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January 2012 Volume 4, Issue 5

Happy New Year! A Message From President Ron Meyers

The past year has been fantastic for the Lake County Camera Club. Looking forward, the new year

promises to be just as fantastic and exciting. The continued growth of our club provides us with

increased opportunities to learn by networking and sharing our photography experiences.

Each New Year it is customary to make resolutions for the upcoming year. In the January 2011

newsletter, I suggested seven photography related resolutions for the New Year. While those are all

good resolutions that deserve to be reviewed, I wanted to share with you one of my 2011 New Year

resolutions that I've re-applied to the 2012 New Year.

Each time I make a photography related purchase, I can't help but think how lucky we are to be able to afford these

digital boxes of magic we call "cameras". For that reason, I've personally decided that one of my 2012 New Year

resolutions will concentrate on the first three words of my 2011 resolution; "Do Some Good". With that in mind, I

decided to sponsor a child at Operation Smile (http://www.operationsmile.org). For the price of point and shoot camera

a child's life will be changed for the better and will never have to shy away from a camera again.

Whatever your 2012 New Year resolutions may be, I hope that you consider one that includes "Do Some Good" and find

your own personal way of determining what that means to you. I hope everyone has a happy and wonderful New Year.

December 31 CACCA Individual Creative DPI Due

December 31 CACCA Individual “B & W with One Color” Due

December 31 LCCC “Holiday Scenes” Challenge Due

January 5 Program Night - Flash Photography

January 5 PSA Nature DPI Due

January 5 PSA Photojournalism DPI Due

January 7 Table Top, Food and Model Shoot + Lessons

January 14 CACCA Competition

January 21 Shutter Café 8:00 AM. Join us!

January 26 Club DPI Due

January 26 CACCA Individual “High Key” DPI Due

January 31 LCCC “Kitchen Abstracts” Challenge Due

Dates To Remember

Time and Time Again 2

Mick’s Picks 3

How to Capture Motion Blur 4

How to Photograph Waterfalls 6

The Need to Freeze Motion 8

LCCC Competition Awards and HMs 9

CACCA Competition Awards and HMs 14

Who Was Up To The Challenge 15

Accolades and Achievements 16

Advanced Printing Techniques. 16

Resolutions 17

Inside This Issue

http://www.operationsmile.org


Questions or comments about this newsletter?

Please contact Ken Johnson, Newsletter Editor at

[email protected].

We are proud members of the

Photographic Society of America and the

Chicago Area Camera Clubs Association.

Our mission is to promote, teach and share the ideals, skills, techniques and

good practices of the art of photography and the use of cameras and

photographic equipment.

Visit our website

www.lakecountycameraclub.org

We meet the first Thursday of every month at:

418 N. Prairie Avenue, Mundelein, IL 60060

Exposures - January 2012 Volume 4, Issue 5

President Ron Meyers

President Elect John Williams

Secretary and Vice President ,

Communications

Margie Hurwich

Vice President, External Operations Jim Ross

Vice President, Internal Operations Bill Sullivan

2011—2012

Board and Committee

Board Members

CACCA Representatives Jim Ross

Bob Kruzic

Linda Kruzic

Ron Meyers

Bill Sullivan

Competition Chair Bob Kruzic

Continuing Education Coordinator Jim Ross

DPI Competition Coordinator John Williams

Facilities Coordinator Bill Sullivan

Hospitality Desk Margie Hurwich

Judge Procurement Mike Jordan

Jim Ross

Pat Turner

Long Term Planning John Williams

Membership Coordinator Terry Ferguson

Newsletter Editor Ken Johnson

Photo Excursion Coordinator Margie Hurwich

Program Coordinator Paul Kurek

PSA Representative Michelle Cox

Treasurer Jim Ross

Webmaster Don Chen

John Rouse

Yahoo Group Moderator Margie Hurwich

Committee Chairperson

Time and Time Again By Ken Johnson

“Time is perhaps the least understood tool in the photographic camera

bag,” writes National Graphic author and photographer, Annie Griffiths.

“The truth is that all photographs are time exposures—some

instantaneous, some painstakingly long.”

There is motion all around us. Some things move very quickly while

some move much slower. Most sport photography is super fast paced.

All ‘ball’ sports and racing events involve constant go, go, go action

with little time to relax. Motion is obvious in action photography.

Relatively slow moving things are mountain streams, wheat fields

swaying in the wind, sunsets, and traffic in the city. As photographers

we thrive to capture these moments, movements and motions to make

our work more creative. As we contemplate our subjects, we must

decide how we want motion to appear in our photographs. In other

words, we must decide how to convey the motion to the viewers. There

are two ways of conveying motion.

Blurring Motion

This method of conveying motion is used when we want to remind the

viewer that motion is taking place. This method works best for artistic

or surreal effects. For example when showing a moving waterfall, we

want to use the blurring method.

Freezing Motion

This method is used when the motion is obvious. For example when a

pitcher is pitching a baseball the motion of the arm is obvious. We use

the freezing method when shooting actions such as a person jumping

in the air or a soccer player kicking the ball.

These two methods can be combined to give a more energetic look to

your image. Things like an outfielder catching the ball are good for this

combination. In other words we blend these two when one thing is

moving relatively quicker than the other. In the above case it was the

fast ball vs. the fielder’s slower jump.

Shutter Speed

The first thing that you need to understand for motion photography is

the use of shutter speed or exposure length. When you look at a

photograph, it is obvious that shutter speed had a tremendous impact

on the outcome of the captured image. Fast shutter speeds can freeze

time with images the human eye cannot capture. Slow shutter speeds

can blur time with images painted by the artist within.

Time and time again, you will hear. “practice, practice, practice”.

mailto:[email protected]

http://caccaweb.com/

http://psa-photo.org/

http://psa-photo.org/

http://caccaweb.com/

http://www.lakecountycameraclub.org/



Mick’s Picks By Michelle Cox

Soon, the holidays will be behind us and we will start to settle in for

winter. Are you giving up photography until Spring? I'd love to

encourage you to pick up that camera and get outside (and outside

your comfort zone). I too am challenged to stay creative in the

winter. If you don't want to get outside, think of new things you can

photograph indoors while learning about your camera. A couple

indoor suggestions:

Head to your favorite window to learn how to use window light to

photograph a subject or object. Try to photograph at different times

of the day so you will start to see the how ambient light can be a fun

tool.

Get out your best table settings and linens! Set the table as you

would for your best social gathering. Then step back and take a

really good look at it. Now start taking photos from different

perspectives and angles. You will be surprised how much you can

learn about depth of field doing this work.

Are you ready to head outdoors and learn how to use your

equipment in the cold? Head over to Navy Pier for the 2012 Snow

Days! Snow Days run from January 27-29, 2012 at

Gateway Park. There is no charge for

admission. Bring your camera to photograph teams

of talented artists from around the world sculpting

masterpieces out of 10-foot blocks of man-made

snow. Other activities include dog sled racing

demonstrations and a snowboard rail jam competition.

Before you head out into the cold, please take time to

check out a couple messages in our Yahoo group on

winter photography. You will find them under the

subject of Winter Photography. The initial message is

dated November 27, 2010. There is quite a bit of

help there on keeping you and your camera safe.

Grab a friend to shoot with, ask questions in the

Yahoo Group and take photos!

Don't let Old Man Winter rob you of your photography

moments!

2011 - 2012 CACCA Schedule

Special Category

Individual DPI Competition

January Black and White with One Color February High Key Photo March Fabulous Flakes April Structures of Life May Clouds CACCA conducts seven Special Category competitions during the year as an individual Class of competition. Subject matter of entries in each monthly competition is restricted to the pre-announced category for that competition. Images may not have been previously entered in a CACCA competition. All entries must follow the standard DPI naming and sizing requirements. Submit your entries to: [email protected]

mailto:[email protected]



How to Capture Motion Blur in Photography By Darren Rowse

Capturing movement in images is something that many photographers only think to do when they are photographing

sports or other fast moving subjects.

While there is an obvious opportunity in sports photography to emphasize the movement of participants – almost every

type of photography can benefit from the emphasis of movement in a shot – even when the movement is very small,

slow and/or subtle.

Tips for capturing movement

1. Slow Down Your Shutter Speed.

The reason for movement blur is simply that the amount of time that

the shutter of a camera is open is long enough to allow your camera’s

image sensor to ‘see’ the movement of your subject.

So the number one tip in capturing movement in an image is to select

a longer shutter speed.

If your shutter speed is fast (e.g. 1/4000th of a second) it’s not going to

see much movement (unless the subject is moving mighty fast). If you

select a longer shutter speed (e.g. 5 seconds) you don’t need your

subject to move very much at all before you start to see blur.

How long should your shutter speed be? Of course the speed of your subject comes into play. A moving snail and a

moving racing car will give you very different results at the same shutter speed.

The other factor that comes into play in determining shutter speed is how much light there is in the scene you are

photographing. A longer shutter speed lets more light into your camera and runs the risk of blowing out or overexposing

your shot. We’ll cover some ways to let less light in and give you the option to have longer shutter speeds below.

So how long should your shutter speed be to get movement blur in your shot? There is no ‘answer’ for this question as it

will obviously vary a lot depending upon the speed of your subject, how much blur you want to capture and how well lit

the subject is. The key is to experiment (something that a digital camera is ideal for as you can take as many shots as

you like without it costing you anything).

2. Secure Your Camera

There are two ways to get a feeling of movement in your images – have your subject move or have your camera move

(or both).

In this type of shot you need to do everything that you can to keep your camera perfectly still or in addition to the blur

from the subject you’ll find that the whole frame looks like it’s moving as a result of using a longer shutter speed.

Whether it be by using a tripod or having your camera sitting on some other still object (consider a shutter release

mechanism or using the self timer) you’ll want to ensure that camera is perfectly still.

3. Shutter Priority Mode

One of the most important settings in photographing an image which emphasizes movement is the shutter speed (as

outlined above). Even small changes in shutter speed will have a big impact upon your shot – so you want to shoot in a

mode that gives you full control over it.

This means either switching your camera into full Manual Mode or Shutter Priority Mode. Shutter Priority Mode is a mode

that allows you to set your shutter speed and where the camera chooses other settings (like Aperture) to ensure the shot

is well exposed. It’s a very handy mode to play with as it ensures you get the movement effect that you’re after but also

generally well exposed shots.

The other option is to go with Manual mode if you feel more confident in getting the aperture/shutter speed balance right.

(continued on next page)

© Idle Type



(continued from previous page)

How to compensate for long shutter speeds when there is too much light.

I mentioned previously that one of the effects of using longer exposure times (slow shutter speeds) is that more light will

get into your camera. Unless you compensate for this in some way this will lead to over exposed shots.

Below I’ll suggest three main methods for making this compensation (note – a forth method is simply to wait for the light

to change (i.e. for it to get darker). This is why many shots that incorporate blur are taken at night or at dawn/dusk).

1. Small Apertures

So how do you cut down the amount of light that gets into your camera to help compensate for a longer shutter speed?

How about changing the size of the hole that the light comes in through. This is called adjusting your camera’s Aperture.

If you shoot in shutter priority mode the camera will do this automatically for you – but if you’re in manual mode you’ll

need to decrease your Aperture in a proportional amount to the amount that you lengthen the shutter speed.

Luckily this isn’t as hard as you might think because shutter speed and aperture settings are organized in ‘stops’. As you

decrease shutter speed by a ‘stop’ you double the amount of time the shutter is open (e.g. – from 1/250 to 1/125). The

same is true with Aperture settings – as you decrease the Aperture by one stop you decrease the size of the shutter

opening by 50%. This is great because an adjustment of 1 stop in one means that you just need to adjust the other by 1

stop too and you’ll still get good exposure.

2. Decrease Your ISO

Another way to compensate for the extra light that a longer shutter speed lets into

your camera is to adjust the ISO setting of your camera. ISO impacts the

sensitivity of your digital camera’s image sensor. A higher number will make it

more sensitive to light and a lower number will make the sensor less sensitive.

Choose a low number and you’ll find yourself able to choose longer shutter

speeds.

3. Try a Neutral Density Filter

These filters cut down the light passing through your lens and into your camera

which in turn allows you to use a slower shutter speed.

It is sort of like putting sunglasses on your camera (in fact some people actually

have been known to use sunglasses when they didn’t have an ND filter handy).

For instance, if you’re shooting a landscape in a brightly lit situation but want a

shutter speed of a second or more you could well end up with a very over

exposed image. A ND filter can be very helpful in slowing the shutter speed down

enough to still get a well balanced shot.

Two More Techniques to Try

If you’re wanting to capture images with motion blur, experiment with Slow Sync Flash. This combines longer shutter

speeds with the use of a flash so that elements in the shot are frozen still while others are blurry. Another technique

worth trying out is panning – moving your camera along with a moving subject so that they come out nicely in focus but

the background blurs.

Reprinted with permission from Digital Photography School.

Darren Rowse is the editor and founder of Digital Photography School. He lives in Melbourne Australia and is also the

editor of the ProBlogger Blog Tips and TwiTip Twitter Tips blogs.

Read more: http://www.digital-photography-school.com/how-to-capture-motion-blur-in-photography#ixzz1gA0ctVub

© bike racer

Read%20more: http:/www.digital-photography-school.com/how-to-capture-motion-blur-in-photography#ixzz1gA0ctVub be



How to Photograph Waterfalls By James Hutchison

I love water. Coming from Ontario where lakes and rivers abound, I’d

spend entire summers at our cottage as a kid either in or on the water. I’m

still drawn to it like steel to a magnet, so it’s not surprising that after

learning the technique to create the beautiful pictures like (the ones) in this

article, I was shooting every waterfall I could find!

If you have waterfalls in your area, or are planning a trip where you will

have access to waterfalls, rapids, etc., keep the following few tips in mind

for some beautiful and dramatic captures.

At the top of the list of equipment needed would be a tripod and a remote

cable release. Mirror lock-up is good if your camera has it. The reason for

all this is that we’re aiming for that silky, surreal effect, which requires the

shutter to be open one second or more.

Some important factors are film speed, or ISO setting if you’re shooting

digital. Because we want a nice long exposure, ISO 100 or lower is ideal.

An overcast sky is best, as it provides diffused light, as opposed to the

harsh shadows and highlights of direct sunlight. Filters are important here

too: see the list just below.

In the end, all these elements work nicely together to get the ideal shutter

speed of two to five seconds, possibly more.

For Equipment, You’ll Need a…

Good SLR that you can put into either manual or Aperture priority mode

Tripod

Neutral density filter, and filter holding system such as Lee or Cokin

Polarizing filter

Remote cable release for the camera

So the setup goes as follows.

Find a nice composition of your water

subject, which doesn’t have to be an actual

full-blown waterfall – any water moving over

rocks and such still come out beautiful with

this technique.

Set your tripod at its lowest possible height

for stability, and if it’s windy, hang your

camera bag off it to add weight.

(continued on next page)

“Running Free” © Mark Broughton

“Long Exposure” © Ævar Guðmundsson



(continued from previous page)

The f-stop should be set for maximum depth of field, not only to maintain focus across the entire image, but also to

minimize the amount of light entering your camera. Remember, we’re looking for a long exposure. A setting of f/22 may

cause a slight bit of blurriness due to light fringing. Photons actually bend a slight bit around sharp edges (i.e. your

camera’s aperture blades), so you’ll need to experiment. Perhaps f/13 or f/19 will best suit your lens.

Adjust the polarizing filter to eliminate as much reflection as possible, then take a reading of the subject with your

camera in Aperture priority, noting the shutter speed. If it’s too fast, then you will want to either stop down the Aperture,

and/or add a neutral density filter or two. I carry a one-stop as well as a two-stop filter. I have the choice of a one or two

stop reduction in light but if I stack them, I can get three stops of light reduction which is great for those really long

exposures.

Now, you’ve composed your image, and found the right combination of f-stop and filters to achieve the ideal shutter

speed. There are two techniques for firing the shutter. If you keep the camera in Aperture Priority, and move your face

away from the camera to trip the shutter with your remote cable, your exposure will be incorrect. Light entering the

eyepiece affects the in-camera metering, so either keep your eye in the eyepiece, or cover it with your hand when firing

the shutter.

The other method is to note the shutter speed when composing, put the camera into manual mode, and set the shutter to

that metered value. You can then back off from the camera and trip the shutter with no worries about the camera

changing any settings on you. If you happen to have forgotten your remote cable at home (which I’ve done more than

once), just use the camera’s timer feature. That way, you’re not jiggling the camera when the shutter fires.

A quick word about image stabilizing technology. Whether it’s in the camera or in your lens, turn it off unless the

manufacturer says it (the lens) is designed to be used while on a tripod. Some sense when they’re on a tripod, and

dampen mirror slap, such as Canon’s 70-200 f/2.8L IS USM lens. Otherwise, leaving it on might actually will blur your

image.

Experiment with your settings. Play with longer and shorter shutter speeds, under and over exposing, etc. You will then

get a good feel for your camera’s capabilities, which leads to more beautiful pictures to add to your collection. Although

this is a technique used to create many images you see in coffee table books, etc., it’s still a satisfying experience

creating your very own!

Enjoy!

About the Author:

James Hutchison is a

graduate of the New

York Institute of

Photography, and a

member of the

National Association

of Photoshop

Professionals.

“Silken Glow” © Debra Vanderlaan



The Need to Freeze Motion By Don Chen

There are two techniques commonly used to freeze motion; high

shutter speed in the camera or short flash light duration.

The first technique is used when there is good available light. There

is no magic number regarding the shutter speed setting. It is

dependent on the speed of the moving subject, the direction of the

movement in relation to the camera focal plane, and the distance to

the subject.

This image of the Thunderbirds was made during the air show. It

was a sunny day with lots of room to play with the high shutter

speed. I took several images at different shutter speeds to get one I

liked. This particular image was shot at 1/1600 sec.

In some other situations like indoor sports or stage performances,

you won't have this kind lighting luxury. To get good exposure, you

may need to set the camera at a much higher ISO, and a wide open

aperture to let in a much light as possible. Remember the exposure

triangle? This allows you to set the shutter speed as high as

possible. Again I experimented with a variety of settings. This

image was captured with an ISO set to 1600, an Aperture of f/2.8

and a shutter speed of 1/400. Since no flashes were allowed, only

the stage lights at the performance were used to capture this image.

The second technique involves flash lights or studio strobes. This technique is used

to freeze very fast moving objects in marginal lighting situations. Flash lights and

strobes emit high intensity light at a very short duration of time (shorter than your

shutter speed setting). If there is no (or poor) ambient light, the camera shutter speed

will be come less important because the subject will only get the proper light during

the duration of the flash.

The following image was captured with an Elinchrom studio strobe using a flash

duration of 1/2050. The shutter speed was set to the sync speed of 1/200.

Each of these techniques takes practice. Experiment to gain confidence.

© Don Chen

© Don Chen

© Don Chen



December Competition - Digitally Projected Image (DPI) There were 18 Class A entries and 34 Class B entries. These are the images that received an Award or an Honorable

Mention (HM) in each class. All of the Award winners competed ‘head-to-head’ for DPI of the Month.

The DPI of the Month was awarded to Don Chen designated by the blue ribbon.

© Don Chen

AWARD Class A “Dancers in Black”

© Carol Kay

AWARD Class B “The Windy City”

© Mike Trahan

AWARD Class A “Golden Tamarackes..”

© Carol Kay

AWARD Class B “Wise Eyes” AWARD Class B “Abandoned”

© Pat Turner

© Jack Pawlowski

HM Class A “Cactus Bloom” HM Class A “Surf’s Up”

© Dale Rose

© Bob Marx

HM Class B “An Alert Osprey”

© Birgit Tyrrell

HM Class B “No Time For A Break”

© Doreen Miller

HM Class B “Wind Point Lighthouse”

HM Class B “Gaudi’s Parc Guell”

© Carol O’Donnell



December Competition - Small Monochrome There were 13 Class A entries and 8 Class B entries. These are the images that received an Award or an Honorable Mention (HM) in each class. All of the Award winners competed ‘head-to-head’ for Small Monochrome Print of the Month. The Small Monochrome Print of the Month was awarded to Jim Ross designated by the blue ribbon. Margie

Hurwich’s image “This Town Ain’t Big Enough” received an Award at CACCA.

© Linda Kruzic

AWARD Class A “Vintage Workshop”

© Ron Sheade

Award Class B “American Ruin”

© Margie Hurwich

HM Class A “This Town Ain’t Big Enough”

© Jim Ross

AWARD Class A “The Village Smithy”

© Jack Pawlowski

HM Class A ”Peggy’s Cove”

© Krzysztof Hanusiak

HM Class B “Subway Station”



December Competition - Large Monochrome There were 13 Class A entries and 7 Class B entries. These are the images that received an Award or an Honorable

Mention (HM) in each class. All of the Award competed ‘head-to-head’ for Large Monochrome Print of the Month.

The Large Monochrome Print of the Month was awarded to Paul Kurek designated by the blue ribbon.

© Jeff Bott

AWARD Class B “View From The Bridge”

HM Class B “The Entrance”

© George Haasjes © Bill Sullivan

HM Class A “The Children Have Gone” HM Class A “Jones Island Fog”

© Dick Navarre

© Paul Kurek

AWARD Class A “Rugged Coastline”



December Competition - Small Color There were 21 Class A entries and 18 Class B entries. These are the images that received an Award or an Honorable

Mention (HM) in each class. All of the Award winners competed ‘head-to-head’ for Small Color Print of the Month.

The Small Color Print of the Month was awarded to Bill Sullivan designated by the blue ribbon.

© Shel Wecker

AWARD Class B “Cusco” AWARD Class B “Monsieur”

© Julie Wickman

© Bob Kruzic

AWARD Class A “The Old Quebec Jail”

© Linda Kruzic

AWARD Class A “Sunset at Zion National..” AWARD Class A “The Rookery Stairs

© Bill Sullivan

© Ron Sheade

HM Class B “Spring Green”

© Ron Meyers

HM Class A “Sleepy Gray Wolf”

© Michelle Cox

HM Class A “Wyoming Rainbow”

© Rick Myslinski

HM Class B “Pretty In Pink”



December Competition - Large Color There were 22 Class A entries and 9 Class B entries. These are the images that received an Award or an Honorable Mention (HM) in each class. All of the Award winners competed ‘head-to-head’ for Large Color Print of the Month. The Large Color Print of the Month was awarded to Stevan Tontich designated by the blue ribbon. Bill Sullivan’s image “The

Basilica” won an HM at CACCA.

AWARD Class B ”The Pulpit”

© Jeff Bott

AWARD Class A “The Basilica”

© Bill Sullivan

© Ron Sheade

HM Class B “Look To The Heavens”

© Paul Kurek

HM Class A “Lost Faith”

© Paul Kurek

HM Class A “Haystack Rock”

AWARD Class A “Lake Bled at Sunset”

© Stevan Tontich

© Jeff Bark

HM Class A “County A Farmhouse”



CACCA Individual Special Category Competition

AWARD “Lost Soul”

© Margie Hurwich © Margie Hurwich

AWARD “Piercing”

© Krzysztof Hanusiak

HM “Cloud Reflection”

© Ron Meyers

AWARD “Quick Strike”

© Don Chen

HM “Striking Thunderbirds” AWARD ”Shasta Fusion”

© Ken Johnson

© Egon Schein

HM “It Wont Rain”

HM ”Goth”

© Margie Hurwich

“Striking”

Our Club submitted 41 entries. These are the images that received an Award or an Honorable Mention (HM). Our participation

is quite impressive and very well received.

HM “Saigon Street Vendor”

© Bob Kruzic

Award “Wedding Photographer at Great Wall”

© Linda Kruzic

“Individual

Photojournalism”

Our Club (Linda and Bob) submitted 5 entries. Linda received an Award an Bob

received an HM.



Who Was Up To The Challenge By Margie Hurwich

There is something pure, simply, elegant and classic about a sepia photograph. Sepia tones bring out the nostalgia in any photograph. What I hoped to see this month were some of those simple, elegant, nostalgic images in this month

theme. You all did not disappoint! The images speak for themselves. Enjoy!

©Tony Roma

© Shel Wecker © John Rouse

© Ron Hahn

© Stevan Tontich © Pat Turner © Kris Hanusiak

Are you up to our next Challenge? Images for the December Challenge, "Holiday Scenes", are due by Saturday,

December 31. And then get ready for our January Challenge, "Kitchen Abstracts" due on Tuesday, January 31.



Accolades and Achievements

Jack Pawlowski (W9FUL)

Jack’s image, “Old Number 1” is appearing in the

"We Love Lake County" 2012 calendars sponsored by the

Libertyville Bank and Trust of Libertyville, Gurnee,

Mundelein, Vernon Hills and Wauconda.

Jack took this photograph at one of the Mundelein 'Park

on Park' car shows last summer.

It can also be found on the March segment of the calendar

of Mundelein Fire Department's 'Old Number 1' .

©Jeff Bark

Advanced Printing Techniques for Anyone A summary of the Daniel B. Anderson session at CAPS—by Ken Johnson

One of my favorite programs at the recent Chicago Area Photographic School (CAPS) was a session done by Daniel B.

Anderson involving Advanced Printing Techniques. Since I print my own images, I thought this would be a very

informative session. Perhaps some of you whom don’t print your own images passed up this session thinking you don’t

have a need to know about printing techniques, papers, etc. I think the title of this session was misleading because this

session was all about the techniques and preparation needed to bring your vision to paper whether you print yourself or

send it out.

Daniel explains that excellent prints begin in your mind, not on a monitor. And even before the camera comes out there

are choices that all build on each other with the end result becoming the best print you can make.

1. How big might the print be? The bigger the size the more precise everything must be from the beginning.

2. How do you want your print to be seen? Up close or at a distance? On a wall or in a light box?

3. How much resolution (sharpness) do you need or want?

In order to make a good print, you must use your camera to its full potential and this is not a trivial matter. Daniel desires

high resolution prints that can be viewed up close and uses the following practices:

1. The best lens choice for each composition

2. Tripod

3. Cable release or timer—never touch the camera

4. Lowest ISO as practically possible

5. Live View for critical focusing (if available) - manual focusing

6. Shoot RAW vs. JPEG

7. Strict attention to histogram (expose to the right)

8. Aperture control to manage diffraction concerns (no smaller than f/11—f/16)

The crafting of a print will begin as soon as it appears on the monitor, but Daniel warns, “Never fall in love with the

monitor image.” The key to this crafting process is perception. You must recognize and perceive any problem –

brightness, contrast, softness, sharpness, etc. even before you start to fix it. Perception and problem diagnosis are more

important than any editing technique.

If you have a printer, start to print and evaluate from a print - not the monitor. Print early and often during the editing

process. You have to look at a printed image to see if what you meant to say is really being said to your viewers.


Resolutions By Ken Johnson

40 to 45% of American adults make one or more resolutions at

the start of each new year. Yet only:

75% maintain a resolution past the first week

71% maintain a resolution past two weeks

64% maintain a resolution past the first month

46% maintain a resolution past six months

While many resolutions are broken within weeks, research

shows that making resolutions is useful. People who explicitly

make resolutions are 10-times more likely to attain their goals

than people who don’t explicitly make resolutions.

A resolution challenges you to learn to deal with all of yourself;

the part of you that wants to be resolve and the part of you

that is resisting change.

Change is difficult and we are often swimming against the tide

of obstacles that may have been in our way for may years.

Most of us carry some “baggage” from our childhood years

such as low self-esteem, the need to be perfect, fear of failure

and the need to please. This baggage causes us to think, feel

and behave based upon who we were as children or who we

think we are rather than the who we desire to be. So, we

make resolutions to change.

It's OK to make resolutions, but only if you treat them not as

unbreakable promises to yourself, but as positive statements

about possibilities of change. Set more realistic goals for

yourself and don't limit yourself to a once-a-year, dump all of

my baggage promise doomed to failure.

To be successful, a resolution needs to be specific, have

measurable benchmarks, and a solid deadline. Success,

even a small scale often breeds additional success. One

successful resolution may lead to the success of another more

challenging resolution.

Here is a suggestion for a minor resolution. Move your

camera out of automatic mode and capture 50 photographs

using Aperture Priority mode and 50 photographs using

Shutter Priority mode before January 31, 2012. During this

time, feel your confidence grow. Look at the new images you

have created. You may be totally surprised at the positive

results.

This success may give you the courage you needed to move

another part of your life out of automatic baggage mode. Think

about the new image you may create.

The Rolling Stones put it this way, "you can't always get what

you want, but if you try sometime, you just might find you get

what you need."


This is a draft copy of the front page of the brochure

the Marketing Sub-Committee is putting together for

the upcoming years Photography Exposition.

Instructors, speakers and classes are still being

finalized.

A one day learning seminar for Beginner,

Intermediate, and Advanced

Photographers

Registration

www.lcccphotoexpo.com

Saturday

June 9, 2012

University Center of Lake County

1200 University Center Drive

Grayslake, IL 60030

Featuring Two Canon Explorers of Light:

George Lepp

Hanson Fong

Activities feature dual educational tracks of

Nature/Landscape and Wedding/Portrait

Photography including classroom instruction,

workshops, computer labs, vendor showcase,

and a chance for some excellent networking.

happy new year! · happy new year! a message from president ron meyers the past year has been...

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