Workshop Details

QUÉBEC CITY WINTER STORIES

Photographing the Soul of Québec City During Carnaval

February 5–10, 2027
Six Photographers Only
With Steve Simon & Marc Rochette
Five Nights Accommodation at Hôtel 71 Included

There are few cities in North America quite like Québec City in winter.

Snow changes everything. It simplifies the landscape, reflects light into places that would otherwise be dark, softens the streets and transforms the familiar. Add the Québec Winter Carnival and suddenly the city becomes a remarkable stage for photography: crowds moving through falling snow, night parades, ice sculptures, winter light, bundled figures, steaming cafés and the daily life of one of North America’s oldest cities continuing around it all.

For six days and five nights, Marc Rochette and I will use Québec City as our photographic laboratory.

This is not a tour of Québec City with cameras. It’s a photography workshop built around learning to see more clearly, react more instinctively and stay with promising situations long enough to make photographs that go beyond the obvious.

We’ll work the streets during the quiet of early morning, photograph the energy and spectacle of Carnaval, follow changing winter light, work after dark and spend time inside reviewing and talking about the photographs we’re making.

And because this is February in Québec, we’ll let the weather become part of the work.

Snow, fog, cold, wind, brilliant sunshine, blue hour. Whatever Québec gives us, we’ll photograph it.

AN INTIMATE WORKSHOP: SIX PHOTOGRAPHERS, TWO INSTRUCTORS

For this workshop, I’ll again be working with my good friend and colleague Marc Rochette, a deeply experienced photographer and thoughtful teacher whose work is rooted in patience, observation and respect for the human moment.

Marc brings more than five decades of photographic experience to the workshop, along with the calm, grounded presence that comes from years of editorial, commercial and personal work.

Together, Marc and I will help you slow down, look harder and respond more instinctively to what is unfolding in front of you.

The workshop is deliberately limited to just six participants.

That scale matters.

With Marc and me working with only six photographers, there is time for individual attention in the field, real conversations about your work and critiques that go beyond a quick look at a few photographs.

We want to get to know how you photograph, what you’re drawn to and where you might be holding yourself back.

FIVE NIGHTS AT HÔTEL 71 ARE INCLUDED

Our home for the workshop will be Hôtel 71, at 71 rue Saint-Pierre in the heart of Québec City's historic Old Port.

Your five nights of accommodation, February 5–10, are included in the workshop.

The location could hardly be better for photographers. Step outside and we are immediately in one of the richest visual areas of the city, within walking distance of Petit-Champlain, Place Royale, the waterfront and the streets of Old Québec.

The hotel itself occupies a handsome historic building originally constructed in the 1850s for Canada's first French-speaking national bank. Today it combines that history with contemporary rooms and comfortable common spaces.

Just as important for us, Hôtel 71 offers dedicated meeting facilities where we can gather for lectures, editing and critique sessions. That means the hotel becomes more than somewhere to sleep. It becomes our workshop headquarters.After photographing outside, we can come back, warm up, look at what we’ve done and figure out where we need to go next.

WHY QUÉBEC CITY IN WINTER?

Winter strips a city down.

Color becomes more selective. Light reflects from snow. Breath becomes visible. People move differently. Clothing changes gesture and shape. Warm windows glow against cold streets.

And photographers have to adapt.

Then there is Carnaval.

The Québec Winter Carnival runs February 5–14, 2027, meaning we will be there from opening day and through the first half of the celebration.

Carnaval brings an entirely different layer of life to the city: ice and snow sculptures, Bonhomme's Ice Palace, nighttime events, music, crowds and some wonderfully eccentric winter traditions.

Among the events we expect to photograph are the famous ice canoe race across the St. Lawrence and one of Carnaval's night parades, subject to the final 2027 Carnaval schedule.

But some of our strongest photographs may happen between the events.

A family walking home through the snow.

Someone alone beneath a streetlight.

A face glimpsed through a fogged café window.

The contrast between celebration and ordinary life.

The photograph we didn't know we were looking for.

That's street photography.

WELCOME DINNER TBDQuébec City's historic center gives us an extraordinary visual environment, but beautiful places present their own photographic challenge.

It is easy to make a beautiful photograph here. It is harder to make one that feels like yours. We’ll work beyond postcard views and concentrate on people, gesture, light, layers and the relationship between contemporary life and the historic city around it.

We’ll photograph both Upper Town and Lower Town, returning to certain streets as the light and activity change.

PETIT-CHAMPLAIN & PLACE ROYALE

Narrow streets, stone buildings, staircases, shop windows and constantly changing pedestrian traffic make this one of our natural laboratories for working a scene.

Rather than walking through looking for isolated photographs, we’ll identify promising backgrounds and situations and give them time.

Watch. Wait. Move a few feet. Change your height. Look at the edges. Wait for the gesture that brings everything together. Sometimes the difference between an ordinary photograph and a memorable one is another thirty seconds.

THE QUÉBEC WINTER CARNIVAL (Feb 5-14, 2027)

Carnaval gives us something street photographers rarely get: a city temporarily behaving differently.

People dress differently. Strangers interact. Public spaces become stages. Spectacle and ordinary life overlap.

We’ll use the celebration not simply as an event to document but as raw material for more personal photographs.

The challenge will be to get beyond pictures that merely say, "I was at Carnaval."

We want photographs with energy, ambiguity, humor, gesture and surprise.

THE ICE CANOE RACE

One of Québec's great winter traditions is the ice canoe race across the St. Lawrence.

Teams negotiate a constantly changing mixture of open water, current and ice, alternately paddling and pushing their canoes across the frozen sections.

It should give us a completely different kind of photographic problem to solve: action, repetition, scale, crowds, winter atmosphere and the extraordinary landscape of the St. Lawrence.

We'll scout the possibilities and determine our photographic strategy once the official 2027 race details are finalized.

[KEEP EXISTING IMAGE]

CARNAVAL AFTER DARK

Winter night photography in Québec can be extraordinary.

Snow reflects artificial light. Streetlights take on color. Warm interiors contrast with the cold blue outside. Steam and breath become part of the atmosphere.

And Carnaval adds another layer.

One evening we expect to photograph a Carnaval night parade, subject to the final 2027 schedule.

Rather than standing in one position and simply documenting everything that passes, we'll think about foregrounds, backgrounds, layers and the people watching the parade as much as the parade itself.

Often the better photograph is happening behind you.

SAINT-ROCH & THE CITY BEYOND THE POSTCARD

Québec City is much more than its historic center.

We’ll spend time in neighborhoods such as Saint-Roch, where the visual language shifts toward contemporary city life.

This contrast matters.

If we're trying to create a body of work about Québec rather than a collection of pretty pictures, we need different kinds of photographs: grand and intimate, historic and contemporary, crowded and empty, light and dark.

We want photographs that speak to one another.

[KEEP EXISTING IMAGE]

WINTER BECOMES PART OF THE PHOTOGRAPH

We won't be waiting for "good weather."

In February, weather is part of the story.

Snow can simplify a chaotic background.

Falling snow can create depth.

Fog can remove information.

Wet pavement can double the light.

Cold can change people's gestures and behavior.

Even condensation on a window can become part of a photograph.

We’ll talk about protecting ourselves and our equipment, working efficiently in the cold and recognizing when difficult weather is actually giving us something visually extraordinary.

WORKSHOP APPROACH

This isn't about chasing moments.

It's about learning how to see them coming.

We'll focus on:

• Recognizing strong situations before they peak
• Working a scene by moving, adjusting and refining
• Understanding distance, gesture and timing
• Using winter light to shape mood and meaning
• Building layered, intentional compositions
• Working confidently around people
• Moving beyond the first obvious photograph
• Recognizing when a scene is worth staying with
• Learning to anticipate rather than simply react

You'll be encouraged to stay with subjects, revisit locations and keep working after you think you have the photograph.

That's often when something changes.

STREET TECH

The best camera technique is the technique you don't have to think about when the photograph appears.

We'll simplify your process so you can respond without hesitation.

We'll cover:

• Autofocus strategies and customization
• Zone focusing versus selective focus
• Lens choice and perspective
• Exposure strategies for snow
• Working quickly with gloves and winter clothing
• High ISO and low-light photography
• Motion and slower shutter speeds
• Shooting from the hip versus deliberate framing
• Working with available light and, when appropriate, flash
• Protecting cameras and batteries in winter conditions

Whatever camera system you use, the goal is the same: remove friction so you can stay present.

SAMPLE ITINERARY

The itinerary will remain flexible. Winter weather, light and the final Carnaval schedule will influence where we go and when.

That's intentional.

Photography rewards photographers who can adapt.

DAY 1 — FRIDAY, FEBRUARY 5

Arrival / Old Québec / Opening Night

Arrive and check into Hôtel 71.

Afternoon — Workshop Orientation

We'll meet in our private workshop space at Hôtel 71, introduce ourselves, talk about goals for the week and prepare our cameras for winter street photography.

We'll then step outside for our first photographic walk through the Old Port, Place Royale and Petit-Champlain.

Focus: First impressions, winter light, working a scene and moving beyond the obvious.

As daylight fades, we'll continue photographing through blue hour and into the evening as Québec City and Carnaval begin to come alive.

Evening — Welcome Dinner

We'll gather for dinner together and talk about the days ahead.

DAY 2 — SATURDAY, FEBRUARY 6

Old Québec / Carnaval / Night Photography

We'll start early, before the city becomes busy.

Winter mornings can give us beautifully quiet streets, subtle light and a completely different Québec from the one we'll see later in the day.

After a break, we'll move into Carnaval activity and follow whatever looks visually strongest.

We'll also have our first image review and critique session at Hôtel 71.

Evening — Carnaval Night Photography

Depending on the final 2027 Carnaval schedule, we expect this evening to include one of the festival's major night events or parade opportunities.

Focus: Crowds, gesture, layering, artificial light, motion and atmosphere.

DAY 3 — SUNDAY, FEBRUARY 7

Ice, River & Carnaval

Sunday is expected to give us one of the workshop's most distinctive photographic opportunities: the Carnaval ice canoe race.

We'll position ourselves strategically around the St. Lawrence and photograph the event not simply as sport but as part of the larger winter story.

Athletes, spectators, ice, river, weather and the city itself all become part of the frame.

Later we'll return to the hotel for critique and editing before heading out again as conditions dictate.

Focus: Action, anticipation, visual storytelling and finding quieter photographs within a major event.

DAY 4 — MONDAY, FEBRUARY 8

Beyond Old Québec / Saint-Roch / Deeper Work

After the intensity of the weekend, we'll change the pace.

We'll explore parts of Québec beyond the postcard city, including Saint-Roch and surrounding streets.

This is an important day photographically.

By now you will have made a lot of pictures. We'll start identifying what is emerging in your work and what may still be missing.

Our critique becomes more specific.

Instead of simply asking, "Is this a good photograph?" we'll begin asking:

Does this photograph belong in your Québec story?

We may also revisit locations where someone saw potential but didn't quite get the photograph.

DAY 5 — TUESDAY, FEBRUARY 9

Follow the Light / Complete the Story

Today becomes increasingly personal.

Rather than everyone needing to make the same photographs in the same places, we'll identify what each photographer's body of work needs. A portrait? A quiet image? A stronger sense of place? Something unexpected? A transition? A closing photograph? Weather and light will help determine our route.

Depending on conditions and the work emerging from the group, we may also use the Québec–Lévis ferry or another vantage point to experience the city and St. Lawrence from a different perspective.

Our final evening gives us another opportunity to photograph Québec after dark.

DAY 6 — WEDNESDAY, FEBRUARY 10

Final Shoot / Edit / The Québec Story

We'll use our final morning to fill whatever gaps remain.

Then we'll return to Hôtel 71 for our final editing and critique session.

We'll begin assembling approximately 15–20 photographs from each photographer into a sequence.

What belongs? What doesn't? Where does the story begin? Where should it end?

Sometimes removing a photograph makes all the others stronger.

We'll finish the workshop in the afternoon, but the work doesn't necessarily end there. We'll schedule a post-workshop online gathering after everyone has had some distance from the experience and another chance to edit the photographs.

 “The only thing that gets in the way of a really good photograph, is the camera.”  - Norman Parkinson

Testimonials

Don Dillon, Phoenix, Arizona 

If I am honest, I approached this workshop with a combination of excited anticipation and butterfly inducing dread. This is my third Steve Simon workshop; you’d think it would get easier and less stressful. Nope, doesn’t work that way. The excited anticipation is about traveling to new and sometimes exotic locations, seeing old friends from previous workshops, meeting new ones, getting to know Miguel at this particular workshop - enjoying his knowledge of Portugal and his edgy sense of humor -  and spending time with and learning from Steve Simon, our dear leader and mentor. The fear is knowing I really have to produce images at the level I know is coming. 

In pregame preparation, I spent some time with the photographs I made in Tokyo and Havana as well as the rudimentary attempts of street shooting done in another lifetime. They are like visiting old friends with whom I have shared a powerful, split second human moment.  I modestly tell people who see my “keepers” that, “even a blind squirrel gets a nut once in a while” or “ when you take a zillion photos, you’re bound to get a decent one occasionally.” 

But truthfully, there is so much more to it. This feels like the semi pro street photographer’s tour. There are years of knowledge and experience mixed with lots of rookie mistakes. For me, what makes this such a powerful experience is I always come away from one of these an incrementally better street photographer with a clearer sense of what and why I am doing this in the first place. 

For me fear is the best motivator. If we all were just showing up as a nice group of folks out for some travel and vacation snapshots, I would be bored to death and would never come back. But, our Dear Leader has a very gentle way of throwing down the gauntlet and letting us know we are expected to triple down on the amount of time out on the streets shooting, become fearless in going in for the kill shot, cull and edit when normal people are sleeping and eating, and actually producing images that will be critiqued by some very talented people. As they say, “this ain’t easy.”

Lisbon has been one of those tough venues that from time to time really dislike, especially when getting the 15^th brushoff or outright angry rejection. I’m not a hunter but this feels like a hard bow hunt for elusive game. I finally know what I am as a street shooter. I know what I have to do to “bag” the elusive jewel. I know I can’t leave the little black camera in a drawer between workshops anymore; that just won’t cut it. 

I got more than what I came for. 

Gary Niederpruem, Chicago

“What a fabulous experience. I learned more about photography in one week than I had in 5 years. Steve is very knowledgable about the technical side as well as composition. He is very patient, gives excellent feedback and will work one on one with you on any photography subject you want. I asked him for help on night photography and at 10 PM he was out on the streets of Havana with me with step by step instructions on how to take the shot. 5 star plus rating!!”

Anna Blanco, New York City

“Best workshop I’ve ever taken! Steve is not only a great photographer, he is also a terrific teacher. He is patient and very hands- on. In some workshops the instructor sends students out to shoot after a short lecture–Steve goes out with his students, coaching them throughout the process. His course is well organized and covers diverse topics. He is funny and engaging and generous with his time and knowledge. I had SO MUCH fun and am ready to sign up for the next one. Highly recommended!”

Anne Dunford, Ithaca, New York

"My week in Steve’s Street Shooting workshop challenged me tremendously. There’s nothing like taking your work apart and putting it back together with new vision to make you a better photographer. If you take this workshop, I guarantee you will see the world differently at the end."

Paul Lavergne, San Juan, PR

"Steve’s passion for photography is contagious and his teaching abilities and knowledge extraordinary! I highly recommend this workshop to anyone interested in photography."

Chapman Solomon, Mountain View, CA

“Participating in the NYC Street Photography Workshop was an enriching and exhilarating experience. It challenged me to step out of my comfort zone to improve my skills. Steve’s curriculum and hands on approach offered me an opportunity to learn new techniques, add some creativity and visualize subject matter from another perspective. Each day presented abundant photo opportunities, resulting with the capture of some amazing images, exceeding my greatest expectations.”

Stephen Sholl, New York City

"Not only is Steve a great photographer, he is also a caring, compassionate person as well. He is constantly trying to help participants achieve their photographic goals in a gentle, caring, and sincere manner. Sadly, the critiques of my work were very helpful. Steve was right-on in terms of his suggestions to better my work. The totality of the workshop was terrific, primarily because the parts were all excellent as well. Choice of shooting locations, image reviews, suggestions, videos shown, and galleries visited were all great. Steve also promoted wonderful interactions among the participants. The venue was perfect for the workshop. We could spread out, leave your things there, use the facilities, and eat the goodies provided. You know you’re in good hands with Steve! An outstanding workshop!!"

Steve Lavelle, London

"This is an outstanding workshop, led by a world-class photographer. It is impossible to spend time in a room with Steve Simon and not be inspired to get out there and make great images …I had high expectations and you exceeded them…Steve is very personable, articulate and passionate about photography, very welcoming with a warm, engaging personality. Steve’s style is outstanding. I knew of Steve from the TWiP podcast and would have attended if he was talking about how to watch paint dry…”

Oscar Piñeyro, Dallas

"I just spent the last three days with Steve Simon, What a wonderful experience, the best time spent in a workshop ever. Steve is a perfectionist, every presentation not only had spectacular photography but also the perfect music to enhance the mood, a roller coaster of emotions. He cannot hide his journalistic background every single image tells a story. His technique is flawless; his teaching patience unparalleled. I am eager to start a new chapter of my photography applying what Steve taught me in the last few days."