding; it is about pursuing art, and opening people’s eyes. That is the responsibility of every photographer.

5) How do you take on projects? Are they self-financed or do you write grants?

Most of my projects are self–financed. I keep saving my money from other assignments to keep doing my personal projects. I do not like using my camera for begging. Each of my projects usually lasts over a year or even two and I begin to use my camera only when I have earned the trust of the people whose lives I want to document.

To portray a community or a way of life, you first need to understand it well yourself, otherwise the images become superficial, and neither you, nor those who look at your photographs, will be touched or moved. In fact, I let the year pass in regular visits to a small community of transvestites in Dhaka, before I eventually started taking their photos. I like to mingle with my subjects, I visit them often, and I invite them to my house, to get it across that I see them as people rather them mere subjects of photography.

6) There is great sensitivity to people in your images? How did you cultivate it? How do you approach people when you are doing stories?

With every picture you take, you enter a space that is unknown to you as a photographer. In the beginning it feels like forbidden territory, a place you are not supposed to enter surrounded by borders of privacy you are not supposed to cross. You, the photographer, are there at a factory, an old home or a brothel with your simple black bag hanging from your shoulder, eying everything around you as you are eyed by the people there. The first days following these intrusions I never take pictures because they would not be good. I wouldn’t know the people I met, wouldn’t understand the place I had just entered – my photography would be stale and meaningless. But there is always that moment when it feels completely natural to open that bag. And also there is no way of telling why it comes. Suddenly, I have a friendly conversation, or the afternoon light makes everybody around me relaxed and mellow, or someone looks at me in a trusting yet familiar way.

Then I take out my camera, and for me and everybody around me it is the most natural thing to do. There is consent. People don’t accuse me, or reject me or pose in unnatural ways. They are just there, doing what they normally do. Then I click away, and it feels like a conversation, a conversation between me and the people, between me and the location, between me and the light, between me and the souls that make this place alive. In such moments a landscape becomes a soulscape.

After such moments, life where I am working becomes trivial again, and the next day everybody asks for their photographs, and there is no difference if the people are girls from a brothel, children who work in a factory or farmers from the countryside. But these little exchanges bring us closer to each other, and the ties between us, which started with small talk and conversation and continued with the first pictures I took, will begin to become deeper and more meaningful, and so will the pictures I take. And the closer I get to them and the deeper our friendship becomes, the simpler my photography gets. I am no longer looking for special angles or artistic points of views; I just open myself to these people, take a good look, frame and wait for the right moment. When I walk home, I have all the moments that I missed in my head, and they will become my source of inspiration in the days to come.

I see the beauty of people and the human soul in the pictures I take. And though the circumstances of some of the people I portray may be grim, back-breaking, depraved, the people themselves are always remarkable characters and souls. And it is my duty as a photographer and artist to point with my pictures at every aspect of existence in the society and world I live in, to show what can be shown, to go deep into every milieu and also into every aspect of poverty, deprivation and hardship that I encounter – because the only sin for a photographer is to turn his head and look away.

7) You keep winning award after award and you are very good about making it known that you were either nominated or you won. Where did you learn such a basic marketing strategy – that is, to be in forefront of everyone's mind when it comes to photography? What or who inspired you to follow that template?

I am very much alone in the Bangladeshi photography industry. I do not even have photographers as friends. I learned everything for my survival. I keep doing the hard work. And my God was always so kind to me and my friends and family.

8) What is the photo world like in Bangladesh? Does most of it revolve around Dhaka? Are Pathashala and Drik still the only resources for emerging photojournalists?

Lot of people are getting interested in photography in Bangladesh. It is becoming a very popular art form. Pathshala is one of the main photography schools. But there are many other schools which also
give a very good education.

It is very tough to survive as a freelancer now days. Especially in Bangladesh. Wire services like AFP, Reuters, AP, EPA capture all the markets. They are very fast and very powerful. They have a huge investment and network. They have their staff everywhere. It is really hard to publish your work as a freelancer.

But what I believe is this: “if you remain true to your work then your work will remain true to you”

9) Do Bangladeshi photojournalists have a network? Is there a sense of camaraderie and competition between photographers?

We have huge competition and huge politics in Bangladeshi photography. Lots of groups and nepotism. Few people control the whole system and they only favor their own people.

10) What challenges do you face when you are commissioned by magazines or newspapers around the world?

Every assignment is a new experience to me. Till today, I have received more than 40 international awards from all around the world and my work has been featured in over 50 major international publications including: National Geographic, Time, Sunday Times, Newsweek, Geo, Stern, Der Spiegel, The Fader, Brand Eins, The Guardian, Marie Claire, Colors, The Economist, The New Internationalist, Kontinente, Amnesty Journal, Courier International, PDN, Die Zeit, Days Japan, Hello, and Sunday Telegraph of London.

It is challenging to work with so many international magazines. Bangladesh is not an internationally important country. I've met so many people who even don’t know where Bangladesh is. Magazines seem to only want photographs from Bangladesh when there are big floods or big disasters.

We have also lot of problems in acquiring travel visas. If something happens in India or Pakistan, we cannot go there instantly. It takes a few days for getting the proper visa. It is so easy for a photographer from a developing country to get a visa but that's not the case for Bangladeshi photographers; it is almost impossible to go into a conflict zone.

But all these awards and publications bring lot of attention on those issues that I have been working. After seeing my work, so many individual people and organizations have shown their interest to help/improve the situation of child labor in Bangladesh and other issues.

My work on “home for elderly people in Nepal” has been printed in a German magazine. After it got printed so many individuals and organizations came to help them. We raised lot of money for this old home. The situation at that old home was very bad and the elderly people who lived there found it hard to get food three times a day.

11) Are you mentoring anyone interested in pursuing a career in photojournalism? Have you considered conducting workshops in South Asia?

I am trying to help a few of my friends. But no workshops at this time. I am very busy with assignments, traveling and working on my personal projects. And I really want to keep taking lot of photos. I need more time for organizing and giving workshops.

12) Have you ever been tempted to work with video? Will still photography always be your main mode of communication?

I have never tried video but I really want to start making short videos. I mainly concentrate on still photography now.

13) What are you trying to say with your photography?

I see the beauty of people and the human souls in the pictures I take.