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Posts Tagged ‘Gregory Case Photography’

Seven Photo Tips For Quilters

Tuesday, August 14th, 2018

Gregory Case was Road’s Official Photographer for 4 years. He often got requests for advice from quilt/textile/fiber artists who were trying to improve their photography of their design work. Gregory offered seven suggestions for photographing quilts: 1) Prepare for your photo shoot. Professional quilt photography is a combination of your quilt hung properly, a good digital camera, appropriate camera settings (including “white balance/color” settings), use of a tripod, even and consistent lighting, and the use of image-editing software. If you are not using all of these techniques, you are not helping your quilt photography succeed. 2) Allow the time necessary to take a great picture. More people will probably see the photograph of your quilt than they will see your quilt in person. Thus, take the same care you do with your photography as you do with your quilt design and choice of quilter. Plan at least an hour (or more realistically, two hours) per quilt for photography/image-editing.stitched paintings

Katie Pasquini Masopust

3) Photograph the “whole” quilt. The top four quilt photography problems are getting the color right, properly lighting your quilt, showing surface texture, and highlighting the details better. Take the time to learn how to be good at all four of these photography techniques.

4) The picture representing your work should be the best picture. More quilts are rejected from juried shows/magazines/books due to poor photography than any other reason! Remember, there is no asterisk (*) on your pattern, or on the juried show application, or the book proposal, for photo explanations like: “If it weren’t so sunny…,” If the wind wasn’t blowing so hard…,” “Please ignore my fingers and feet in the photo….,” “If only I had more time to take a better photo…,” or  “If I could just get the color right… ,” etc. The buying public, the quilt judges, and the magazine and book editors all assume that the quilt image you present to them is an accurate portrait of your quilt, shown in its best light. Your quilt image is being compared to other’s images who have taken the time to make their image perfect. Make sure that your image lives up to their expectations!Red Feathers

Best of Show 2013

5) Use available tools to edit your work. If you shoot with a digital camera, you really need to learn image-editing software (e.g., Adobe Photoshop Elements, Photoshop, and Lightroom). Some problems can only be solved with your digital camera and lighting, and some problems can only be solved with image-editing software—you need to employ both strategies.

6) Practice. Practice. Practice. So, how do you get to be a better quilt photographer? Practice—a lot. Don’t wait until a deadline to start improving your quilt photography. Start practicing today and then again tomorrow and so on. I’ve been photographing quilts, textiles, and fiber art for 11 years and I work daily on improving my photography and image-editing skills. Take a quilt photography class, perhaps on the upcoming Road to California Quilt Cruise Around The Panama Canal. I will be teaching quilt photography and Photoshop Elements!fandersonwhispering

7) If all else fails, use a professional. If you don’t have the interest, equipment, or time to photograph your own work, hire a photographer who has experience with photographing quilts/textiles/fiber art. As you would not ask a seamstress to quilt your quilt, don’t ask the portrait photographer down at the shopping mall to photograph your quilt. Yes, the seamstress has a sewing machine. And yes, the portrait photographer has a camera. But neither have the needed experience. Which tip did you find most useful?]]>

A Visit To Our Quilt Photographer’s Studio

Tuesday, July 14th, 2015

Gregory Case Photography is the only independent full-time photo studio photographing quilts, textiles, and fiber arts in the United States and has been the official show photographer for Road since 2007. In addition, they have given workshops during Road to California and on Road’s Quilting Through the Panama Canal Cruise in 2014.  

Gregory Case and his wife, Elena Morera, spend four full days at Road, capturing the community feel of the show in photographs. They arrive early in the morning and stay late in to the night each day, photographing classes, lectures, events, people, the vendor floor, the hallways, the special exhibits –even the food — all to provide for a visual memory of the latest show.

[caption id="attachment_3324" align="aligncenter" width="636"]Photo by Gregory Case Photography Photo by Gregory Case Photography[/caption]

What happens to the hundreds of pictures when the show is over? Gregory Case Photography takes them back to their studio in Pueblo, Colorado for processing and editing before releasing them back to the Reese family.

Greg’s editing equipment includes a monitor and printer that are specially calibrated for color and texture to insure the truest representation of the photos taken.Gregory Case Photography4

In addition to photographing quilt shows, Gregory Case Photography has regularly photographed for 6 different quit and textile magazines, in addition to contributing to some 20 quilt-related magazines and over 30 books. And recently, Gregory Case Photography has added travel photography and selling travel prints to their resume.

[caption id="attachment_3326" align="aligncenter" width="550"]Gregory Case Photography saves copies of  all their print work. Gregory Case Photography saves copies of all their print work.[/caption]



When a quilt arrives at Gregory Case Photography studio via FedEx or UPS, it is first steamed to release any wrinkles. It is then hung on the 10 foot design wall for photographing. Lighting is adjusted for each quilt.Gregory Case Photography1

Gregory’s camera is hooked up to his computer monitor so he can see immediately how the photo shoot is going. Matching color to the original design is the most difficult part of the process. Prints are made and matched to the quilt. Both Gregory and Elena verify the colors for accuracy. Ninety percent of the time, the color falls in to place. If there are any discrepancies, changes are made to the image and reprints are made until all colors match. Edited images are emailed to the client to get their approval. The client then receives a CD disc that includes various sizes of shots that are print ready, juried show ready, and web ready – over 30 various files in all.

Sometimes, clients request a concept or theme for their quilt to be photographed with. Gregory Case Photography has an elaborate prop collection to meet their clients’ needs.Gregory Case Photography5

Past requests have included a baby layette, Christmas in July, and even jungle animals. Whatever the concept, the props are always subservient to the quilt; the quilt is the star!!

[caption id="attachment_3322" align="aligncenter" width="445"]Gregory Case Photography Gregory Case Photography[/caption]


Gregory Case Photography loves coming to Road. Gregory remarked, “No other show compares. For me, Road is the “Apple” of the quilt world. It is a high quality show with the reputation of having the best teachers, vendors, and staff. I look forward to it every year.”  

You can find Gregory and Elena on their web site: www.gregorycase.com The site is currently being updated with new images and their travel photography.





Meet Gregory Case and Elena Morera: Official Road Photographer

Tuesday, October 22nd, 2013

Head shot

Gregory Case and his wife Elena, owners of Gregory Case Photography, have been photographing Road to California for the past five years and will again in 2014. They are the only independent full-time photo studio photographing quilts, textiles, and fiber arts in the United States. They have regularly photographed for 5 different quit and textile magazines, in addition to contributing to over 25 quilt-related magazines and over 50 books. How did a licensed clinical social worker find his niche as a quilt photographer? Read on….


How did you get started in photography? It was a hobby of mine that I started very briefly in high school. Back then everything was film based and I quickly lost interest trying to figure out all the buttons on the camera. Years later, we were attending Elena’s niece’s wedding and I saw the perfect picture moment but the photographer was nowhere around to capture it. My reaction was, “What a shame to have missed such a great shot.” Later, during the reception, I was sitting by another guest who had brought their Canon Rebel to the wedding. I asked questions and observed what they were doing with their camera and decided I could do that. Two weeks later, for my birthday, I got the same camera and started shooting away.

What did you do to develop your skills? I completely self-taught myself, reading everything I could get my hands on. When I started, the transition from film to digital was just beginning which I think worked in my favor. I was learning and struggling with this new medium right along with all the other photographers. A year later, when I was offered my first paid job, photographing the San Francisco Flower and Garden Show, I hadn’t any real experience but they took a chance with me any way. It actually turned out pretty well and I stayed with them for five years, learning and improving as I went along. I even went on to photograph other national garden shows from that first opportunity.

How did you find your niche in quilt photography? Eleven years ago, we were living in Northern California and I worked with a woman named Sue Astroth. I had photographed her author’s photo for a quilt book she had written. Sue had a friend, Verna Mosquera, who saw Sue’s book and asked if she thought I would be interested in taking pictures of her quilt. Sue encouraged Verna to call me and that was how it all started. I’ve been perfecting my craft ever since and for the past eight years have been photographing quilts exclusively. The growth of my business has been pretty much by word of mouth. Quilters and fiber artists from 35 different states and 6 international countries have sent us their designs to be photographed at our studio for patterns, juried shows, and publications.exhibits__i4c6427

What all is involved in photographing quilts? Ha-ha—everything!!! You just don’t want to throw a quilt up and take a picture. It isn’t that simple. Basically there are three things I work on: Color, Tone (brightness and darkness), and Surface Detail (quilting and thread). Of the three, color is the most difficult and challenging. Every device used in the process (from human eye to camera to computer to printer to paper to ink) has a different interpretation for the same color. The trick is getting them all to see the particular color as close as possible. The average quilt typically takes an hour and a half from beginning to end to photograph in my studio. If it is a difficult shoot, it can take up to four hours to photograph one quilt.   hall__i4c5809  

What do you and Elena do at Road? I am the photographer and Elena is the stylist, preparing the quilts and scenes to be shot. Generally we take anywhere from 1,000 – 2,000 photographs during the week, looking for variety and following a shot list given to us from Carolyn and Matt. For three years, I also taught classes which I really enjoyed. Next Spring, I will be teaching on Road’s Quilting Through the Panama Canal.


How would you describe your experience with Road? I love it. No other show compares. For me, Road is the “Apple” of the quilt world. It is a high quality show with the reputation of having the best teachers, vendors, and staff. I look forward to it every year.  vendors__i4c5733

You can find Gregory and Elena on their web site: www.gregorycase.com

Stay tuned. Next on the blog, Gregory is going to share some easy photography tips.