Friday, December 26, 2014

The (He)Art of Photography

Photography is about a lot of things -- technology, aesthetics, what we call an eye, etc. Sometimes what really matters, though, is the HeArt. HeArt is present (or needs to be) when capturing scenes that convey a moment of beauty or wonder in nature. It is in the photos of passing occasions that we hope will reignite memories with each viewing.  Every so often I get the chance with my work to realize, again, how important HeArt can be and the power that a photograph can have.   

HeArt includes all the elements of artistry and technical quality that make a photo a really good one, but what sets it apart from other good photographs is the strong thread of emotion and message.  A photo with HeArt has the capacity to touch the viewer in special ways.  You know it when you see it on the cover of a magazine. The challenge in doing photography with HeArt is wrapped up in the fact that I, as the photographer, have different life experiences and frames of reference than the viewer. I am in this space at this time witnessing something and the viewer is not here. In addition, would the viewer see it the same way if he or she were here? How do I bridge that gap between myself and the viewer, and how do I create a photo that will communicate in the way that I hope?  This all leads to a bigger question: how can I use my work as a photographer to truly make a difference? 

I had an opportunity recently that reinforced for me the responsibility (and the privilege) of trying to do photography with HeArt.  On several occasions in late 2014 I photographed a number of classes for Keshet Dance Company.  This is an amazing organization that is doing a lot in the Albuquerque area to promote not only dance but development of the arts. In addition to their own company and repertory, they offer a Pre-Professional training program and are involved in an impressive array of community outreach. They take dance to low-income, at-risk, homeless and incarcerated youth; they offer classes in a variety of modalities from ballet to hip-hop and dance fitness. They have special classes for people with various limitations consistent with their stated philosophy that "everyone can dance."  I saw people of all shapes and sizes and from all walks of life, including children and adults with significant mobility impairments, dancing. And loving it. And feeling good and proud and acting as if they could fly.  There is something incredibly moving about seeing someone dance from a wheelchair or without the constraints of a mobility aid. All of this took place in an atmosphere of tremendous energy, smiles, affirmations, and positive interactions among staff and participants, with young ballerinas, hip hop teens, and the wheel-chair bound and those with sensory limitations all dancing! At Keshet, people get in touch with an aspect of being a whole human that so many of us have trained out of us through critique and comparison and growing self-consciousness once we start listening to the voices of others rather than our own inner desires.   And I got to witness those facets of humanness that exist for us all but, for too many, remain well buried.  Keshet shows that we all can blossom in ways we might not imagine if we have a supportive and positive environment and if we aren't too focused on what those naysaying voices keep chanting in our heads.   I am too old, too arthritic, too out of shape, too whatever....

So my challenge - to capture photos that let their Heart shine through to anyone who might see them.  I needed photos with HeArt. 

Merely documenting what happens at Keshet might have been sufficient to get the message out to the broader public for their use in marketing and fund-raising. Sure, I needed to provide photographs that were technically correct (walls of mirrors and fluorescent lights do create some challenges) and composed well. But when immersed in a situation that is nearly magical, the photos need to communicate, evoke, move ... I hope the photos are able to do that for others in the way that I was moved by my experience of being there.  I hope my photography can capture in some small way the heart that they put into their work every day.  It is a challenge, but also a privilege, to be in situations that call for photography with HeArt.

Some photos from that session can be seen here:  Keshet Dance Company
Keshet has the photo releases, so I'm linking to their posts. 

Follow this to their Facebook page. Like, and support this great organization!

Thursday, October 30, 2014


Go to Beth Rodgers Photography Website

When my coworkers asked what plans I had for the weekend, I told them I was going to be photographing a large group of zombies. As you might imagine, that raised a few eyebrows and some inaudible mutterings about what kind of friends I had. But it also gave me the chance to dispel all myths about whether it really was possible to capture photos of zombies. 

More important, I got to tell them about the global Thrill the World humanitarian event. This worldwide event involves thousands of Zombies dancing to Thriller, all at the exact same time, and finishing off with a moving rendition of We Are the World. I suspect that, as each year passes, the Guinness World Record gets set anew for largest number of simultaneous Thriller dancers. Each location does this to raise money for the charity of its choice. Time will tell what happened to the record this year. But even if previous records were not broken, it was a frightfully good time with a fun group, dedicated to a terrific cause, raising money for a local non-profit. This year the fund-raising was directed toward Keshet Dance Company to support the incredible work they are doing in the Albuquerque area. It is wonderful to know that there are so many individuals devoted to the arts and I am sure we will see some terrific work coming out of their visionary innovation center. I hope to do some photography work for them in the future.
Zombie leader, Diane
Who would have thought that spending a day with 163 Zombie dancers (and even more if you count the appropriately attired volunteers and supporters who were present) would be such fun? And next year, I can't wait to do it all again.  I am hoping that the word gets out about this event and we can break the 200 mark. It already is impressive to know that the Albuquerque event far surpasses that of much larger cities. Atlanta, for example, couldn't muster a single official Turn, Look... Stare, Stare or even one Roar Turn. 

I will do what I can to spread the word. I've often thought that the Thriller music and dance were infectious. This group of Zombies, led by the indomitable Diane Green, has given that a whole new meaning. Come catch the infection and join the Zombies next year!  'Cause this is Thriller...

Select Gallery and then Browse to the Thriller folder. 

Follow the activities of Thrill the World Albuquerque.

Monday, October 6, 2014

Balloon Fiesta Time!

It's that time of year again! I've been busy photographing a number of events, and planning for others. Along with many of you, however, I've also been looking forward to that annual festival of all festivals as balloonists from all over the globe alight on open areas all over Albuquerque.  I looked over the blog I wrote last year and everything there still holds. So I'm going to refer you to that posting for a comprehensive guide to help you prepare for your own fiesta experiences. One thing I didn't put in that blog, the Park and Ride is definitely the way to go. So add that transportation hint to your preparation. Also, the Arts and Crafts festival, moved to the Fairgrounds at the infield of the racetrack, has some stellar artists in this juried show. Check it out on a free afternoon.

Photographing Balloon Fiesta

Again, if you are going, have a plan, spend time looking at photos others have taken of the fiesta, and if this is a repeat occurrence for you, think about other areas around town where you can get good views. Remember, you don't have to be at fiesta to photograph fiesta! I'll be heading out along the riverbanks hoping to get some Splash and Dash photos. Maybe I'll see you there?

Enjoy, and I'll post some photos from recent events as soon as the Fiesta fun is past.

Happy fall, everyone!

Saturday, May 24, 2014

It's (Outdoor) Event Season!

It's Spring! or Summer, or some variation of either of those depending on where you live. After this last year, it's time for a lot of my readers to jump up and down and say "I made it!" having survived the Polar Vortex-fueled winter. Here in New Mexico, that wasn't a problem. But wherever you are and whatever your seasons look like, from my viewpoint as a photographer, it is now Outdoor Event Season! This is one of my favorite times of year, so it definitely has me smiling!

Most of you reading probably will have some kind of event to attend this summer, whether a family gathering, a community event, or a trip to the market or fair.  Events are one of my favorite subjects for photography, second only to an engaging, jaw dropping slice of nature, of which there are plenty here in New Mexico. I enjoy anything outdoors, really, and gatherings for portraits, engagements, weddings, and corporate and community events make wonderful subjects for captivating photography and for challenging your skills as a photographer.  So here are a few tips to help that happen for you whether you are an iPhone or point-and-shoot user or you are leaning toward advancing your skills a bit more.  

Event photography is about control.  The challenge is to take control in a situation where, overall, I have none.  Everything about the event -- the schedule, venue, weather, existing lighting, people and all sorts of behaviors -- are all things over which I have absolutely no control.  So, I have to take control of what I can, the things on my end of the situation that enable me to deal with all the factors in play and the unknowns.  I take control by having the right equipment and by knowing how to use it well. Two items of equipment that are essential to good event photography is the mix of focal lengths in lenses to control composition and perspective and the ability to control light. If we can do those things, we open up all sorts of possibilities to move our photography to the next level.  In this blog, I'll focus on those aspects as  the foundation for improving the photographs you take when you attend any sort of event. 

Lenses always seem to be the focus of the first question I get when discussing photography gear.  OK, it's the second question. The first is did I really get that close to Robert Redford? (Answer: Yes.) While lenses and other equipment do not make the photographer, equipment does matter to the extent that a good photographer is one who is prepared and who knows how to use whatever equipment he or she has on hand.

At a typical event, you are going to want some photos that are close up (picture the boss or coworkers with watermelon juice dripping from their chins. On second thought, maybe you shouldn't picture that...), children with smeary ice cream faces, table decorations, family candids, older relatives with their heads tipped back in laughter. You also will want photos of the venue, larger groups, the array of people and tables.  This means you need to be able to get close as well as get some nice wide angle views. We can "zoom with our feet," meaning we move closer or farther back to get the desired perspective. That isn't always an option, though, due to space limitations or the time it would take to do the moving.  Ideally, we need a mix of focal lengths to cover both the wide (28mm or so) and the close-up (100mm or more) perspectives.  The average point and shoot and phone camera has the capability to go back and forth between these focal lengths built in to the camera.  The first tip, then, is to know how to use what you have, and be able to make changes smoothly and swiftly. In the time it takes you to ask "How do I zoom this thing?" the scene you wanted can be gone. Practice a bit before the event. Then practice more. You'll thank yourself for, well, probably forever that you took the time to learn how to work what you have and you are now able to get the photo you want while others are still fumbling with their zoom settings.  Keep up the practice so you don't forget what you learned and you will be the family photographer of choice when the holiday season arrives! Besides, no one likes having to hold that smile for 20 seconds while you figure out which button to push. Sometimes the best photographer is the most swift photographer, and that really holds true when photographing events because things can move very quickly.

For the more advanced photographer, my ideal minimalist event setup covers the 24 - 200mm range in two lenses, a 24-70mm 2.8 and a 70-200mm 2.8. The 2.8 capability adds immensely to the ability to photograph in low light conditions, essential for indoor venues and, especially, weddings and evening events. Here in sunny NM I often go with a different lens that has Image Stabilization. For me, a Canon user, it's the 24-105 mm f4 IS as my main lens. For events, Image Stabilization is a wonderful asset when you are on the move a lot and worth the minor trade-offs in the lens.  There are some very good lenses that provide this range of capability in a single lens and one of those may be just right for your needs at a much lower cost than the two lens setup I mention here. If you're in the market for something to add to your gear, you've got a lot of options, and don't forget there is excellent used equipment available, too.  

Flash. Flash is your constant companion as an event photographer. You  have reached a new level as a photographer when you have developed the ability to use flash well. It's the same way anyone who plays the guitar feels about bar chords. You can't get to the next level without 'em.  "But you're talking about outdoor events," you say? You betcha. Flash. Don't leave home without it.

Lighting is crucial to good photos. In fact, the term "photography" is derived from the words that relate to the idea of capturing an image with light or writing with light.  Light Rules.  Photographers control light through a combination of settings on the camera including ISO, aperture, and shutter speed. Autoexposure takes care of these settings without the need to give it any thought. One of the wonders of technology is that, in some instances, we can get good results without even knowing what we are doing! Like spell check. But we've all experienced what happens with automatic features like that, right? Automatic isn't the way to approach photography, either.

Autoexposure typically aims for a "happy medium" or what photographers know as neutral grey (18% grey if you want to get technical). This is the phenomenon that turns white snow grey if you photograph it using automatic settings. The camera tends to make all light close to that neutral tone so the bright white of the snow gets exposed to be grey and the rest of the photo is adjusted similarly toward that neutral point so it all balances.  There are ways to work with that phenomenon by manually controlling the settings that affect exposure. Another key to controlling light is effective use of flash.

I often find that newer photographers have a fear or at least a loathing of flash. We have all seen those burned out, bright white "hot spots" and the red eyes that came from improper use of flash and learned to despise flash as a result.  The fact is, though, that if flash is used correctly, you can't tell it was used at all.  Outdoors, we use flash to balance the light provided by different sources so that everything in the photo has a more even lighting. There are a lot of good sources online about managing flash and enough discussions that it is obvious how perplexing flash is to a lot of people.  But it doesn't need to be.  Start with your camera manual (and flash manual, if you have an external flash) and read how to control flash output in your camera if you have a system that can be manually controlled. Most DSLRs have that capability. Once you know how to control the output, you've made a huge step forward on managing the light for your photos.  If you can't control your flash manually, the solution is to move. Move farther back if you are taking candids or photographing a subject you can't move. Move your subjects into more even lighting, not bright sun, if you can.  Light shade provides wonderful light and natural skin tones. If you are using a DSLR, check your white balance as you move into different kinds of lighting.

It is tempting to think that whatever goes wrong with a photo can be fixed later in the computer if you have some photo editing software. That approach makes me cringe. Computers are an essential part of digital photography, but  photography, itself, is not a computer skill, and learning photography is not the same as learning photo editing. Besides, a heck of a lot of things cannot be "fixed" in the computer, such as those blown-out bright white hot spots or that deep shadow that makes it look like Uncle Ed is missing one side of his head. No software will fix that.

Carrying it all. For most events, I want to go as minimalist as possible. This stuff gets heavy. Camera phone users have it easy here! But, I do get a lot more of that control I mentioned. I often have two cameras on me and ready to go, with different lenses attached, along with flash and, of course, the backup equipment I want available.  That calls for a good way to carry it all without getting tangled up or letting things bang together. I'm a big fan of Cotton Carrier and Black Rapid straps for when I need two cameras on and ready to go and want the pressure off of my neck.

A couple of options I like depending on the setting and the gear is a sling bag (Kata, now Manfrotto) that is super lightweight and holds a pro camera with the 70-200 attached and, my favorite bag for most events, a Think Tank Photo (fabulous products) Speed Convertible BeltPack. In addition to carrying what you need and keeping it accessible, a good bag protects your equipment, something that is especially important at crowded venues.  Someone bumping into you and spilling their soda on your camera can really ruin your day.  And it could mean I can't deliver on what I was hired to do. Look for a bag that is light weight, offers good protection, fits your equipment, allows you to get your gear out quickly, and comfortably matches your carrying style.  Consider, also, that you probably will have car keys, ID, and the other stuff you want to have with you. And water. I'm in NM, so a bag with a water bottle pouch or a place to clip a carabiner and attach a sport bottle is a must. Think about all you plan to carry when selecting a pack, not just the camera gear.
That does it for the basic gear list and some added incentive to get out with the camera for some practice.  By the time Balloon Fiesta comes along, you'll be seeing it in a totally different, um, light. There will be another blog about developing the eye of an event photographer, or the creative/artistic angle. The blog last year about getting the most out of the Fiesta has some basic tips that are applicable to any event.  For now, get out with your camera  and enjoy this amazing season and practice for the events you have coming!

If you have questions about equipment or want more suggestions on event photography, feel free to contact me. I'm happy to talk camera "stuff" any time. This year you can find me at a number of events including, of course, later this year in the media tent at Balloon Fiesta.  I usually have my logo on my gear somewhere.  Photos of zombie flash mobs will be coming later in the year from another event I am covering, and the birthday party of a three year old will provide lots of  those adorable ice-cream smeared faces (the kids, not the zombies). I'll also be doing some gratis work for non-profits as I enjoy contributing to my community along with other events for hire. Picnics, conferences, zombies, engagements, children, seniors of all ages ... Let me know if you have an event coming up and would like photography services. You can find some examples of previous event and portrait work in the gallery of my website at Beth Rodgers Photography.  Whatever the event, and even if you're not Robert Redford, you'll get stellar professional photos, always with a smile!

Happy Event Season!

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Sunday, November 10, 2013

Two people in every photo - beyond the snapshot

Ansel Adams and I have a lot in common. (well, maybe we have a little in common. I'm ok with that.) Much of my early work in photography was devoid of people in the photos. I photographed landscapes, wildlife, insects, flowers... even my vacation and travel photos did not include people. I received frequent comments about why I didn't photograph people, as if the primary purpose of a photo is to document people or that photos without people are somehow less meaningful or useful or complete. Perhaps there was a fear that there was something Freudian in the fact that I didn't care to photograph people.

Actually, I did photograph people. Lots of people. In high school and part of college I worked for a motorcycle newspaper and photographed a lot of racers and crowds; I did engagement photos and portraits. But my favorite photography excursions at the time were not the ones that involved people.

I started to see my role in photography as being a messenger of sorts, a role that reflects a quote attributed to Edgar Degas:  "Art is not what you see, but what you make others see."

My purpose was, and still is, to help others see, regardless of what the subject might be - see the beauty in a natural scene they may never experience; see a  fleeting moment that will never occur again; see the essential nature of something they may look at only with a cursory glance;

see something more or less ordinary in a compelling new way, even better if that new way pushes the limits of stereotypes or emphasizes an aspect of nature that is a little offbeat...

like a huge bear gently sitting in a field of dandelions.... 
see different layers of things, the curves and symmetry of a scene rather than just the obvious; see things in the way that enables penetration of the soul, not just looking at a particular scene but feeling that same sense of awe that inspired the photograph.

This is where I am delighted to share a vision with Adams: “To the complaint, 'There are no people in these photographs,' I respond, There are always two people: the photographer and the viewer.” 

I wish I had said that.

It emphasizes a critical aspect of photography that makes it a legitimate art form (something else that often is called into question).  And it offers a key strategy for raising the quality of the photos we take.

Art is about emotion. Good and bad. It provokes, incites, stimulates, sometimes repulses, but ideally makes the viewer think and feel and wonder and want to enter into the narrative that exists in every photo. It changes people, if they will let it.

Keeping that in mind can be key to elevating the usual snapshot to a photograph you can be proud of. Asking yourself, why do I want this photo? What am I trying to convey? What do I want to think or feel years from now when I look at this again? Will I look at this again? In each moment there is the potential for a photograph that can be closer to art. A photograph that bridges the gap between the two people who are always there in each image, photographer and viewer.

The same applies even when we are creating photos of people.  Even though the subject is a person, there is always a viewer who is absent and with whom we are interacting through our photos. We need to ask - what do I want to accomplish here? What do I want this photo to communicate? What will they cherish years from now or want to remember from this outing? Who is this person, and how do I capture that?

Thinking about the people involved, the photographer and the viewer, can raise your own photography to a totally new level. We might not be Ansel Adams, but our photos can talk with our own unique voices. All we have to do is keep in mind the people who are present in every photo.

Thursday, October 17, 2013

Senior Photos - a very special time!

Senior photos come at a very important time, the celebration of the completion of High School and the excitement about what lies ahead. As a photographer, I am privileged to be a part of many significant life events and grateful that I get to share in these important moments.

I had the wonderful opportunity to spend a recent Sunday afternoon with two delightful women, Kaleigh and Kaylee. Both seniors put a lot of thought into what they wanted their photos to convey and brought along wardrobe changes and props that fit their personalities. 

Of course, sometimes the settings aren't planned and a dash of spontaneity can be a good thing.

See a few more photos from this fun outing below.


We had a great time traveling the Sandia Crest scenic byway taking advantage of the beautiful settings along that road and basking in the gorgeous fall colors.

Off camera flash, triggered wirelessly, and reflectors can provide a simulated studio experience in the middle of the forest.

Whether you are a high school senior or a senior way past that time, an outdoor portrait session can be great fun. As these photos show, we all had a wonderful time on Sunday. Thank you both for letting me capture this important occasion for you!

Oh, yeah, and the adorable yorkie Maylay was an important part of the action, too!


Thursday, October 3, 2013

Some tips for photographing, and enjoying, Balloon Fiesta

I thought I would provide just a few tips that might help readers who are headed to Balloon Fiesta. Whether a professional, an amateur, a cell phone camera buff, or anything in between, the Fiesta is an amazing experience and an incredible playground for photographers. Many people dream of atttending this event for much of their lives. I know I did. Now, I get to live here and experience this event multiple times in addition to watching many balloons overhead while I enjoy the uncrowded comfort of my patio. But there is nothing like being there, although the experience can be a little overwhelming with so much going on, so many interesting people and balloons, and so much stimulation for the senses. So here are a few ideas to help you get the most from the experience. I will dispense with the usual "go early, dress in layers" even though that really is very good advice. It is quite chilly in the desert at 5 a.m. and the cool weather always makes an even stronger appearance during Fiesta. As for the photography, I hope you will find these tips helpful.

1. Spend a little time looking at balloon photos on the web. What catches your eye? What works and what doesn't in the photos you see? Make mental, or even written notes to help you make the most of your photo outing at Fiesta.

2.  Keep the whole experience in mind - people, pilots, balloons, vendors, food, "zebras" (the "officials" who help ensure safe launches). There is a lot happening, and while the Fiesta is about balloons (and balloonists), the people, how the gondolas are decorated, the process of preparing the balloons, etc., everything about the Fiesta is photo-worthy. When the day is over, you'll be glad you captured some of the sights other than just the balloons. Some of the people are every bit as exciting and colorful as the brightest balloon!

3.  Consider making a plan, especially if you are serious about photography. What do you want to have captured in your photos when you leave? This will help to keep a focus on all aspects of the Fiesta, the different shapes and types of balloons, preparations, etc. Been there before? What do you want to emphasize this time. Review your portfolio. What do you want more of? What is missing? What was so cool you just have to capture it again?

4.  Be prepared for anything.  In other words, be aware of what is happening around you and be ready to change your approach if you see something really interesting going on close by.  Two ways in which great photographs happen is by putting thought into each capture and by being in the right place at the right time and able to capture a fleeting image sharply and quickly. Sometimes we can plan for great images based on where the light will be, what we expect to be happening, time of year and time of day, etc. Sometimes that eagle or black bear or person with the jewel bedecked balloon and matching crew just happens to be lifting off right behind us and we didn't notice because we were looking at the cool Creamland cow being inflated in front of us.  Be ready to capture the sparkles and the spontaneity of the Fiesta. There will be lots of opportunity to take your time and be thoughtful about your photos, and also many fleeting moments that only someone quick on the camera draw will capture.  If you make a plan as suggested in #3, be prepared to deviate from it based on what is happening around you.

5.  Be patient and steady.  While the wonders of software can do a lot to correct photo mistakes made in the field, there is no cure for camera shake.  None. That blur will be there forever. So take your time, hold your camera steady, and S Q U E E Z E the shutter release.  It is so easy to get on the field and just start clicking off photos. But the launches go on for awhile, and there will be plenty of balloons, especially on mass ascension days. There is no need to rush. Take your time and you will create better photos.

6.  Pay attention to details.  Wait for the pilot or crew to turn to face you. The balloons are fabulous, but the whole scene is so much more alive if it doesn't involve just the backs of people's heads. Be careful what is in and what is left out of the image. Are there wires obstructing someone's face or a tower or light pole dissecting the image? Are you casting a shadow on the image? A little change of angle or a few seconds more of time can make a lot of difference in your photos.

7.  Mix it up. Take close ups, wide, zoom in, zoom out, people, balloons, zebras, etc. Get close to the balloons to avoid having people obstructing your photo and also for some cool closeup shots of the riggings, crew, etc. Get wide shots of a lot of balloons up in the air, balloons just lifting, many aloft already, whatever. Get multiple balloons in one frame to provide context and a sense of what the experience was like for you. Fiesta is a huge event for sight and sound and color. Experience it, and photograph it, in a variety of ways.

8. It bears repeating. Dress in layers. And dress warmly. Take lots of memory cards, be prepared for wide and zoom. Gloves that allow you to work the camera are critical. Cut the fingertips out of some old ones if needed. Charge the battery. And take an extra. Or two. This might be a once in a lifetime experience. You don't want to miss out on the photos because your battery ran out of juice. Be prepared to do a lot of walking if you want and are able. Fiesta park is over 200 acres. You don't have to walk it all, but you might want to if you can.

9.  Change perspective. Try different field locations for different angles of view, different balloons, balloons against different backgrounds. The Sandias to one side, the incredible New Mexico blue sky to the other. Don't get stuck in one location.

10.  Tech tips.  For the serious photographer who uses manual settings, be sure to know your camera so you can change settings quickly.  Manual is a good bet as some situations will require higher shutter speeds to deal with balloon movement and others might call for a shallow depth of field. Spot metering on your primary subject can be a good way to go as often you will be photographing balloons against bright blue open skies that can throw exposure settings off.  Higher shutter speeds will give you a little safety against the camera shake that can occur when the adrenalin starts going.

11. Put the camera down periodically. What? But this is a blog about photography. Whaddya mean put the camera down?  Especially if you are new to the Fiesta, take some time every now and then to just experience it all. Your photos will have a lot more meaning for you if you have personal experience that is brought to life again when you look at them. It will also give you a chance to look around, take in the many different things happening and different sights, and decide what to photograph next.

Photos can be so powerful in helping us re-live a situation or event. That re-living is so much stronger if you actually live it the first time. Take it in, seize the moment, and enjoy the heck out of your Fiesta experience!  If you've got any questions or want some tips, just post a comment and I'll get back to you.

Enjoy Fiesta and your time in Albuquerque!