The eNewsletter of the Rockbridge Camera ClubJanuary - February 2014

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PROGRAMJanuary Getting the Most out of Your Point

& Shoot Camera - RockbridgeRegional Library

February Fixed Lens/Point and Shoot PhotoCritique - Rockbridge RegionalLibrary

March Landscape Photography - TomCerul - Rockbridge RegionalLibrary

In This Issue:Page 2 - Need A Free Photo Editor? - Carl WeaverPage 5 - Point & Shoot Presentation Summary - Steven ShiresPage 6 -Craft, Materials, Artistic Integrity, and an Educated Consumer - Jim SteelePage 7 - Book Review: Look at Ansel Adams, The Photographs and the Man - Ellen MartinPage 8 - Virginia Tech Sports Photography - Steven Shires

Photo By: Lucile KestersonISO 400, f/5.6, 1/60 sec.,focal length 55mm

CALENDARJan 11 Understanding Your Digital

Camera - 10:00am RockbridgeRegional Library

Jan 21 7:00 PM January Meeting @Rockbridge Regional Library

Jan 25 9:30 AM - Printer and PrintingWorkshop

Feb 8 10:00AM - 1:00PM PhotoScavenger Hunt - Duke'sAntiques

Feb 18 7:00 PM January Meeting @Rockbridge Regional Library

Feb 15 9:30 AM - Printer and PrintingWorkshop

Mar 18 7:00 PM January Meeting @Rockbridge Regional Library

Mar ?? Safari Park Animal Shoot (Dayand Time TBD)

Notices on workshops & outings will be sent outvia Meetup

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Need a Free Photo Editor?Two Choices from Adobe

By Carl Weaver

If you are running Windows 8 on your computer ortablet (or Mac iPad 2 or later, iPad mini) and need aneasy photo editor, then consider an app called AdobePhotoshop Express.  It is certainly not the full-featured program that either Photoshop or PhotoshopElements have become, but Adobe PhotoshopExpress is a FREE alternative if you are in need ofsome basic image-editing capabilities.

If you are or are not running Windows 8, then considerAdobe Photoshop Express Editor, a similar andfree, but more comprehensive editor online at Adobe.

Adobe Photoshop Express App.If you are a novice, you will like the 1-tap correctionAuto-Fix feature that adjusts color, contrast andbrightness simultaneously. The tools are notnumerous, but you can crop, straighten, rotate, flip,adjust color and even apply some artistic effects. Youcan also remove red eye.

A pop-up alert instructs you the first time to adjustthings like tint color and saturation with a slidinggesture from your fingertip. To some, the use ofgestures over a slider button may be confusing and toothers it may be intuitive.

Sliders are used to adjust hue, brightness and whitebalance. Filters are provided tor Sketch, Soft Focus,and Sharpen. You can also select borders such asrectangle, rounded, oval, soft edge, vignette and a fewothers.

App Pros:1. It’s free.

2. Simple, straightforward interface, useful help over-lays, good for quick fixes.

3. Auto-fix, one-touch adjustments.

4. Operates on several devices.

5. Function icons are intuitive.

6. If you make a mistake, you can click on the Undobutton to move back one step.

App Cons:1. Some more stylish effects require an app upgrade

for which there is a nominal fee (Get more creativeby buying the Looks Pack for more filters and theNoise Reduction Pack to minimize grain).

2. The exposure adjustments seem to be excessive.

3. Recommended 2GB minimum RAM.

4. Resizing is not possible with this app.

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Adobe Photoshop Express Editor Online Program.

This program is similar to the app described above,but with several additional features such as resizing.The online version may be found at:http://www.photoshop.com/tools?wf=editor

Once online with the program and you have uploadedan image (it only accepts JPEGs), you should see thephoto displayed on the right with a drawer of tools onthe left. All of the tool icons are self-explanatory, butresizing is different.

When you click on Resize, several pre-set selectionswill appear above the image. If you choose Custom,you get to select the size. But, in this case, rememberthat:· Small might be 150 pixels wide

· Medium might be 300 pixels wide

· Large might be the full width of your main columnor at least 600 pixels.

After you have entered your custom width into theWidth field, the height will automatically adjust to keepthe original aspect ratio and the image willautomatically change size. Once you’ve found a goodsize, choose another tool from the left-side drawer tocontinue. Or click Done to download your image toyour computer.

Editor Pros:1. It’s free.

2. Simple, straightforward interface, useful help over-lays, good for quick fixes.

3. Auto-fix, one-touch adjustments.

4. Many more tools than the app including a capabili-ty to add text.

5. Function icons are intuitive.

6. If you make a mistake, you canclick on the Undo arrow to moveback one step.

7. Can resize images.

8. Runs on a computer under mostoperating systems or on a tablet.

Editor Cons:None.

The Adobe Photoshop Express app is available onthe Windows 8 App Store in the Photo section, fromiTunes or Adobe’s web site. The Adobe PhotoshopExpress Editor version is only available online atAdobe.

I give the Photoshop Express App 4 stars and theonline Photoshop Express Editor 5 stars.

Free Photo Editor Cont.

http://www.meetup.com/Rockbridge-Camera-Club-RCC-Photography-Meetup/

If you haven't joined Meetup yet - we inviteyou to join us. The RCC is now using Meetupto disseminate information about meetings,outings and other club activities. To getstarted (or check out what is currentlyplanned) just click on the link below.

Lightroom - Resizing of images for emailsand projectorshttp://www.youtube.com/watch?v=HKYi-wO0gkA

Photoshop Elements - Image resizingfor emails and projectorshttp://www.youtube.com/watch?v=w69rtBGCsec

Check these videos if you need help saving your photo tobe displayed on the RCC projector.

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Sweet Treats

Dec - Jan 2014 Rockbridge Camera ClubFeb - Mar Keith Bowen & Steven

ShiresApr - May Rockbridge Camera ClubJune - July Jim & Suzy JonesAug - Sept Conrad MatiukOct - Nov Michele Fletcher & Ken HawkinsDec - Jan 2015 Rockbridge Camera Club

A Message fromOur ExhibitCoordinator

Sara Coffey

Steve Shires & Keith Bowen will be the featured artists atSweet Treats for the months of  February & March.  Stopby & check out their exhibit.

The RCC will once again have an opportunity for anotherclub exhibit at Sweet Treats. The theme will be‘Reflection’. This could mean a literal reflection such as inwater, through glass, or a shadow of something. It couldalso imply a feeling of looking back, perhaps to anotherseason.  This could also be a person or animal who has areflective expression or a still life of objects from the past.All genres are welcome including landscapes, still life's,portraits, macro, floral, black & white, infrared, & digitaldarkroom. Your image will be your interpretation of theword Reflection so let's put on a great exhibit showing ourcreativity.  This exhibit is planned to be hung on TuesdayApril 1, 2014.

Please contact me for more details.   Sara  540-570-5578sbcoffey@rockbridge.net

We are now displaying at two monthintervals. Consider a friend or two to sharespace with you.

Photo By: Vicki Adams

Lexington Artists Co-op MembershipAvailable

If you are an artist please review this announcement. If you arenot an artist but know of one who might be interested, pleaseforward this to him or her.

The Lexington Artist's Co-op has announced a membershipopening for a visual artist who works in watercolors, oil,acrylics, photography, or other mediums. Consideration formembership requires submission of an applicationaccompanied by a portfolio of work which will be submitted toJury Process.

Gallery members share the costs of the gallery through monthlydues. They also share in the profits of the gallery obtained bycommissions on sales of member, guest and consignmentartists. Artist's obligations include sharing in the staffing of thegallery, serving on committees, and maintaining individualexhibit spaces. Pricing of art work, cards, and prints are at thediscretion of the artist. If selected for membership,the artist willbe sent a contract for review.

The co-op is comprised of ten area artists. It began its thirdyear in August and has ended each year with a profit. The co-op offers an excellent chance for an artist to show and sell hisor her work to the public with minimal cost and timeinvestment.

Applications can be obtained at the Lexington Artists Co-op, 20West Washington St., Lexington, VA or at thiswebpage. Interested parties can contact gallery members orcall the gallery at 540-464-4440.

Photo By: Ken HawkinsNikon D5000, Nikkor 55-200 lens (set at 200mm), 1/350 sec, f/5.6,ISO 200, no flash, handheld.

Ken Hawkins received notification that the image belowwas selected as Honorable Mention (Native Flora andFauna category) by the Valley Conservation Council inStaunton. The photograph was of a turtle on the BrushyHills Trail System

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Point & Shoot Cameras – Presentation SummaryBy: Steven Shires

Any camera that is small inexpensive, portable can beconsidered a “Point and Shoot”. Even though they aresmall these cameras work very well and in many ways cancompete with larger DSLR’s. They are being used moreoften by journalists because of their wifi and cellularcapability allowing instant uploads of photos.

Most inexpensive P&S cameras contain only “automatic”capability (the user cannot adjust settings to any greatdegree) although some higher end models do have theoption to adjust settings such as manual mode, aperture, andtime priority.

Tips for point & shoot use:1. Choose the highest resolution possible in the camera'ssettings, keep your flash off unless it is absolutelynecessary, it often produce “red eye”. If you must use aflash, try to diffuse it so light is not overpowering thesubject.

2. The Zoom to utilize with point and shoot cameras is theoptical zoom not the digital zoom...once you get pastoptical zoom capability of your camera the camera is justcropping your image and it will lose information and pixels.

3. For group shots try to get your subjects in a ‘triangle’layout, and don’t crop at the joints of people’s body...knees,ankles, etc.

4. To get higher megapixel images than the camera takes ina single photo, take 3 separate overlapping shots of yoursubject and merge them together afterward.

5. The pixel size in P&S’ is smaller because the sensor issmaller. The negative side of this is that cramming morepixels onto the sensor creates noise, those nasty littlepixelated places in the image.

6. Try panorama shots. Many newer point and shoot camerahave a panoramic feature. There are also many Apps forsmart phones that will help create interesting images: e.g.,360 panorama app.

7. Despite its ease of use, Don’t forget to use the P&S like a‘real’ camera: remember to focus carefully, move around toframe the image in the best way, change your perspective,get close to your subject (eye level if children are being

photographed); do things that make the photo unique!

8. Take lots of pictures...they’re free. Stop and take theshot when you see it, don’t plan to ‘get it later’. The beautyof these cameras is they are discreet- you can take themeverywhere- in places you might normally not want to havea DSLR.

Challenge for our next meeting. Bring 2 good photos --anything goes, pets, abstracts, artsy as long as they are froma P&S (fixed lens camera), or phone camera. Editingallowed in any post-processing program, not necessarily thefree software.

Submit to Michele Fletcher by Feb 15

Our next outing at Dukes antique mall will be a greatopportunity for trying your P&S or camera phone skillssince we are discouraged from bringing tripods!

Mark you Calendars --3rd Annual Studio Tourwill be held Mother’s Day Weekend, May 10-11.RCC member Ellen Martin’s studio will once

again be on the tour.

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Craft, Materials, Artistic Integrity, and anEducated Consumer

By: Jim SteeleStains, fading, cracks! What is a collector to do?

While visiting in California, I went into one of thehighest of the high-end photography galleries in thecountry.  There was a magnificent photograph of Ansel’s"Clearing Winter Storm, Yosemite" on the wall.  After Ihad made multiple visits over several days to view it, oneof the employees asked me if I would like to see "theother" print they had of that image.  She went in the backroom and brought a print out that should never havegotten out of Ansel's darkroom.  It was severelyoverprinted and had blocked shadows and greyhighlights.  The print had none of the luminosity that theone hanging on the wall had.  Her comment was"Naturally we don't show them together." It was a starkreminder that there is more to fine art than inspiration.Fine art also depends on the dedication of its creator tohis or her craft. Sadly, inattention to the craft of art ismore common than we might wish.There are at least two kinds of bad craft: that whichresults from immature skill and that which results fromimproper selection or processing of the materials

associated with the medium. (Display conditions arealso a factor in longevity, of course, but I am onlyaddressing those factors over which the artist hascontrol.) All media have a version of this issue.However, it seems that only photographers are concerned– make that obsessed – about the “archival” qualities ofthe materials that they use.

Photographic processes involve papers, chemicals, inks,and other materials. Depending on the selection ofmaterials and their processing, the fugitive nature ofthese materials can be enhanced or diminished. Inphotography, black and white images tend to be morestable than color images because color dyes degrade overtime. For chemical darkroom prints, longevity dependsnot only on the materials but also on proper fixing and

washing.Improper orinadequatefixing andrinsing canlead to a printthat may lookperfect when itis first printed,but will fade(or stains willappear) overtime. Forthose of uscoming from awet darkroombackground,we have beenschooled fromday one aboutproper selection of papers and fixing and washing of ourprints.

With digital printing, selection of papers and inks canalso have a drastic effect on the permanence of theimage. Early digital processes used dye inks rather thanpigment inks. No one worried about the permanence ofthe images. The processes and materials were notdesigned for permanence. At the time, dyes wereinherently unstable. Pigment inks and improvements in

paper coatings addressedmany of these problems.

As an aside, wephotographers who work inthe digital world owe a bigthanks toGraham Nash (of Crosby,Stills, and Nash) and his roadmanager Mac Holbert for thework they did in the earlydays of digital photography toget improved materials and toencourage acceptance of themedium as a fine art medium.

The question for any artist is, “Do I have an obligation touse only the materials and processes that result in themost “archival” image? Should I use the materials thatyield the end result I desire and then inform the buyer ofthe risks associated with the materials used? Do I saynothing and assume that the buyer is sufficientlysophisticated to ask the right questions? Or is it not anissue?”

I believe I have an obligation to the people who maypurchase my prints to use the highest quality materialsavailable to me.  When I sign one of my prints, myreputation both as a photographer and a craftsman are onthe line.  That is one of the reasons that I print all myown work.

As a photographer, I have the right to reinterpret mynegatives or files.   Certainly artists working in othermedia have reinterpreted their work. For example,Edvard Munch and Albrecht Dürer to name two. I tell

people who are considering buying one of my imagesthat while I can reprint an image, there is no guarantee itwill look identical, even if I use the same file ornegative.  Inks change, papers change, printers changeover time.  Also, my opinion of what the picture shouldlook like may change.

But while the vision of the work might change, artistsshould have the integrity to know and discuss the natureof the materials they use to create their art and the publicshould know to ask.

Book Review

Looking at Ansel Adams, The Photographs and theMan by Andrea G. Stillman, 2012.

Yes another book on Adams.  Ms. Stillman workedwith Adams as executive assistant in the 70’s andedited many books about Adams.A lot of the information in this book is not new, butmuch of it is phrased in new ways.  Her text remindsus of the lengths Adams went to to capture images.He walked miles, sleeping in freezing weather in hiscar just to be in the right place at sunrise.   He luggedglass plates, he used roll film too, and returnedrepeatedly to favorite places throughout his career,pre-visualizing the composition he wanted in his finalprints.  When printing for numbered portfolios hewould make 1,000 prints, with darkroom assistants,but Adams made the exposures, burning and dodgingevery print.  The photos in the book are high quality.Looking at the straight print from his negatives thenthe manipulated final prints are well worth studying. Ms. Stillman reminds us that enhancing images wasdone on nearly all of his prints throughout Adamscareer.  Adams was a master of the negative andcertainly of the print.  His work ethic and devotion ofhis craft is something to be admired.

Ellen  Martin

Jim Steele Continued

Good Morning!Photo By: Becki WellsISO100, f/5.3, 1/400 sec, 25.9mm - Nikon J1 Camera, Nikkor VR 10-30lens

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Snow ShotPhoto By: Janet Goodfellow1/4000 sec, f 2.8, ISO 360

Virginia Tech Sports PhotographyBy: Steven Shires

I was fortunate enough to getsome great seats at theVirginia Tech basketballgame.  There are camerarestrictions on gear you canuse for fans at Virginia Tech,but my small mirrorless SonyNex7 was within theguidelines.  I included a fewsample photos from thegame.  It was important tokeep the shutter speed high tocreate sharp images while the

players were moving andto do that I had to crankthe ISO up to 3200.Timing is really criticalwhen you press theshutter.  Trying to capturethe moment. The SonyNex7 camera did well atthat higher ISO.  Bothimages were shot at 1/800sec. f4.5, ISO 3200, focallength 42mm.

Pictured is Bob Schwabik and Clyde Butcher. ClydeButcher is sometimes called the Ansel Adams of Florida.This photo is from Bob's interview with Clyde Butcherwhich appeard in the July/August 2013 Photo TechniqueMagazine. The article is titled Images of the Everglades: AConversation with Clyde Butcher.If you'd like to see some of Bob's work, please visit hiswebsite: www.limberlostphoto.com

Note from the Editor: I obtained permission to reprint thearticle in our newsletter, however I ran into technicaldifficulties. Hopefully, I will be able to present it to you in alater edition of our newsletter.

Late SnowPhoto By: Nancy Margand

Point & Shoot Camera Shot

A number of club members had their photos acceptedinto the Cornerstone Bank/News Gazette calendar thisyear- William Groah, Brent McGuirt, Deb Baird , DebMaurer and Nancy Margand. Congratulations to ALL!

It's Magic!Photo By: Bill Wells

Nikon D-90, ISO 1250, 165mm, f/5.0 1/125 sec

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President's CornerSteven Shires

The cold weather has finallyarrived and brought with it theopportunity to finally get yourice, snow and sleet photoproject done!  Snow landscapescan be breathtaking this time ofyear and about August you maywant to pull them out andreminisce about how cold itwas.  Star and planet photography can be great in Jan &Feb. with the air being so crystal clear.  If all of this doesnot spark your interest, grab a good photo book or yourmanual and catch up on your reading.  Keep warm andsee you at the Feb. meeting.  I attached a photo takenduring the heat of summer to try and keep you warm.(Camera was a GoPro Point & Shoot). Stay Warm,Steve

Nancy Margand and a few other RCC members, did aworkshop with Eddie Soloway in the fall- Nancy foundthis summary of some of his techniques that might beinteresting for club members to see, with his emphasison changing your perspective, (lie down, look up!)moving around to get the right background, separationand the use of clear v blurred focus.

http://www.kodak.com/ek/US/en/Tips_Projects_Center/Tips_from_the_Pros/Travel_Nature_Photography/Travel_Photography.htm

The Hands We CherishPhoto By: Sara Coffey

F4  1/30  iso 400   50mm   Desaturated in Topaz B&W to make skincolors more similar & added a beveled frame.

Recommended Websitese-zine on photography:http://thehandmadephotograph.com/

"Locator" for finding public darkrooms worldwide:http://thehandmadephotograph.com/

Nikon Learn & Explore:http://www.nikonusa.com/en/Learn-And-Explore/index.page - the ideas go beyond just Nikon

Outdoor Photographer:http://www.outdoorphotographer.com/ - good articles andhow-to pieces

Light Stalking: http://www.lightstalking.com/ - good blog,community & critiquing

Camera Museum:http://www.cameraheritagemuseum.com/

Conrad Matiuk: ttp://matiukphotos.com/

How to stay inspired by PhotographyLhttp://www.picturecorrect.com/tips/how-to-stay-inspired-in-photography/

Snow ShotPhoto By: Janet GoodfellowISO 100, 1/400 sec., f 1.8, -2/3 exp adjustment

Rockbridge Camera ClubOfficers

President Steve Shires pixelproshop@yahoo.comSecretary Nancy Margand rcclubmail@gmail.comTreasurer Becki Wells beckiwells@cox.net

Chair Persons

Programs Keith Bowen kbowen46@yahoo.comOutings Conrad Matiuk cmatiuk@altweb-design.comWorkshops Bob Kovach BobKovach@embarqmail.comNewsletter Becki Wells beckiwells@cox.netDisplay Sara Coffey sbcoffey@rockbridge.netWebsite Wythe Whiting whitingw@wlu.edu

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...and don't forget to follow us on FACEBOOK

Be sure to check the RCC Meetup Site for thelatest club schedule of programs, workshops and

clinics.RCC is online at:

http://www.meetup.com/Rockbridge-Camera-Club-RCC-Photography-Meetup/

The Editors of CLICK* welcome your contributions.Essays, photographs, new items, photographicequipment for sale, trade or wanted to buy should besent to Becki Wells (beckiwells@cox.net) or NancyMargand (rcclubmail@gmail.com)

Michele Fletcher has been chosen to be the FEATUREDARTIST for June 2014 at the Lexington Artist'sCooperative. Be sure to put a note on your calendar andstop by to visit her during the reception at the beginning ofthe month. Congratulations Michele!

Blue JayPhoto By: Michele FletcherPanasonic Lumix f 3.5,1/1600, ISO 320

Sugar Maples in SnowPhoto By: Michele Fletcher

Nikon D7000, f/8, 1/160sec, +2 exp, ISO 320

Maury RiverPhoto By: Lad SessionsISO 125, f/5.6, 1/125 sec,78mm,Sony DSC-RX100

RudyPhoto By: Bill WellsNikon D90, ISO 1250,122mm, f/5.0, 1/125 sec