Florida Photographer 2013 #2 by FL Professional Photographers, Inc.

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Florida Photographer Is the ofﬁcial publication of the Florida Professional Photographers, Inc. Permission to reprint contents on this publication is granted to similar publications of the photographic industry, provided that the author and THE FLORIDA PHOTOGRAPHER are recognized as the sources. The opinions expressed in any article or column are those of the author and does not necessarily represent the ofﬁcial position of the Florida Professional Photographers, Inc. The Florida Professional Photographers exists solely for the good of its members. The association provides tools and educational opportunities for its members to achieve their business and artistic goals. It is committed to an ongoing exchange of information and experiences between all members in an open and friendly atmosphere.

publishing editor advertising and design Luis Melendi 828 Narragansett Lane Key Largo, FL 33037 Tel 305.453.5441

Fax 305.453.5448 melendi@bellsouth.net

First Place Wildlife In Flight

Elizabeth Kraker

President’s Message

FPP Photo Competition

FPP 2013 Convention Update

Board Nominations

Mentors, Silent Auction, Scholarships

Convention Committees

Color Correcting Made Easy

Natural Light or Flash?

Understand Your Client’s Vision

Demystifying Painter - part One

New FPP Members

Membership Corner

Join the

Florida Professional Photographers See Application page 24 or at www.fpponline.org Florida Photographer 3

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President’s Message SANDRA PEARCE, FDPE, FSAE, FED

Spring is here. Flowers begin to bloom and everything is ﬂourishing.As I look at everything renewing itself, it brings hope and expectation of things to come. We had a successful seminar in Tampa with Alycia Alvarez. A big thank you to our Chairwoman, Carol Walker, a job well done! One of the hardest things I have found about being your President is writing an article that is interesting and helpful to all the FPP members. I am an artist that paints not an author that writes. I wrote the above paragraph and then sat for thirty minutes thinking, okay what is next? Next is hope everyone is gearing up for Florida School. Marybeth has a great line-up of speakers (I’m even one) for you to choose from. I use

to think, can I afford to go? Then I realized I couldn’t afford not to go. The week is such a time of learning as well as making life-long friends. I have never heard someone say, wish I hadn’t gone to Florida School. It is a fantastic week that you will always cherish. One thing though, be sure to get involved. VOLUNTEER! This is FPP’s 80th Anniversary. A convention was held in 1933 at the University of Florida. It was organized by Kodak and some of the suppliers of photographic equipment and chemistry. The attendees formed an organization to represent professional photographers from all over Florida. Thus the Florida Photographers Association was ofﬁcially formed during that Convention on May 3rd, 1933. We started with 30 members with

each paying $2 for their annual dues. Oh, how we yearn for the good ‘ole days. During WWII, due to gas and food rationing, the FPA did not hold a Convention for three years (’42’44). Resuming the Convention in 1945 we put ourselves two years behind our actual age. In the 1950’s we changed our name to the Florida Professional Photographers and have continued to educate our members through conventions, seminars and schools. In 1985 we celebrated our 50th Convention even though we were 52 years old. See you all at FPP School in Daytona. Beach Party time! Thank you Luis for the hard work you continue to do for the FPP... Great publication! n

Reach the Florida Market... Advertise in the Florida Photographer! Contact Luis Melendi 305.453.5441 ~ melendi@bellsouth.net Florida Photographer 5

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FPP, Inc. Board of Directors PRESIDENT Sandra Pearce, FDPE, FDAE, FED 2014

1122 SW 15th Street Okeechobee, FL 34974 863.763.2684 pearcephotography@earthlink.net VICE PRESIDENT Martin Gudz, FSA, FED 2014 6174 SW CR 360 Madison, FL 32340 850.973.6376 martingudz@yahoo.com SECRETARY TREASURER Jackson Koontz III, FSA, FED 2015 PO Box 6878 Ocala, FL 34478 352.369.4257 actionjacksonpro@aol.com DIRECTORS Cindy Strickland, FSA, FED 2013 5750 CR 12 Tallahassee, FL 32312 850.545.3110 info@amomentcaptured.com Gary Hughes 2014 1603 Wilson Ave. Orlando, FL 32804 321.279.0077 gary@hughesﬁoretti.com Britney Kirby Fullgraf, 2013 302 East Belvedere Street Lakeland, FL 33803 863.686.4980 fullgraf@aol.com Carol Walker, FDPE, FSA, FED 2015 7925 4th St. North St. Petersburg, FL 33702 727.577.5626 carol@thomasbruce.com Patrick Van Dusen, FSA 2015 3539 Bareback Trail Ormond Beach, FL 32174 386.677.4897 dutchdaddy@aol.com Past Presid ent Donna H. Campiz, FSA, FED 2013 2880 Mandarin Meadows Dr N Jacksonville, FL 32223-2633 904.683.2585 FPP Office - EXECUTIVE DIRECTOR

Kaye Newsome Florida Professional Photographers, Inc. 11738 North Dale Mabry Hwy. Tampa, FL 33618 813.760.1933 kaye@fpponline.org

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FPP SECTION’S WEB SITES FPP Section Chair: Marty Grivjack, Cr.Photog., FSA 1 7 1 1 4 1 2 3 rd Te rr. N . , J u pit e r, F L 3 3478- 5211 Mobile 561.714.6443 • e Mail magriv@aol.com B a y – B P P A : w w w . b ppa f l. c o m F t . M y e rs – S W F P P A : w w w . pps wf .c om G a in e s v ille – P P N C F : w w w . ppn c f .c om J a c k s o n v ille – J P P G : w w w . j ppg.org L a k e la n d – P P G M F : w w w . ppg mf .org M e lb o u rn e – S C P P : w w w . s pa c e c o a stpp.c om M ia m i – P P G F : w w w . ppg f . c om O c a la – O M C P P A : w w w . o m c ppa .c om O rla n do – P P S C F : w w w . pps c f.c om P a lm B e a c h – P P G P B : w w w . pro ph o toguild.c om P e n s a c o la – N W S F P P : w w w . n w s f pp.c om Ta lla h a s s e e – TP P G : w w w . t ppg . w o r dpre ss.c om Ta m pa – TA P P A : w w w . t a ppa.org FP P M A NA G E R S

P P A CO UNCILO R S

Convention - 727.481.9329 Debbie Alcorn debbie@reedyphoto.com

Keely Deuschle 904.403.9553

Kevin Newsome 813.968.2810

Britney Kirby Fullgraf 863.686.4980

Sandra Pearce 863.763.8684

Marybeth Hamberger 954.426.2562

Robin Phillips 863.682.6958

Gary Hughes 321.279.0077

Kim Warmolts 727.934.4456

Trade Show - 305.453.5441 Luis Melendi melendi@bellsouth.net School Director - 954.426.2562 Maribeth Hamberger mhamberger@comcast.net

Our FPP Website - www.fpponline.org While in Orlando... Stay where we stay! The Rosen Plaza Hotel 9700 International Drive Orlando, FL 32819 Special FPP Rates 800.627.8258

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FPP Photo Competition 2013 ROBIN ADAMS, COMPETITION MANAGER

The rules have been finalized for the 2013 FPP Salon. Please read them carefully and if you have any questions, please feel free to contact the Competition Manager, Robin Adams. Please note the deadline for entry is 8 PM on Friday, August 9, 2013. You must enter all images on line, whether you are competing digitally or with prints. Late entries will be accepted this year with a higher entry fee, but are due no later than August 15 at 8 PM. Note that dues MUST BE PAID before entering and the entry fees must be paid on line. Jeff Burton of Proofcast is hosting the website again this year and will handle all entries. Goto: http://printcompetition.com and log-on to enter. Print entries used for judging purposes and Exhibit-Only Prints must be shipped to Debbie Alcorn at Reedy Photo to be received by the deadline of 5 PM Wednesday, August 14. If you prefer to handdeliver them, they must be received at the Salon Room, second floor of the Rosen Plaza Hotel no later than 8:00 AM Saturday, August 17. Print cases are preferred but cardboard boxes will be accepted. No loose prints will be accepted! Jeff will be handling all the files and you will receive the appropriate “paperwork” to confirm your entries. In the case of print entries, you will receive both the entry forms and labels to be placed on the back of all print entries via email. Print them yourself and attach them as

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required.

Category Changes There are a few significant changes this year: 1. We have deleted the category of Retouching. 2. We have eliminated the category of Non-Event Album. 3. Figure Study will now be included in Portrait of a Man or Portrait of a Woman. All the same rules apply to Figure Study (a tasteful, artistic nude – see below for a more detailed description). As we did last year, you may submit digital files or prints for judging in any of the categories except Albums which must be all digital files. Exhibit-Only prints may again be submitted for display in the Salon Display. So get busy on your files and prints and plan on attending what promises to be a fantastic Convention!

Competition Rules REGISTRATION DEADLINES Digital Submissions: Online by Friday, August 9, 2013. Registration will be closed at 8 PM. Case fee is $95.00 per case. Submissions after 8 PM on August 9th will be charged $125.00 and are due no later than August 15th at 8 PM. Fees must be paid online at the time of registration. No payments will be accepted with the case. Dues MUST be current before registering your case, and through the end of Convention. If you are in

doubt as to your membership status, please contact Kaye Newsome, Executive Director before registering your case. Print Submissions: Shipped cases containing prints must be received no later than 5 PM, Wednesday August 14, 2013. Ship directly to: Reedy Photo Attn: Debbie Alcorn 12125 28th St. N. St. Petersburg, FL 33716. Hand delivered cases must be received no later than 8:00 AM, Saturday, August 17, 2013 at the Salon Room at the Rosen Plaza. All images, whether prints or digital, must be registered online by August 9 (Early Bird) or August 15 (Late Registration). Membership Status: All participants must be FPP members, and have paid their annual dues to enter. Visit www.fpponline.org to verify your FPP Membership. Eligible members for salon competition include these categories: Professional, Associate, Honorary Life, Retired, Non-Resident, Service, Student, Non-Professional. (Note: Out-of-State members may enter prints and earn merits toward their Florida degrees, but are not eligible to win any photographic competition awards.) One to six (1-6) entries are allowed for each Degree Classiﬁcation; Florida Degree of Photographic

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Excellence (FDPE) or Florida Degree of Artistic Excellence (FDAE). FDPE and FDAE submissions may contain all photographic images, or a combination of single images and albums with no more than two albums. Each degree’s entries (FDPE or FDAE) must be entered in a separate case with a separate entry fee for each case.

PHOTOGRAPHIC EXHIBITION The purpose of this competition is to allow the entrant to demonstrate their photographic imaging skills and expertise in pursuit of the FPP Florida Degree of Photographic Excellence (FDPE). Both prints or digital ﬁles may be entered in this competition. All entries will be judged relative to the 12 Elements of a Merit Image. Prints will be judged under standard competition lighting of 75 footcandles of tungsten lighting. Digital ﬁles will be judging on calibrated NEC monitors.

Prints Print Judging Submission: Competition prints must be permanently mounted on double-weight mount board, Competition Mount Board, Gatorfoam ®, Foamcore ® or Sintra ®. You may not use masonite, glass, metal, stretcher frames, or conventional frames. All prints must be able to ﬁt in the hangers provided by the FPP Salon Committee. It is suggested that thickness not exceed 3/8th inch maximum with a minimum thickness of 1/8th inch. Those prints that cannot be hung in the standard mounting brackets will be returned to their respective cases and not on exhibit for public viewing. Prints of any shape and size are allowed within the following parameters: 1. A minimum total image size (not including digital matting) of 80 square inches. This is equivalent to an 8x10 image but does not have to be those proportions. 2. Images must be mounted on a

minimum 320 square-inch mount board (equal to 16x20) up to a maximum of 576 square-inch mount board, with the largest dimension no longer than 24″. NOTE: For example, this means you may enter an image 80 sq.in. or larger image on a 16x20 mount board (320 sq.in.), or … mounted on a 13⅓ x24” mount board (320 sq.in.), great for panoramics; or … up to a mounted 24x24” print (576 square inches), better for including guide prints on EI submissions. 3. You must register on line, pay your fees by the deadline and upload the final version of the digital file of each image when you register. The digital files must be 1600 pixels on the longest edge. They will be used for viewing at the awards banquet if your image is selected as an Honor Print. Digital Judging Submission: If you submit digital files for judging, you are not required to submit a print for the exhibit. Therefore you will not have a print on exhibit and will not be considered for print-only awards. However, you may submit an “Exhibit-Only” print that will not be judged for scoring purposes but will be hung in the exhibit for public viewing. The submission of the exhibit-only print is at the option of the maker. Exhibit-Only Prints may be of normal density for best viewing on public display. ExhibitOnly prints must include identification “tabs” at the bottom of each print. Use two separate tabs, ¾” high, mounted on a sturdy surface (similar to the mounting board) and hung at the bottom right and left corners with tape. The name of the maker shall be placed on the left side and the title of the print placed on the right side. Leave a minimum 4-inch space between the tabs. The ID Tabs are not part of the print and may be removed after competition for studio/home/location exhibit. Since the print exhibit will begin being set up early Saturday morning, these will be used to help the salon committee easily identify the image

and maker for corners and ribbons. Kodak Gallery Awards will be judged using competition print submissions only. Peoples’ Choice Award will be judged using any print submission and based on award requirements. See below for award requirements.

Digital Image Requirements Images Files: Image files must be sized so the maximum dimension in any direction is 1600 pixels including presentation mats (8 inches at 200 ppi). Each image file must contain an embedded color profile of either sRGB or Adobe RGB1998 and be saved at a JPEG quality setting of 10. Monitor Settings will include D65, Brightness of 120 cd/m2 and 2.20 gamma. Total file size should not exceed 7.32 MB. It is not the responsibility of the Competition Committee to make sure your submissions comply with the requirements. Album Files: Album entries must be submitted online; only Digital Album submissions will be judged. Page images should be in a 2560x1600 pixel horizontal format. Monitor Settings will include D65, Brightness of 120 cd/m2 and 2.20 gamma. It is not the responsibility of the Competition Committee to make sure your submissions comply with the requirements. Entries must be “zipped” files with all pages contained in the one file to be able to submit them on line. PHOTOGRAPHIC OPEN RULES These rules pertain to images captured electronically with a digital camera or scanner. 1. Entrant must have captured and created the original exposure. 2. Any entry which has been reproduced from an existing photograph, graphic or any other artwork produced by another person is a violation of the competition rules and will not be judged, accepted or exhibited. If an entry, in the goodfaith opinion of the Competition

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Committee, violates copyright, trademark or any other applicable law, that entry shall be disqualiﬁed. 3. A maximum of six entries may be submitted per entrant, with Social Event albums limited to two (2). 4. A case may contain a mixture of both digital and print entries not to exceed a total of six. 5. No entry will be eligible that has been made under the supervision of an instructor or as a class assignment. 6. Entries of the same subject may be entered. In the portrait/social event category, they may NOT be the same setting/background and clothing. They must be completely different in content even though the same subject [person(s)/animal] is in the image. Special consideration will be given to wedding gown portraits regarding clothing. Commercial entries may be of the same product or location but with obviously different treatments. 7. Entry media may be either print or digital ﬁle format. 8. Album entries must be all digital. No physical albums will be accepted.

1. All makers of a multi-maker album MUST belong to the FPP. 2. Each maker must pay the appropriate entry fee. 3. Each album entry must have the ofﬁcial entry form submitted with the names for each maker. 4. Images in the album must be the work of the makers, with a minimum of 20 images per maker.

11. If an image Merits in any category of FPP competition, it may not be entered again in any other category at any time by any entrant. No image that receives a Merit may be entered more than once under any circumstance. This speciﬁcally includes any image in a merited album.

ALBUM RULES Only Event Albums will be entered. Event Albums are deﬁned by time sensitive social events such as weddings, bar mitzvahs, parties, etc. NOTE: In the case of any MultiMaker album entries:

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Major Categories Photographic Open

5. Multi-maker albums will be judged as one entry.

(See below for speciﬁc sub-categories) Portrait Illustrative Commercial Social Event Albums

6. There is a limit of two (2) albums per maker.

Photographic Open Categories (FDPE Degree)

7. Entries must be titled. File Naming - Images File names for images must include the Category-Maker’s Last NameImage_Title-Judging designation. The Judging designation speciﬁes whether the image is for print judging (using a “P”), digital judging (using a “D”) or digital judging with an exhibit-only print (using a “E”). For example, Sue Miller’s print in the Portrait of a Child category named “Eyes of Blue” should be submitted with the ﬁle name as follows:

9. All entries must be titled. 10. No single image from an album entered into competition may be entered in any other category.

be named...A-1-SmithJessica_and_Jeff-P3.jpg. If it is a multi-maker album with Sue Blake, title the overall ﬁle as...A-1Smith_Blake-Jessica_and_Jeff and individual pages will be...A-1Smith_Blake-Jessica_and_Jeff-P3.jpg.

P-3-Miller-Eyes_of_Blue-P.jpg using dashes (-) to separate the category, name and title and underlining (_) for spaces in the title. If that image is to be judged digitally, replace the “P” with a “D” and if she includes a exhibit-only print, then replace the “P” with “E.” File Naming – Albums Overall Album/File Names for submission must include the Category-Maker(or Makers) Last Name-Album_Title. Each page will be individually named according to the Maker-Title. For example: Bob Smith’s Event Album will have an overall ﬁle name of A-1-SmithJessica_and_Jeff. Each page must be titled also. The submitted image for Page Three of the above album will

PORTRAITS P-1 Portrait of a Man: Man at least 16 years old. May include Figure Study. Figure Study Portraits must be of a tasteful, artistic nude subject. Images deemed inappropriate for public display will be judged and returned to their respective cases. P-2 Portrait of a Woman: Woman at least 16 years old. May include Figure Study. Figure Study Portraits must be of a tasteful, artistic nude subject. Images deemed inappropriate for public display will be judged and returned to their respective cases. P-3 Portrait of a Child: Male or female under the age of 16. P-4 Portrait of a Group: Portrait must be two or more people. May include children. P-5 Environmental Portrait: Subject(s) on location where the environment is signiﬁcant to the image. P-6 Portrait of a Pet: Portrait of a pet(s) under controlled lighting and a controlled environment, as in a studio. This also includes outdoor portraits where the animal is controlled by the owner or photographer. ILLUSTRATIVE I-1 Abstract: Abstract subject matter.

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I-2 Landscape: Scenic image of landscape, seascape, cityscape with or without people. I-3 Wild Animals: Images of animals in a uncontrolled lighting environment. Subjects include wild animals, birds, reptiles and insects. Pets are speciﬁcally excluded from this category.

Minimum of 20 images in the album. A-2 Event Album (Multi-Maker): Album depicting a single social event. Each maker must have at least 20 images in the album.

ELECTRONIC IMAGING RULES

COMMERCIAL C-1 Advertising Illustration: Image created to advertise a product or service. A tear sheet is recommended.

The purpose of this competition is to allow the maker to demonstrate their electronic imaging skills and expertise in pursuit of the FPP Florida Degree of Artistic Excellence. Entries will be judged for digital, artistic and technical proﬁciency. Entries must have been sourced, composited, manipulated and/or produced by digital means. FPP members are eligible to achieve FPP Salon Merits toward the FDAE Degree.

C-2 Architectural: Interior or exterior image of a structure.

These rules pertain to images entered in the EI Category:

C-3 Industrial: Image created in an industrial environment.

1. All digital manipulation must have been performed by the maker.

C-4 Photojournalism: Storytelling, editorial image produced in a nonstudio environment for use in a commercial media.

2. Any entry which has been reproduced from an existing photograph, portrait, graphic or any other artwork produced by another person must be accompanied by written permission from that maker and pasted on the back of the print if one is submitted. If a print is not provided, written permission must be included in the case. If an entry, in the good-faith opinion of the Competition Committee, violates copyright, trademark or any other applicable law, that entry shall be disqualiﬁed. This rule does not apply to entries in the Retouching and Restoration categories.

I-4 Open: Entry of subject matter that does not clearly ﬁt into any other category.

Note: A tear sheet included with any image should be attached to the back of the print entry, or included in the case if the image is to be judged digitally, in a 9x12 manila or white envelope with the image that it goes with clearly identiﬁed on each envelope. SOCIAL EVENT F-1 Social Event Formal Portraiture: Image of one or more individuals associated with a social event captured under controlled lighting and conditions. F-2 Social Event Open: Image of one or more individuals associated with a social event not captured under controlled lighting and conditions. Candid shots are appropriate in this category. ALBUMS (Limit of two) A-1 Event Album (Single-Maker): Album depicting a single social event.

3. Entries are required to be titled. 4. A maximum of six entries may be submitted per entrant. 5. No entry will be eligible that has been made under the supervision of an instructor or as a class assignment. 6. Entries of the same subject may be entered. They must be completely different in content even though the same subject (person(s)/animal) is in the image.

7. Entries in this competition may not be and may not have been entered again in any other category at any time by any entrant. 8. If an image Merits in any category of FPP competition it may not be entered again in any other category at any time by any entrant. No image that receives a Merit may be entered more than once under any circumstance. This speciﬁcally includes any image in a merited album.

Electronic Imaging Judging and Submissions 1. All entries may include guide images. It should be noted that judges are limited to the information available to them on the entry. Guide images should clearly demonstrate the artist’s talent in producing the final image. 2. Un-retouched or un-manipulated “original” guide images are required in the EA-1 and EA-2 categories and are recommended in all categories to demonstrate the digital expertise of the maker. 3. If an entry requires guide images, they must be displayed adjacent to the finished image in the submitted print or digital file. 4. Entries without guide images may be submitted and judged in certain categories. 5. File names for images must include the Category-Maker’s Last Name-Image_ Title-Judging Designation. The Judging Designation specifies whether the image is for print judging (using a “P”), digital judging (using a “D”) or digital judging including an exhibitonly print (using an “E”). For example, Sue Miller’s print in the Digital Art category named “Eyes of Blue” should be submitted with the file name... EA-3-MillerEyes_of_Blue-P.jpg using dashes (-) to separate the category, name and title and underlining (_) for spaces in the title. If that image is to be judged digitally, replace the “P”

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with a “D” and if she includes aN exhibit-only print, then replace the “P” with “E.” 6. Entries of the same subject may be entered. They may NOT be the same setting/ background and clothing. They must be completely different in content even though the same subject is in the image. 7. Please refer to submission guidelines at the beginning of these rules for the following: A) Competition Print Requirements B) Mounting Requirements C) Digital Judging File Sizes D) Exhibit-Only Print Submission and Identiﬁcation.

ELECTRONIC IMAGING CATEGORIES (FDAE Degree) ELECTRONIC ART EA-1 Digital Restoration: Entry in this category must demonstrate the ability of the artist to provide digital restoration services. Entry will be judged on the restoration, not the original image. Guide images are required on all EA-2 entries. EA-2 Digital Art: Entry in this category should be an artistic image created using any method a maker desires, normally Photoshop, Painter, etc., and is not required to appear photographic in its final form. The final image must be based on photographic originals that are clearly recognizable in the final entry. ELECTRONIC MANIPULATION EM-1 Digital Illustrative Art: Entry created with a combination of photographic images and digital tools to provide a final creative image. This category is designed to allow you to use various digital tools and software to produce a final image that gives the impression of a photograph. The final image MUST appear to be photographic. Any image that is obviously derived from a “painting” will not be accepted.

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SCORING The scoring ranges are as shown below. Also note that images that score 78-81 will be reviewed. Those that score 80-81 will undergo a thumbs-up/thumbs-down review with four of the six judges required to give it a thumbs-up to stay in the merit category. Those that score 7879 will also undergo a thumbsup/thumbs-down review with four of the six judges giving it a thumbs up to bump it up into the merit category. Scoring: 100 – 95 Exceptional 94 – 90 Superior 89 – 85 Excellent 84 – 80 Deserving of a Merit 79 – 75 Above Average 74 – 70 Average 69 – 0 Unacceptable

Special Information on Awards: Kodak Gallery and Fuji Masterpiece Awards: The Kodak Gallery Award is presented by the judges to three entries scoring 80 or higher in one of the following categories: Commercial, Illustrative, Social Event, or Portrait. Visit: www.kodak.com/global/en/professional/hub/galleryAward/galleryAwa rdMain.jhtml for more information. A printed image that was not made with Kodak products may be considered for a Gallery Award. However, for an image to eligible for a Gallery Elite Award, the exhibit print must be printed on any of the following: • KODAK PROFESSIONAL

ENDURA Papers or Display Materials • KODAK PROFESSIONAL EKTATHERM Media • KODAK PROFESSIONAL Inkjet Photo Paper Note: Kodak Gallery Awards will be judged using the only the printed image submitted. When submitting to the Gallery Awards, the Kodak label must be signed by the maker and afﬁxed to your entry so judges can quickly tell you are entering the Kodak Gallery competition. Digital entries are not eligible for Kodak Gallery Awards. Robert Becker Award for Creative Photography: This award will be presented to the maker whose image is judged to be the most creative single image in the overall photographic open category. A minimum score of 85 is required to be considered for this prestigious award. Susan and Stewart Powers Award: The “Best-of-the-Best” album will be awarded the “Susan and Stewart Powers Award“ as determined by the judges. A minimum score of 85 is required to be considered for this prestigious award. Both SingleMaker and Multi-Maker albums will be considered. People’s Choice: The People’s Choice award will be determined by voting of the general membership with votes accepted from active members of all membership categories. Judging for the People’s Choice award will be done using the prints on display in the salon print exhibit only (images displayed digitally do not qualify).n

Date

Action

Aug 9th 8 PM

Early Bird entries due $95 at http://printcompetition.com

Aug 14th 5 PM

Print entries for judging and Exhibit-Only Prints must be received by Debbie Alcorn at Reedy Photo

Aug 15th 8 PM

Late entries due $125 at http://printcompetition.com

Aug 17th 8 PM

All print entries for judging and Exhibit-Only Prints must be received in Salon Room

Aug 17 8:30 PM

Judging Begins

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Elements of a Merit Image 1. Impact is the sense one gets upon viewing an image for the first time. Compelling images evoke laughter, sadness, anger, pride, wonder or another intense emotion. 2. Creativity is the external expression of the imagination of the maker by using the medium to convey an idea, message or thought. 3. Style is defined in a number of ways as it applies to a creative image. It might be defined by a specific genre or simply be recognizable as the characteristics of how a specific artist applies light to a subject. It can impact an image in a positive manner when the subject matter and the style are appropriate for each other, or it can have a negative effect when they are at odds.

4. Composition is important to the design of an image, bringing all of the visual elements together in concert to express the purpose of the image. Proper composition holds the viewer in the image and prompts the viewer to look where the creator intends. Effective composition can be pleasing or disturbing, depending on the intent of the image maker. 5. Print Presentation affects an image by giving it a finished look. The mats and borders used should support and enhance the image, not distract from it. 6. Center of Interest is the point or points on the image where the maker wants the viewer to stop as they view the image. There can be primary and secondary centers of interest. Occasionally there will be no specific center of interest, when the entire scene collectively serves as the center of interest. 7. Lightingâ&#x20AC;&#x201D;the use and control of lightâ&#x20AC;&#x201D;refers to how dimension, shape and roundness are defined in an image. Whether the light applied to an image is manmade or natural,

proper use of it should enhance an image. 8. Subject Matter should always be appropriate to the story being told in an image. 9. Color Balance supplies harmony to an image. An image in which the tones work together, effectively supporting the image, can enhance its emotional appeal. Color balance is not always harmonious and can be used to evoke diverse feelings for effect. 10. Technical excellence is the print quality of the image itself as it is presented for viewing. Sharpness, exposure, printing, mounting and correct color all speak to the qualities of the physical print. 11. Technique is the approach used to create the image. Printing, lighting, posing, film choice, paper selection and more are part of the technique applied to an image. 12. Story Telling refers to the imageâ&#x20AC;&#x2122;s ability to evoke imagination. One beautiful thing about art is that each viewer might collect his own message or read her own story in an image. n

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FPP Convention 2013 DEBBIE ALCORN, FSA, FED, FPP CONVENTION MANAGER

Save the Date August 17-21, 2013 FPP Convention is not just a week of speakers, a two day Trade Show, an intense Image Competition, a great print display, an Awards Banquet or a couple of fun parties. It is all that and a week of the best camaraderie to be found anywhere. The friendships you will make at FPP will last a lifetime. The people you will meet and get to know here will help you, guide you and just plain have your back when you need it. I have been too many other State Conventions and Florida is by far the friendliest and most sharing. That being said, what about the Trade Show? A 2 day trade show, with PP Luis Melendi at the helm since 1991, starting Sunday at 11:00 AM till 4:00 PM and Monday 10:00 AM till 2:00 PM ﬁlled with a variety of temptations. Please support the vendors of our Trade Show because without them there would not be a Convention. What about the parties? Our “Kick-off Party” is Saturday night at 9:45 in the foyer of ballroom C/D, no theme here just a great time to see old friends, make new ones and plan your week. Our Monday Night Party is um... Monday night

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7:30 PM - Midnight. This year’s theme is “Boots and Pearls” so shine up your boots and dig out your pearls for a night of good food, dancing and fun. The guys don’t have to wear pearls but you can if you want to! The Presidential Suite will be open on select nights for casual get-togethers. All attendees are welcome and help with clean-up will be greatly appreciated. Awards Banquet? This year marks the 80th Anniversary of the founding of the FPP. Our banquet will revolve around the many things that have happened over the many

years of our organization and we will honor the winners of our Competition and Service awards. The banquet is about the only time I get to dress-up. Come join us.

Watching the judging on Saturday and Sunday is a huge education. Check out Competition Manager’s article for information on the Proofcast Lounge, really sounds like a blast to me. Entering digitally certainly has its advantages but what about the print display. All participants are encouraged to bring regular 16x20 prints to hang in our display. The more the merrier. Show off you work! Camaraderie, well the best way to make new friends is to join and work on a committee. Check with Assistant Committee Chair Cindy

Strickland and Assistant Speaker Support Chair Britney Kirby Fullgraf, join in on the fun and get a service merit to boot. Speakers? Yes, we have speakers:

Competition!!?? If you have never competed this is the year to start.

Richard Sturdevant M.Photog.CR,

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M.Artist “Loan or Bust” Getting the most out of your Artistic Prints. A Photo Shop Guru, Richard will teach us how to but the touches on Fine Art prints and Competition prints that put them over the edge so you can go Loan and charge more. Hanson Fong, M.Photog.Cr The master of posing will show us how to get the most and best angles in just minutes. A premier wedding and portrait photographer willing to give us all he “secrets”, bring your cameras as he ﬂows through the poses.

images and how to get the money you deserve. Cindy Behnke, M.Photog.Cr “Maternity and Babies” From the “glow” of pregnancy through the toddling & senior years, Cindy will teach us how to get the clients and keep them for life. $$$

and an experience that your clients will never forget and have fun doing it. Michael will talk and demonstrate outdoor portraits that will knock your socks off. A Safari around the hotel grounds to show how to use any type of backdrop and lighting. A must see for seasoned and novice as well.

Michael Mowbray, M.Photog.Cr “Shoot to Thrill” A how to program. Create images

That’s our line-up for now, more to come. Call me if you have an ideas or suggestions. 727.481.9329 n

Christine Reynolds, M.Photog., CPP, FDPE, FED, MBA Commercial Photography De Mystified. Commercial photography creates images that impact the viewer as an investment in future sales. Learn the key to clearly define how the viewer should be impacted, the lighting, the composition and how to get paid what you are worth. Frank Frost, M.Photog.Cr., CPP “If It’s Worth Doing, It’s Worth Doing Right” With over 25 years running a successful high-end portrait studio Frank will guide us through his methods for merging Old School principles with the ever-changing industry. He will cover everything from marketing, posing and lighting, to selling and customer service. Cheri Frost aka Missy You are invited to “Missy’s Clubhouse” were you need to get ready to laugh, cringe and maybe learn a thing or two as Missy guides us through the murky waters of professional photography. Bert Behnke, M.Photog.Cr., Hon. M.Photog. PPA “Engagement and Couples Portrait” Consultation is the key in producing beautiful portraiture. Bert will walk us through engagement portraits from start to finish. Capturing the essence of the couple to the point that they have tears in their eyes when they see their

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FPP 2013 Board Nominations DONNA CAMPIZ PAST-PRESIDENT FSA, FED

As your Past President I am honored to announce that Cindy Strickland, Britney Fullgraf and Robin Adams will be up for election for their ﬁrst three-year term, to the FPP Board of Directors. Cindy and Britney are presently serving as appointees for the FPP board and have been a tremendous asset to us all. Robin is currently serving as our Competition Manager and doing a fantastic job. Robin has been to our Board Meetings since becoming our Competition Manager so we have seen the leadership quality she has to offer. Cindy, Britney and Robin are committed to the FPP membership putting the members ﬁrst in all decisions that have been made. The FPP Board of Directors will proudly nominate Cindy Strickland, Britney Fullgraf and Robin Adams to the FPP membership, at the General Business meeting, during our 2013 Convention August 17-21 Now it’s with great pleasure that I present you with their Bio’s:

Based in Lakeland, Britney was born and raised all over the state of Florida. She is Past President of Professional Photographers of MidFlorida and has served as PPGMF Board Member, Vice President and Communications Director as well as FPP Delegate and as an FPP Mentor. Britney credits many photography mentors for her success and says she has been overwhelmed by help, support and encouragement since her entrance into the photography industry. Her unique business model and fresh perspective have attracted the attention of photographers and organizations across the country. She assists a number of photographers in growing their businesses through her private consulting services and maintains a busy speaking schedule. Britney received the 2009 Distinguished Award for the Professional Photographer's Guild of Mid-Florida, based on print competition. She serves on the Board of Trustees for PPA Charities and participates heavily on the national and state level with vendors and other speakers, as they support Operation Smile. She is on the PPA International committee and serves on PPA Council.

Britney Kirby Fullgraf, Cr.Photog., CPP

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12-year-old son, Simon.

Her photography business, Belvedere Studio, is based in Central Florida where she is active in her local community and lives with her husband, Eric, and their

Cindy Strickland, FED, FSA “A Moment Captured by Cindy Strickland” opened in 1998 in Tallahassee as a portrait studio for children and families. Cindy creates studio and environmental portraits. Most recently, Cindy has added her love of painting to her studio line by offering painted portraits. She previously served for ﬁve years on the board of the Tallahassee Professional Photographer's Guild, two years as an FPP Delegate, is an FPP Mentor, and is completing her second appointed year on the FPP Board of Directors. Continuing education is extremely important to Cindy who has attended Florida School for the past ten years, the past four of which she also served as class assistant. She also has been an active participant

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at the annual convention for the past eleven years. Cindy has received the following recognitions and honors: FED - Florida Education Degree F S A - F lo r ida Ser vice Awar d Ed Robinson Scholarship, ‘11 (FPP) P re sid e nt’s Awar d, ‘12 (TPPG) Digital Artist of the Year, ‘11 (TPPG) Digital Artist of the Year, ‘08 (TPPG) D istin g ushed Ser vice Awar d, ‘0 8 (T PPG) Cindy is a fifthgeneration Floridian and currently lives in Tallahassee with her husband, Tim, and their two boys, Ben and Tyler.

Mentor, Silent Auction and Scholarships BETTY MDDONALD, CR., FDAE, FSA, FED

It's time to start thinking about our FPP Convention 2013. I want to remind you again of our Mentor Program and hope you plan on participating by bidding on the Mentors of your choice. Also our Photographic Merchandise. Most of our members are familiar with our Mentor Program. Top the new members who are not, each year at the Convention we have a Silent Auction where members can bid on the photographer they wish to be their Mentor for a day. The winning bidders have until June 30, 2014 to claim their day with the Mentor. The day is chosen at the convenience of both the bidders and the Mentors.

Robin Adams This will be Robin’s ﬁrst three-year term on the board. Robin is from the Tallahassee area and has been involved in photography for 8 years. Her specialty is children, family and pet photography. Robin is a past president of Tallahassee Professional Photographers Guild (2012). Robin has been a member of the FPP for six years, has served as Assistant Competition Manager and is the current Competition Manager for the FPP. See you all at the Convention in August. Remember that your dues include convention registration, so, if you can attend a few days or the entire time, this is an educational opportunity provided to all of our members to help improve your photography and/or business. n

The money we receive from the auction goes into the FPP Scholarship Fund. This fund allows us to give Scholarships each year to Florida School. These scholarships are awarded at Florida School and the Convention Awards Banquet. This year we are adding new mentors as well as our mentors who have volunteered in the past years. I would like to hear from members who would like to be a Mentor or would like to suggest one of our menbers to be a Mentor. Please contact me at 205688-2975 or Robin Phillips at 863682-6958. We will contact them to see if they would like to participate as a mentor this year. I hope this year will include some new mentors as well as those who continue to give their knowledge and time to this great cause.

As in the past, our Silent Auction will include Photographic Merchandise donated by some of our Sponsors and Venders. We will have the merchandise or photographs on display at the booth in the Trade Show. As you visit their booths in the trade show let them know how much we appreciate their participation. Be sure to stop by and check out our Mentors and Merchandise. We will available for bids during the Trade Show hours on Sunday and Monday. This will give you time to bid without missing any programs. At this time a big thanks to all Mentors, Sponsors and Vendors who participate in this program. n

If you want. . . Prestige, Knowledge, Business Development, Continuing Education, Personal Growth, Degrees, Development of Ethics, Friends and Fellowship, Fun, Awards, Leadership Development, Annual Convention and Trade Show, Award Winning Publication, Photographic Competition, Seminars, PPA Affiliate School and more!

Join the Florida Professional Photographers See Application Information on page 24.

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2013 Convention Committees CINDY STRICKLAND, FSA, FED

What will you get out of Convention this year?

(Clique alert! Ready?) “You get what you give.” We have all heard that at every PTA meeting, church gathering, and volunteer organization. BUT, I challenge you to sit back and think about that statement carefully. From personal experience, I can assure you that as cheesy as it sounds, it really is true. Make an investment in your Convention experience, and you may be surprised by all the things you gain. And, ﬁnally, let's take an honest look at the other side of volunteerism. That's simply who we are... an organization fed by the volunteer. Without the time and talents of those serving, we would not be able to provide the educational opportunities we can today. Think of it as a family reunion... someone brings the main dish, someone brings the paper goods, and someone else arranges the entertainment and sets the schedule.

Banquet Decor - Decorating for our 80th Anniversary Celebration and Semi-formal Awards Banquet. Chairman: Shannon Black (shannonblackphotography@gmail.com) Door Prizes – Free Stuff! Collect and give away prizes before each program. Chairman: To be decided Flea Market - A place to sell and buy from each other – everything from props and backgrounds to lights and equipment. Chairman: Kevin Newsome (kevin@newsomesstudio.com) Information/Promotions Booth - Let visitors know about FPP, and sell FPP items to current members at the Trade Show. Great for someone who loves to help sell FPP! Chairman: Robin Phillips (phillipsphoto@msn.com)

Where do you ﬁt? Where can you serve? Join the family...

New Members – Spend time making sure all the newest members feel welcome. Chairman: Tammy Czigan (tammy@gplstudios.com)

Below is a list of committees along with a brief description and the Committee Chair's contact information. We all still need committee members, so if you see an area of interest, please contact the chairman!

Photography - Record Convention the best way we know how... photography. No excuses on this one... we all know how to manage a camera. Chairman: Marti Newkirk (email@martisparty.com)

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Scholarship - Help raise money through the Mentor and Silent Auctions to send some lucky people to Florida School. Chairman: Betty McDonald (artbybetty1@centurylink.net) Sergeant of Arms – The rulekeepers! Chairman: Kim Warmholts (lkimw@aol.com) Social Decor – BOOTS and PEARLS! What a great theme this year! Chairman: To be decided Sunday Devotions – Help with our wonderful Sunday morning devotional service. Chairman: Rob Moorman (cameradude1@gmail.com) Welcome Committee – Are you a smiler? Not afraid of making friends? Want everyone to feel welcome? This is the committee for you! Chairman: Susan Black (susan@BESPics.com) Nothing a ﬁt? There are more opportunities! Contact Britney Kirby Fullgraf (info@belvederestudio.com) for information on Speaker Support Committees: Audio Visual, Host, Props, Equipment, Speaker Equipment, Models, Signs, and Photo Safari.

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Convention FPP 2013 Important Banquet Dates to Remember! HAPPY ANNIVERSARY! This year, our semi-formal awards banquet will not only serve to honor the photo competition winners and annual recognitions, but we are also celebrating the 80th Anniversary of our organization. Before the banquet, makers will know if their prints have been recognized as an “Honor Print”, but during the evening the following honors will be revealed: the First Place images in each category, who receives the honored Becker Award and Artist of the Year Award, and Florida's Top Ten Photographers.

April 13-16, 2013 SEPPA Convention, Athens, GA

August 21, 2013 FPP Board Wrap Up Meeting

April 28, 2013 FPP Board Meeting, Tampa, FL

September 22, 2013 FPP Board Meeting, Tampa, FL

June 2-6, 2013 Florida School

October 2013 – Contract committee have contracts complete prior to Budget mtg.

June 30, 2013 FPP Board Meeting, Tampa, August 17-21, 2013 FPP Convention, Orlando, FL August 16, 2013 FPP Board Meeting August 20, 2013 General Business Meeting

October 20, 2013 Budget Committee Meets November 3, 2013 Fall Seminar Daytona State College November 4, 2013 Board Mtg with delegates Daytona State College

Join us as we honor the past and look to the future. LET'S CELEBRATE!!!

Monday Night Party Ye-Haw! Dust off your cowboy hat, ﬁnd your favorite boots, polish your pearls, and join us for this year's party... BOOTS and PEARLS! Grab some grub, and dance the night away during this fun theme party where we kick back and just enjoy! Are you a party goer? Consider helping on this fun committee!!! Ya'll come to the party now, ya hear? n

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Color Correcting Made Easy MARTY GRIVJACK, CR.PHOTOG., FAS - FPP DELEGATE CHAIRMAN

A Primer!

Do you photograph a gray or color reference at a session? Do you have a gray reference? Or do you just guess at what looks correct and tweak accordingly…letting the lab color correct your work? Do you

know what the “rules” are so you can get the images right for output? It’s not as difficult as you might think, and you don’t need expensive gear to do it. You just need to know how! First, a consideration. To color balance AFTER you do your shoot is THE most difficult way to remove color cast. I repeat the most difficult. This is one of those aspects in photography where you need to be your own best friend. Obtain a gray reference and put it in your computer bag, TODAY. Then use it. The Rules: Shoot a gray card/reference at every venue. If you’re inside, shoot a gray card. Step outside to photograph? Shoot the gray card again. Change venues, shoot a gray card shot. No exceptions. You’ll need them later to correct each venue’s images. Don’t have a gray card? Go get one. They’re not expensive, and they’re available in a variety of useful forms. Some are even free! Name brand paint-chips, for

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example. Contact me and I’ll tell you my emergi-card paint chip number. I use the WhiBal™ plastic card, made right here in Florida by Michael Tapes of Michael Tapes Design. It is hardy, can help you attain an accurate focus and settles color cast problems. I also use the Spudz™ lens cloth by Alpine Innovations, they are 18% reflectance exposure, pure gray, microfiber lens cleaners and hang right on your camera. There’s also the Delta Zone System gray card, made of cardboard. But you see the problem there…cardboard and “outside” have obvious conflicts. You won’t want to use the cardboard reference at the beach or on a rainy day. The Zone card is designed for the studio. There’s a gray reference card built into the back of a lot of Scott Kelby books. If you’re a Kelby aficionado then you probably have a gray card already, just waiting to be used. It’s perforated so you can

detach and use. However, it also is cardstock. The process is simple – shoot a gray card where you’re photographing. Import the images into Lightroom (a shameless plug, I admit) and press the “W” key to activate the white balance tool. Navigate to the image of your gray card or reference and dauber on the gray area. Instantly, the color cast is gone and you’ve got color balance. Voila! Now highlight all the images from that venue, click Sync, select [x] White balance only, and then click Synchronize. All done. It couldn’t be any simpler. You can synchronize hundreds or thousands of images in seconds.

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mid-tone exposure sample. That’s why you need to understand the difference between a gray reference and an 18% exposure reference. They are two distinctly different functions. But when you combine them into a device that does both…one that provides both a proper exposure reference and a proper gray reference, like a gray card or a gray cloth…now that is a tool that is useful. Efﬁcient professionals use effective problem-solving tools. Above: Before Synchconization

So, what if you forgot to shoot a gray card and you still need a gray reference? Find a known neutral object. Such items: sidewalks, street pavement, asphalt, aluminum mailboxes, unpainted steel, a tenured (I didn’t say old) guy’s gray hair (they tend not to color their gray hair) just to name a few. It is important to not reflect direct light back into the camera, as this creates a false reference situation that will not work. Most gray references are pretty much non-reflective to prevent that from happening. Now a word about 18%. Have you noticed I’ve not stated “18% gray?” That is an important distinction and a bit of a misnomer. Gray is an equal amount of red, green and blue color/pigment. But “gray” could be dark or light as far as luminance is concerned. So let’s revisit the term “18%.” This is specifically referring to a proper exposure level. The proper term is “18% (light) reflectance.” Your camera or spot meter is designed to look for 18% reflectance for proper exposure. If a

Below: After Synchconization

gray reference is also a good 18% exposure reference, then you can point your camera at it and gauge the proper settings for a proper exposure given the light source at the time AND capture the color cast at the same time. Shoot it and adjust your camera aperture or shutter speed so the camera display histogram spike is in the middle. Then, later, use that image to color balance in the digital lab. So now, let’s make it interesting. You can also use the palm of your hand or the green side of a dollar bill (are they green any more?) as a veritable 18% exposure reference. CPPs and Barbara London fans know that trick. However, neither is obviously a “gray” reference, only a

A word of caution – the WhiBal product is about 1.5 stops higher as an exposure reference, so your “spike” will be to the right of center for a proper exposure. See the graphic. I won’t leave for a job without taking a gray reference with me. They’re tucked in each camera bag, in about the same location, in the front pocket. It’s very easy to use

and solves a world of problems when color correcting images. Don’t struggle anymore. Get one now and learn to use it. Contact me if you’re not getting the results you are expecting. I’ll be glad to help you ﬁgure out what is causing your color correction pain. n

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Natural Light or Flash? HANSON FONG, M.PHOTOG.CR, FFPC, XXV

With more than 35 years experience as a Wedding and Portrait photographer, I am fortunate that learning innovative photographic techniques is still a great personal passion. I enjoy working with my clients, always searching for different ideas and techniques to create my unique photographs. My main goal is to naturally enhance my subject(s) and at the same time, create a timeless art piece. Objective: The objective of this article is to demonstrate how to photograph under any substandard situations, i.e., difﬁcult lighting, mixed lighting, bright light, low light, etc. Goals: Upon completion of this discussion, one will understand what tools have been utilized to capture a photograph under any displeasing lighting predicament. Discussion: I had been asked to photograph a guitarist/singer for her new upcoming CD. We had a one on one discussion where she requested photographs for the CD cover. The guitarist wanted a half-length outdoor (with green foliage) portrait. Half-length, Outdoor Environmental: The session was done in Houston, Texas, at an afﬂuent shopping plaza. I walked around the plaza to scout the best location to photograph this individual. The deciding factors were a pretty background as well as optimal lighting to best

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complement the subject. As per the discretion of the subject, I located a background that had green foliage. My goal was to photograph the subject with incredible sharpness and at the same time I did not want the details of the background andforeground to compete with my subject. The 70mm-200mm zoom lens was set at 200mm for telephoto compression. The lens aperture was selected at 5.6 to limit the depth of ﬁeld. The subject is 5’8”, blond, wearing a white sweater, blue denim jeans. I determined I could not photograph her in a standing position because I did not want to include the shopping plaza in the photograph. I had the subject sit on my signature 9” EZ step, as a “posing stool.” I had the subject rest her guitar on her knees, both arms crossed over her guitar. By leaning her torso forward, this created energy and movement. Her head was tilted to the feminine pose, which is, tilting her head to the high shoulder (left), to create an elegant pose. Standing on my EZ steps, approximately two feet from the ground, I tilted the camera to photograph downwards to avoid capturing any hint of the shopping plaza. Other than the background, I noticed the sun was bouncing off a windowpane on the top left. With sunlight bouncing from the windowpane, I positioned the subject where she could be outlined with hair light (separation

light) from the windowpane. This is the ideal scenario for three-dimensional lighting from behind the subject’s head. The subject’s face did not have ideal main lighting. To compensate for that deficiency, I created the main light by utilizing the ProFoto 600 Acute B flash system. I placed this system on my right (subject’s left). I attached the ProFoto soft box onto the Acute B flash. The soft box was feathered away from the subject to create a more even, but directional light. The portable studio light was feathered towards the reflector in order to bounce back towards the shadow. The Sekonic L-758 DR meter was used to read the separation light (hair light), 1/125th shutter speed at F4, ISO 100. From my past experiences, all light from behind a subject is usually one to one and a half stop less than the main light to balance the hair light from the main light. The ProFoto light was metered at 1/125th at 5.6, ISO 100. By doing so, perfect hair detail, skin tone, and even lighting in the subject’s sweater detail were seen. The reflector controls the ratio of shadow to highlight. I generally prefer to work 3:1. What this means is that the highlight to the shadow is one stop apart. The ProFoto flash was metered at 5.6. Using the reflector to bounce back the light to the shadow, which metered at F4. I generally prefer a soft gold reflector

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to a silver reďŹ&#x201A;ector to create a warm shadow, which I believe creates a softer look in a photograph. I used a wireless transmitter system, the Pocket Wizard System Plus, which was attached to my cameraâ&#x20AC;&#x2122;s hot shoe. This sends a signal to the ProFoto pack, which has a built in receiver. By doing so, I kept things simple and avoided tangling into sync cords, etc. n

Florida Photographer Next Issue D ead ea d l i n e May 15th Share your Knowledge, Write an Article! Florida Photographer 23

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FLORIDA PROFESSIONAL PHOTOGRAPHERS, INC. 11738 N. Dale Mabry Hwy., Tampa, FL 33618 www.fpponline.org 813-760-1933 fax 813-333-0452

APPLICATION FOR: NEW MEMBERSHIP MEMBERSHIP CATEGORIES & DUES (check one) All Membership Dues include the 2013 Convention Registration Fee! All members are of Legal Age and are entitled to all the Benefits of the FPP. Certain Privileges are restricted based on Type of Membership Florida residency required for Professional, Associate, and Non-Professional Membership Types Benefits include: Attend Activities and Service (fees may apply as determined by the Board); Service on Committees; Participation in Photographic Competition; Ability to earn Degrees; & Web site ‘Member Directory’ Listing Privileges may include: Voting rights; Holding office; FPP Logo use; Photographic Awards; Scholarships; & Web Site ‘Photographer Search’ Listing

$210

PROFESSIONAL – Operates/Employed by a legally established photography business in Florida.

$195

Required to submit Sales Tax Certificate Number. Entitled to all FPP benefits and privileges. ASSOCIATE – Employed by a FPP Professional or Life member.

Entitled to all FPP benefits; Privileges limited to Voting rights, Holding office, Photographic Awards, & Scholarships.

$210 MEMBER – Individuals who do not yet meet the requirements for any of the other $135

categories. Entitled to all FPP benefits; Privileges limited to Photographic Awards, & Scholarships. STUDENT – Currently enrolled full or part-time in an accredited degree/certification program at a postsecondary school. Does not include continuing education courses or non-degree seeking students. Proof of enrollment required. Entitled to all FPP benefits; Privileges limited to Photographic Awards, &

Scholarships.

$205 SERVICE – Individual or business that offers services and/or sales to professional photographers. Entitled to all FPP benefits; Privileges limited to FPP Logo use, Photographic Awards, & Scholarships.

$195 NON-RESIDENT – Employed outside of Florida. Entitled to all FPP benefits; Privileges limited to FPP Logo use, & Scholarships. FPP Bylaws; Article III - Membership

LAST NAME

FIRST NAME

TELEPHONE

BUSINESS or SCHOOL NAME

FAX

MAILING ADDRESS

CITY/STATE/ZIP

WEBSITE

SALES TAX # (Required for Professional members)

PPA #, if applicable

CHECK SPECIALTIES

Aerial Advertising Animals Arts AV B&W Commercial Children Digital Equine Events Environmental Family Glamour High School Seniors Industrial Lab Maternity Nature Photoshop Portrait Restoration Sales Service Specialist Schools Stock Sports Video Wedding NILMDTS CODE OF ETHICS: Upon being accepted into membership in Florida Professional Photographers, Inc., I do hereby subscribe without reservation to this Code of Ethics and do solemnly agree that: 1. I will endeavor to enhance and ennoble the status of the photographic profession by maintaining a dignity of manner in my behavior, in the presentation of my photography and photographic services, in the appearance of my studio or place of business, and in all other forms of public contact. 2. I will observe the highest standard of honesty in all my transactions, avoiding the use of false titles, confusing or inaccurate technical terms or descriptions and misleading terms or claims. 3. I will at all times endeavor to produce only those types of photographs and photographic services that will enhance the prestige of the profession, to apply my best efforts on behalf of the public, and to play my part in raising the general standard of photographic craftsmanship. 4. I will show a friendly spirit of cooperation with my fellow professional photographers and assist them whenever possible should they be in difficulty. 5. I will assist and give of my knowledge to the members of my profession and will encourage them individually and collectively so that the quality of photography may constantly be raised to higher standards. 6. In all matters relating to the interpretation of the Code, I will recognize the authority of the Florida Professional Photographers, Inc., and agree to hold harmless the Board of Directors in any decision made on behalf of the corporation. SIGNATURE OF ACCEPTANCE_______________________________________________________________________________ DATE_________________________

Enclose a CHECK made payable to “FPP” or include credit card information.

Card type_____________ CC# ______________________________________________________ Exp. Date: ______/______ Auth Code: ___________ AMOUNT enclosed (please include $10 APPLICATION FEE): $___________

REQUIRED SIGNATURE: ________________________________________________________ (Membership application invalid without signature)

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Understand Your Client’s Vision

GREGORY DANIEL FDPE, FSA, M.PHOTOG. CR., F-ASP

We are asked often about how we are able to constantly create large wall portraits for our clients in such a difﬁcult period of time. Many businesses all over the country have felt the pain of a down economy for sometime now. Some have suffered the painful decision to close their doors and try another profession while others seem to not only do well but also grow during this event. How can some businesses grow while others fail in the same economy and geographic location? Our belief is that it boils down to understanding your client’s vision.

I ﬁnd it is necessary to be very clear and precise on who we are not confuse our potential clients. Build a Relationship: Our number one priority is listening to our clients needs. It is easy to assume we know exactly what they need and this will ultimately push client

The following areas outline our critical concepts for satisfying our client’s needs.

away. Planning and designing their portrait to ﬁt their need is a critical element in our process.

Presentation: Everyone loves to be pampered with outstanding service. We believe packaging can ad the ﬁnal icing on the cake if done properly, consistently and with sincerity.

Business Foundation: Often referred to as branding, we will attract those who need our service. Our marketing revolves around letting potential clients know we are wall portrait specialists. The styles and products we offer may be broader but our branding focus is narrow.

Sound Photography: We know our photography and artwork must be to the highest level possible. This is why we take the more difﬁcult road of always learning and improving our skills in classical art, design, lighting and now computer post production. There are so many

Our focus and attention has been to nurture the critical concepts and processes that have made us successful for the past 30 years. We truly believe strong business principles applied to client needs is a lasting combination for a growing business. n

quality options available today than ever before. Florida School and other affiliated schools across the country bring in the finest instructors with a broad spectrum of expertise that will most certainly be a perfect fit for your current educational needs. Project: Most people like the ability to see what their final product will look like prior to investing in their personal art. We project their art actual size in our gallery or in their home.

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Demystifying Painter JANE CONNER-ZISER, CR.PHOTOG, API

Part One: Choosing Brushes

Painter is indisputably the world’s most intuitive natural media software. It’s the only software that allows you to draw and paint as effortlessly as you do with classic media – without feeling like you’re in a software program. Photoshop is making some good progress with painting capabilities, but nothing today compares to the ﬂow and magic of Corel Painter.

in my online portfolio are class samples, worked up while teaching, so you know I didn’t work on them all day. Painter’s default brushes are beautifully designed by many of the top digital painters in the world. The only adjustments you need to make are in opacity and size. The magic is how you move your hand.

There’s a LOT of brushes!!! Thirty Brush Categories and hundreds of Brush Variants can look pretty daunting to a new user, In addition, many people who teach Painter give out (or sell) their own brushes AND the internet is bulging with brush libraries and options, It’s not surprising that the biggest question I get from people is, “How do you know which ones to use?”

Software does not distinguish between media. There is no such thing as an “oil” or “watercolor”. Just different textures and blends in the paint. This makes it fun to experiment with different Brush Categories and Variants and select the ones that seem the most promising to you. Try them out! I used to keep a written journal of the brushes I liked for different purposes, like Hair, Smooth Blending, Add Color, etc. If you want to start simple, I suggest you use the Cloner / Soft Cloner, The Blender / Grainy Water and the Airbrush / Digital Airbrush. By varying the opacity of the brushes you can create classic oil style paintings as well as impressionistic watercolor effects.

SO, let me begin by saying “There are no rules!” You can use what you want, where you want. I’ll also share that ALL of my paintings are created using the default brushes in Painter and that half of the samples

Once you get comfortable, branch out! I never rely upon the same brushes for everything. I love to experiment and vary my technique – it keeps me learning and makes me a better

When you first open the program, it looks KIND OF like Photoshop but things are different enough that many people find it hard to get started. For us photographers, the first thing to realize is that while Painter has many tools and functions in common with Photoshop (that work differently), like shapes, text, layer blending modes and special effects, the only thing we really use heavily is the Brush Tool. Easy enough.

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artist. The way I experiment is to make an empty canvas and then select a Brush Category to play with. I choose a color and then start at the top making marks upon the blank canvas. If I like the way the brush moves – maybe it looks “hairy” – I’ll put it on my list to try the next time I’m painting hair. When the brush goes into action on a painting, I will experiment with different opacities and with choosing to select my own colors or clone them from the image. If I like it, I put a star next to it in my notebook with any comments I’d like to remember about it. Here’s what one of my test canvas’s might look like; this is the Chalk and Crayon Category:

I noticed that all of the Crayon Variants got darker and darker when I added additional coats, all the way to black. That doesn’t work

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for the way I like to paint, so I know to axe Crayons from my brush choices. I liked the Chalks, however, especially the Square Chalk and the Real Fat Chalk for adding Color and the Sharp Chalk for drawing lines, details and edges. I’ll make a note of this in my notebook. Later, when I actually try to use them, I’ll experiment with opacity, layering colors and blending. I’ll make additional notes, or cross one out that didn’t work like I’d hoped. In the end I’ll have a lot of fun brushes to paint with! Painter brushes are designed to do different things. Some brushes will add colors. Some will move existing color in traditional ways. Some will distort existing color in interesting ways. Blenders will actually blend different colors together – not just smear or blur them. Look at the different ways you can change the look of an airbrushed line just by using different blenders!

There are three categories to keep in mind. Two of them create their own Layer that is only workable with brushes from the category. Watercolor and Liquid Ink always stump the new Painter user because they don’t understand what has happened. Watercolor and Liquid Ink retain in Painter’s memory characteristics that let the colors run together or drip, even if you close the ﬁle and open it the next day! In order to do this, Painter creates special layers for these categories. The problem arises when someone wants to change brush categories to add or blend what is already there – a dialog box opens that says “Only Watercolor Brushes Can Be Used

On Watercolor Layers”. This is a hint to look in the Layers Window (Window / Layers if you don’t see it). There will be a layer for that brush category. If you want to keep the paint but treat it as the rest of the colors, choose Layers / Drop All and you’re ready to go.

Get the Most Out of the FPP Programs!

The other Category is Digital Watercolor. I LOVE this category for glazing colors and I use it a lot. However, if I want to blend the colors I’ve added, I have to choose Layers / Dry Digital Watercolor in order to do it.

Do you feel like you're not getting everything out of programs or seminars as you should? Here are six ways to maximize your involvement:

1. Arrive early. This gives you the control to make the seminar work Another hint for playing with for you. Arriving early gets you "in brushes is that if you want to clear the mood" for learning and helps your canvas and start over again, you avoid the stress of rushing in at choose Select / All and hit the the last minute. Backspace (PC) or Delete (Mac) 2. Remove yourself from ofﬁce key. The canvas will clear to white pressures. Nothing's worse than and you can start experimenting all taking the studio with you everyover again. where you go. Let the ofﬁce function without you for one day; ask I hope this gets you started in your your assistant to leave messages or grand experiment with Painter and make an appointment at a set time takes the fear out of to check-in. searching through 3. Bring business cards. Attending Brush Categories an educational seminar gives you an and Variants! edge, both intellectually and profesJump in sionally. It's a great place for and try networking and you'll want to have it; you business cards ready for those can’t ruin people with whom you'd like to anything; keep in touch. it’s just 4. Introduce yourself to at least software! three people sitting near you. You obviously have something in common with them; they all work in the photographic industry and they want to learn - there's no better Jane Conner-ziser is an artist, way to make new contacts. photographer, retoucher, 5. Take notes. It helps your painter, author and instructor comprehension to make a few in the professional photognotes, even on the handouts. Write raphy industry. She lectures at down questions as they pop up so photography events, teaches at you'll remember to ask them later. schools of professional photog6. Participate in the discussion. You'll remember more of the materaphy and offers private rial if you participate in the discustraining for individuals and sion. If you have a suggestion that groups. Jane is also a freelance works or had a similar problem and retouching artist and painter. solved it, share that information so You can see her work and others can learn from your experience. check availability for classes at www.janeconner-ziser.com Information Source: American Society of Association Executives. n

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New FPP Members The following people have applied for membership in the FLORIDA PROFESSIONAL PHOTOGRAPHERS, Inc. Their names are published for all members to review in accordance with the membership rules. If no objections are received within thirty days of this publication, these individuals will be accepted pending approval from the FPP Board of Directors.

NAME

CITY

STATUS

Cliff Addy Laura Biasetti Max Hunt Christina Kolke Booray Perry Doreen Rapp Rick Lewis Jennifer Gerardi Becky Jordan Alison Beyer Carla Parker Vasileni Balabanova Luzviminda Rivetz Marian Krauthamer Brodie Harvey Megan Davis Chrismarie Ruiz Megan Conley Jennifer Lloyd Wendy Carrion Michelle Almyda Michael Wilson Erika Gutierrez LeJeana Bodo Erica Csatlos Franklin Sandoval

Callahan Tampa Largo Jacksonville Lutz Wesley Chapel Lutz Englewood St Petersburg Ft Myers Land O Lakes N. Palm Beach Ocala St. Petersburg St. Petersburg Beach DeerďŹ eld Beach Riverview Gainesville Apollo Beach Tampa Ocala St Petersburg Beach Miami Lakes Brandon Land O Lakes Miami Beach

Professional Student Student Member Professional Professional Professional Professional Associate Professional Member Associate Member Member Student Professional Student Professional Member Student Professional Member Member Associate Student Member

Our Convention Home The Rosen Plaza Hotel www.rosenplaza.com Florida Photographer 28

Membership Corner BRITNEY KIRBY FULLGRAF

We are thrilled to report that our recent Florida Professional Photographer membership drive was a huge success! We welcome 25 new members to our FPP Family and would love to thank Carol Walker for an amazing Spring Seminar with Alycia Alvarez where our new members were able to jump right in with great education right away! FPP Convention will be here before we know it! Did you know the cost of convention is already covered by your FPP annual dues? We expect this year to be one of the best years ever, so mark your calendars now for August 17th-21st so you don't miss a single minute! We'll be at the Rosen Plaza Hotel in Orlando with an incredible line-up of speakers, print competition, parties and our annual awards banquet, plus lots of fun surprises! You'll deďŹ nitely want to stay right onsite at the Rosen this year. You get extra entries to the scholarship drawing and an extra chance for every doorprize drawing during convention! Can't wait to see you there! If you just can't wait for outstanding print competition and education from wonderful speakers, SEPPA Convention is in Athens, Georgia April 13th-16th. You can get a jump start on your prints and get the latest information from a great line-up of instructors. If you are an FPP member tuition is only $49! Watch for more emails and peek in at the FPP website for updates and other great information. We are just thrilled to have you as a part of the FPP family!

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