The
Contact Sheet The Newsletter of the
Finger Lakes Photography Guild
September
2020
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The Contact Sheet September 2020
Finger Lakes Photography Guild www.fingerlakesphotographyguild.org Member of the Photographic Society of America OFFICERS Joann Long, President. JKLong@rochester.rr.com Jim Hooper, Vice President . Hooperphotographic@yahoo.com Joy Underhill, Secretary. JoyHill@rochester.rr.com Robin Voorhees, Treasurer. robinvoorhees@yahoo.com EXECUTIVE COMMITTEE Charles Cappellino Barbara Drake Lee Drake Karl Dueland Jim Hooper Joann Long Joy Underhill CHAIRS Stephen Burnett, NFRCC Rep Melody Burri, Publicity Chair Don Delong, NFRCC Rep Alternate Karl Dueland, Exhibit Chair Jim Hooper, Education Chair, Newsletter Editor Tom Kredo, PSA Representative Michael Linse, Challenge Co-Chair Nik Nagane, Outings Chair Robert Snyder, Challenge Co-Chair Liz Voorhees, Membership Chair FACEBOOK Public Page: Finger Lakes Photography Guild Member Page: FLPGMembers MISSION The Finger Lakes Photography Guild is a collaboration of photographers who are striving to advance their use of digital imagery as a form of fine art. Members pursue photographic excellence, in a collegial environment, through the use of ongoing training, peer reviews, and shared experiences. While we make every effort to be accurate and factual with the contents herein, we do make mistakes once in a while. Please be kind. PHOTO CREDITS Front cover, Steeve Burnett. This page, Don Delong.
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From the Editor’s Desk... Wow! Where the heck did the summer go?? It’ s already September, and we all know what’s right around the corner. While the global pandemic may have disrupted travel plans, we are fortunate to live in the Finger Lakes, one of the most photogenic places in the world! I hope everyone made the best of a crazy summer, but now is the time to prep for all of the beauty of the fall foliage season. In this issue we feature some highlights of just what our members have been up to over the summer in the Accolades section, as well as tips on how to display your biggest prints without breaking the bank! We’ll get techy with an in-depth review on a top of the line printer, and we’ll even be a bit crafty with a DIY corner. So as always, pour yourself a cup of coffee or tea, and sit back to enjoy another issue of the Contact Sheet!
CONTENTS departments 3 4 5 6 6 6 7 8 12 15 16 18 21 22 24 25
From the Editors Desk News and Notes ProSeries: The Subjective Landscape We Have a Winner! Upcoming Events PSA and NFRCC Resources & Member Pages Go Big or Go Home Accolades Exhibit at 1570 Gallery at Valley Manor What’s In It For Me? Review: Canon ImagePRO GRAPH Pro-1000 Printer FLPG Logo Merchandise Black and White Invitational, featuring Nikhil Nagane What Does it Mean to be a PSA Member? DIY Corner: Weave a Custom Wrist Strap
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Go Big or Go Home: Charlie Cappellino knows big images have big impact, but framing can be super expensive. He’ll show you how to mount big prints at home for big savings!
Gear Review: David Soderlund gets technical with a detailed review on the Canon ImagePrograph Pro-1000.
DIY Corner: Weave a Custom Wrist Strap Jim Hooper hates buying anything he can make for himself. Check out this tutorial on making your own camera wrist strap. 3
News & Notes
Photo by Robin Voorhees Our next meeting will be September 2. This will be a VIRTUAL Business Meeting. Details on the next page. NEW! If you are submitting images for the Challenge, Free For All or Show and Tell, you will now be submitting images to Joann Long (JKLong@rochester. rr.com) one week before the meeting. We are hoping that by sending all images to one person, we will simplify the submission process for all members. For September, please submit images no later than August 26. Please be courteous and follow deadlines, as it may be difficult for Joann to download images the day of the meeting. Challenge: Our next Guild photo Challenge will be “Abstract”. For our September Meeting you are Challenged to create 1 or 2 abstract images. . In review, the Guild Challenge is intended to motivate members to create one or two new images that interpret the subject we present. It may move us out of our routine comfort zone or emphasize an important element of composition. It is intended to make 4
us creatively see and think. Reworked archival images are not appropriate. If you accept the Challenge, it may lead to new perspectives and skill sets. It is not intended to be easy. Show and Tell: Send up to 5 of your favorite images from the summer, for sharing. The Show and Tell segment of the meeting is intended to give members a chance to share with one another about the how and why of their best work. It should go beyond simply showcasing your most recent work, but really help us to learn from your techniques, and help us to understand how the images were made. Alternatively, members may submit ONE image for a critique by members, in lieu of sharing five images. Free For All: Our current FFA image is supplied by Don Delong. You can find this image in the Dropbox folder that Joy has set up for members (click here). Take your best shot at editing the image and email your revised image to Joann Long before the next meeting.
ProSeries: Change of plans! As with all things 2020, our intended ProSeries workshop with Chris Murray has been put on hold for the time being. FLCC is currently not accepting rental reservations, and we don’t yet know when they will be. We have been in contact with Chris, and he is fully in agreement to postpone the Subjective Landscape workshop until we can meet together again safely. All is not lost though! Chris has volunteered to present a one-hour Zoom program, at no cost. Think of this as a primer for the full workshop, whenever that can be rescheduled for. The Zoom program has been scheduled for October 17, the same day that we were supposed to be meeting in person. The program will be one hour in length, from 10am-11am. Once we are able to establish a new date for the full day ProSeries workshop with Chris, we will be sure to let all members know as soon as possible.
The Subjective Landsape with Chris Murray
October 17 10:00am Zoom
. Create images that go beyond merely outward appearances and reflecting your thoughts and feelings. Chris Murray will draw a distinction between objective and subjective landscapes, discuss the defining qualities of each and how they differ in approach and intent. He will discuss ways to help you access and develop your own personal vision in order to make more subjective personally expressive images.
FREE! This one-hour primer will give you a taste of the program that Chris will be presenting, Spring 2021!
Register today at hooperphotographic.com/education
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We Have A Winner! As a member of the Photographic Society of America, we entered our April issue of the Contact Sheet into the PSA Newsletter Competition. After months of awaiting the results, we were notified in August that our Guild scored exceptionally well in competition. Forty-six newsletters were entered in this year’s contest of which 23 were from Large Clubs, 18 were from Small Clubs and 5 were from Chapters or Councils. The Contact Sheet was reviewed by a panel of three independent judges, and received scores of 95, 98 and 99 points, out of a maximum possible of 103. These scores were enough to award our Guild’s Contact Sheet as the Director’s Choice, one of the two highest achievements in the contest. This honor ranked our Contact Sheet as the second highest scoring newsletters, regardless of Club size, meaning that our newsletter outranked many clubs with hundreds of members. We are ecstatic to receive such an honor!
Upcoming Events September 2: Business Meeting** October 7: Education Meeting. Portrait Shoots with Models, from A-Z with Jim Hooper and Nici Johnson. ** October 17: The Subjective Landscape with Chris Murray. Pre-Registration REQUIRED. Go to hooperphotographic. com/education to register today. ** ** Note: This meeting will be conducted via Zoom once again. An invitation will be going out by email. You’re welcome to invite anyone who you think might be interested. We’d love to use this new meeting format as a way of extending our reach to new audiences! Because we are resilient too!
In addition, the Contact Sheet was also awarded for Best Use of Photography, and we also received the award for Best Opinion Article, Our Image, Our Legacy, written by Melody Burri. Judges also remarked on Developing Our Monochrome Vision by David Soderlund and Photographer or GWC, written by Jim Hooper. We are always open to member submissions for the Contact Sheet, and it’s a great way to be even more active in your Photo Guild. If you are interested in submitting tips, tutorials, road trip suggestions, gear reviews, or any other photography related articles and images, please contact Contact Sheet editor, Jim Hooper at hooperphotographic@yahoo.com.
Photographic Society of America
The Finger Lakes Photography Guild is a member club of the Photographic Society of America (PSA). PSA offers some amazing benefits including online courses, one-onone mentoring opportunities, access to the monthly PSA Journal, member galleries, club and individual competitions, study groups, and even discounts on popular products and workshops. Some benefits are available as a member club, others require individual membership. For more information, visit PSA online at psa-photo.org.
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Niagara Frontier Regional Camera Club
The Finger Lakes Photography Guild is a member club of The Niagara Frontier Regional Camera Club (NFRCC). NFRCC is made up of 18 individual camera and photography clubs, with some of those clubs belonging to the Canadian Association of Photographic Arts (CAPA) and/or the Photographic Society of America (PSA). Established in 1957, the NFRCC encompasses an area in the Niagara Peninsula in Southern Ontario, Western New York and Pennsylvania, thus making it truly an International Organization. Our meeting season is from September through May with meeting schedules at the discretion of each club.
Resources
Find a great website, with lots of great information? Share it with your fellow Guild members, here! This list will continue to grow as more people share their favorite resources. Reviews www.dpreview.com Processing Tutorials www.laurashoe.com (Lighroom) phlearn.com General Photography Education behindtheshutter.com www.diyphotography.net (DIY stuff) fstoppers.com petapixel.com photographylife.com strobist.blogspot.com (lighting) blog.joemcnally.com backcountrygallery.com Mattk.com CreativeLive.com www.josephrossbach.com Nature Photography Resource www.luminous-landscape.com www.naturescapes.net Magazines Shutter: behindtheshutter.com Manufacturers www.redriverpaper.com NikonUSA.com Retailers adorama.com bhphotovideo.com keh.com (used equipment) YouTube Channels Fro Knows Photo: www.youtube.com/user/JaredPolin Tony and Chelsea Northrup: https://www.youtube.com/channel/UCDkJEEIifDzR_2K2p9tnwYQ
Member Pages Several of our members currently showcase galleries of their photography with personal websites. Take some time to check these out! If you have a website of your own that you would like to share, Please contact Jim Hooper for inclusion in future issues! Melody Burri Web: www.MelodyBurri.Zenfolio.com Instagram: www.instagram.com/melodyburri Don Delong Web: DonDelong.smugmug.com/ Karl Dueland Web: www.duelandphoto.com Jim Hooper Web: www.HooperPhotographic.com Instagram: www.instagram.com/himjooper Facebook: www.facebook.com/HooperPhotographic Stephen Kalbach Web: www.StephenKalbachPhotography.com Instagram: www.instagram.com/ stephen.kalbach.photography Tom Kredo web: www.flickr.com/photos/tomkredo Joann Long Web: www.Joann-Long.pixels.com Instagram: www.instagram.com/joannklong Facebook: www.facebook.com/ JoannKLongPhotography/ Nik Nagane Web: www.NikNaganePhotography.com Mike Nyerges Web: www.mikenyerges.com Instagram: instagram.com/mike.nyerges David Soderlund Web: www.davidmsoderlund.com
Photo Sharing web.500px.com Photography Schools New York Institute of Photography: nyip.edu Digital Photography School: digital-photography-school.com 7
GO BIG OR GO HOME
Creating and Hanging Large Foam Mounted Prints
Charlie Cappellino
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Big prints have a clear wow factor and are sometimes the best way to convey the emotion of a particular image. Conventional framing of a large print such as 20x30 inches or larger is difficult due to the weight of the materials and the expense of quality frames. Have you ever wanted to create and hang a very large print but unsure of your options? Alternatives to conventional framing that have grown in popularity recently include canvas prints stretched over a wooden frame, aluminum prints, acrylic prints and prints mounted on foam. The first three options are available from many local or internet providers but range in price and can be expensive. The third option of foam mounting is one that you can perform yourself and is a low-cost method to display large prints. It is also a very clean look that accentuates the image on a large wall. It can be used as a temporary display or a permanent hanging. This article will walk you through the materials and steps needed to create large foam mounted prints. Foam mounting options – There are two different foam board mounting options for the do it yourselfer. Below, I will describe an option which uses 3/16” thick plain foam board and a spray adhesive. The second option is to use foam board with a self-stick backing. The process for self-stick foam board
is similar. Both can be purchased at art stores, office stores, discount retailers and a variety of internet retailers. Higher quality foam boards such as Gator Board are more dent resistant but are more expensive. Materials Needed • • • •
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Rubber gloves, respirator mask and safety glasses Flat work surface outdoors or in well ventilated area Plenty of newspaper and drop cloths Foamboard – Black foam board yields a nice finished edge look. Soft paper weights – plastic or cloth bags of steel shot, beans, etc. Photo Safe Spray Adhesive Soft roller Very sharp razor knife Steel straight edge / ruler Pine boards Hot glue gun Screw eyes
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Hanging wire
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Seven Steps to a Print Ready for Hanging 1. Work Area Preparation – Finding the right work area and surface is an important step. You will need a flat and smooth surface to ensure the print is properly mounted and to prevent warping of the finished foam board. I use a piece of plywood resting on two saw horses covered with newspaper. I prefer to do this work outside on a day with minimal wind. It is possible to do this work in a well ventilated indoor space like a garage or basement but plenty of newspaper or drop cloths cover surfaces within 8 feet of the spray process to avoid over spray adhesive from settling on surfaces. 2. Alignment of Print on Foamboard – Lay a piece of foam board of sufficient size for your print on the newspaper. A piece of foam larger than the print is fine because it can be easily trimmed with a razor knife. With gloved or very clean 9
Step 2
hands, align the print on the foam. You can usually align at least two sides while the third and fourth size can be trimmed later. Without disturbing the alignment, gently lay two soft paper weights on one end of the print so the print does not move relative to the foam board. 3. First Application of Spray Adhesive – Gently roll back the unweighted end of the print to expose the foam board and the back side of the rolled back part of the print. Be careful not to disturb the alignment performed in step 2 above. You can secure the rolled back part of the print with a small third paper weight if needed. Cover any part of the image print surface with newspaper to prevent adhesive overspray from settling on the finished print surface. Now is the time to wear your respirator mask, safety glasses and gloves. According to the directions of the photo safe spray adhesive, spray an even coat on both the foam board and the back of the print. I like to start spraying from the center of the foam board and spray towards the outside to minimize overspray into the fold
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Step 3
already covered by newspaper. Ensure all surfaces, particularly the edges have an even coat of adhesive. Carefully, lower the rolled back portion of the print onto the foam to complete the bond. With a clean soft cloth covering your palm, use soft even pressure, to press the print onto the foam board while not denting the foam board. Do not worry about a little overspray on your print as it can be easily removed later once it dries. 4. Second Application of Spray Adhesive – Repeat the process above for the other half of the print making sure adhesive spray reaches into the small gap near the middle of the rolled back print. Remove all newspaper, do not try to reuse it. 5. Clean, Roll and Trim – Once both sides have been secured with adhesive, wait one minute allowing any overspray to dry and remove any overspray with a clean cloth. With a gentle circular rubbing motion, the small bits of adhesive on the print should roll up and can be brushed away. Next use a wide soft roller securing the adhesive being careful not to dent the foam
Step 7
Step 4
Step 5
board by pressing too hard. Using a very sharp razor knife and a steel straight edge to trim any excess foam from the mounted print. Use a new blade to get a good clean cut. 6. Attach wood wall standoffs – Lay a clean towel or another piece of foam down on the flat surface (ex. Plywood) to protect the finished print surface. Use two 3/4” to 1” thick pine boards, each with a length of about 75% of the overall width of the foam mounted print. You can easily find 3/4” finished pine at local lumber stores. To determine the location of the pine boards, subtract the pine board width from the foam board width and divide the result by 2. This will be the distance from the end of the pine board to the edge of the foam board. Mark where each end of the boards will be with a vertical line on the back of the foam board using calculated distance. Place the first board on the back of the foam board about 25% from the top and mark the outline of the board with a pencil. Using a hot glue gun, apply a generous amount of melted adhesive to the pine board and adhere it to the back of the foam board on the pencil outline. Repeat the marking and adhesive process for the bottom board which is placed about 25% from the bottom of the foam board. 7. Hanging wire – Attach a small eye screw into both ends of the top pine board. Attach the hanging wire to the eye screws and the print is ready for hanging.
Finished! This wall-ready big print makes a great gift! I think she liked it! References: YouTube: Mounting Prints onto Gatorfoam Board by Robert Rodriguez 11
Accolades!
Our members do some pretty amazing work! FLPG came in 4th place in the Photographic Society of America (PSA) international photo contest in the Creative Division, and 16th in the PSA Projected Image Division back in June 2020. Check out some of these award winning images from our members! Note: Nikhil Nagane had a collection of stunning black and white images on display at the Image City Black and White Invitational. Check out the collection on pages 22-23.
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Associate Member Al Knataitis and his wife Elise, celebrated 40 years in business as Photographic Services Rochester, in late August. Congrats, Al and Elise!!!
Joann Long’s image was featured on the poster for the Image City Photo Challenge 2020. Also featured were Diane Dersch, Karl Dueland and Tom Kredo. The show is on display September 8 - October 4. Go check it out!
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Diane Dersch is exhibiting the Gerber Daisy at Image City in September.
Jim Hooper published in Pump Magazine, August 2020
Jim Hooper published in Vertiqle Magazine in August 2020.
David Soderlund’s photograph “Coupeville Sunset” was selected as the Nikonians Editor’s Choice for July 19, 2020.
Jim Hooper won the Bronze Metal in the end of year competition for Photographic Society of America Worldwide in June. Jim’s image entitled “Puppet Master” was judged the 3rd best image out of 324 images from clubs around the world.
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Tom Kredo’s Locomotion 683 is on exhibit now at Image City.
Diane Dersch exhibited the African Water Girl at Image City in August.
Check out That’s Gonna Hurt, by Karl Dueland on exhibit now at Image City.
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Diane Dersch’s Misty was featured in the 365 Page a Day Cat Calendar, August 25, 2020.
Exhibit at the 1570 Gallery at Valley Manor Karl Dueland
We just completed a unique exhibit for FLPG. In the midst of a pandemic where travel, public events, and even modest sized gatherings are restricted or discouraged we decided to bring some smiles to a group of seniors at Valley Manor independent living. Approximately 140 people are at the facility and touring their art gallery within the building is a welcome break. With 38 pictures displayed in addition to a showcase with image based notecards the diversity of photographic talent filled the room. All fifteen photographers certainly impressed and brought smiles to the resident visitors. While a specific number of total visitors is not available, the anecdotal feedback was good. As Diane Cotton, 1570 Gallery Director noted, “The feedback I have gotten is very positive – the residents are enjoying the photographs for sure….”. Even though no pictures were sold during the nearly 6 week exhibit, I think our objectives were met,
sharing the joy we each get from photography. Next year we will have an exhibit at their ‘sister’ facility, My Sister’s Gallery from June 28th – August 8th. Hopefully by then, anyone and everyone will be allowed into the facility to enjoy our creations.
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What’s In It For Me? Jim Hooper
I’ve long been an advocate for camera clubs. It began back around 2000, when I joined the Western Reserve Photographic Society in Northeastern Ohio. I quickly found myself really connecting with the overall vibe of the club, and before long I was appointed as the First Vice President, overseeing the education programs and writing articles for the newsletter... sound familiar? Anyway, once I connected with the members of the club, I got really addicted to the club atmosphere, I looked forward to meetings, I wanted to go out and shoot as much as I could, so I could share images, and yes, participate in competitions. I went on outings with club folks, and I found the club meetings to be a real inspiration to go out and get better every month. When my wife and I left Ohio in 2005, I started looking for a camera club to connect with in New York, and for years, I wasn’t having any luck. In those years, I began to feel my passion, excitement, and energy for photography drifting away. I began to wonder if photography was going to end up being just another hobby that lost it’s shine after a few years (let’s talk about my mountain biking, bird watching, and geocaching...) But eventually, after seven (or eight?) years, the stars aligned, and I was invited to join the Finger Lakes Photography Guild. I began to feel like I’d finally found my new home, my new second family. The passion came back almost instantaneously. I was getting excited to go out shooting again, a feeling that had been gone for nearly a decade. So just what is it about the “camera club” world that some people find so valuable? And why do some people love their clubs, while others can be amazing photographers and yet never feel the urge to join a camera club? I’ve been curious about this issue for some time now, and I’ve even written articles for WRPS about this topic, but that was over 15 years ago, and I figured it was worthwhile to dig back into the topic. In the sales and marketing world, you’ll often hear about the “elevator speech”. Maybe you’ve heard of it. The simple scenario is this: imagine yourself on an elevator with someone you don’t know. You’ve got their undivided attention until the next time the elevator stops, and you want to tell them about your amazing product/service/etc. What are you going to tell them in the next 7 seconds that will convince them that they NEED your product/service? The exercise is intended to help you streamline your sales pitch to hit on the key points quickly. Each time I think about my elevator speech for camera clubs, I keep coming back to the same core tenets. Essentially, a camera club is a place where people who love to talk all things photography can come together with like minded people who share that passion. From there, the energy seems to build momentum and the benefits begin to emerge organically. When I ask people what benefit they see in being involved in a camera club, it always starts with people. Good people who share a common interest. Let’s face it, photographers are 16
no different from other hobbyists, in that we can get pretty excited about the minute details that leave non-photographers scratching their heads. Like seriously? You’ve all talked to your partner about dropping a chunk of money on a new lens because, well, it’s an f2.8, and my old one is only an f4. Or woken up at some obscene hour of the morning, to go stand on a frozen lake at 5am, because there just might be an incredible sunrise at 6. Your partner may not understand your “idiosyncrasies”, but your Guild family does. When you just need someone to talk to about your obsession, or ask a question about chromatic aberrations (don’t we all want to know more about CA??), your Guild family is here for you. Melody Burri said it best when she wrote that “The smile that comes over me when I realize that, OMG, all these people are as nuts as I am about photography and gear and technique and creativity and fun. And they’re willing to get up at the crack of dawn and travel the globe for the love of the chase and the joy of the capture. And they love technology, too. THESE are my people!!!” I have always felt that one of the things this Guild does exceptionally well is creating a warm, welcoming environment for new folks to connect to when they come to check us out. While camaraderie and the opportunity to connect with like-minded souls is certainly the biggest reason people join the Guild, the educational aspect of the Guild is also widely recognized as a primary benefit of membership in the Guild. Several members, when surveyed, specifically mentioned educational programs, as well as the informal opportunities to learn from others, simply through informal conversations with others. Mike Nyerges told me that “I learn a lot by listening to other photographers and seeing their work. Even when members informally talk about their work — especially when they talk about their work — I pick up all sorts of random but useful tips and insights, from setting up shots to camera settings to post-production techniques.” Mike is not alone. 100% of the members who responded to my questions via email or Facebook all commented on the educational value of the Guild being important to them. In fact, the emphasis on education above competition was one of the core tenets of the Guild when it first began so many years ago. Lee Drake, one of the founding members of the Guild, commented that the group was formed to support togetherness, without the stress of competition, so that members could learn together, openly willing to share skills and techniques. This is an aspect of the Guild that still holds strong today. This lack of peer-to-peer competition within the club is unique to the Guild, and is one of the factors that sets us apart from most of the other camera clubs throughout the country. Past President David Soderlund also remarked that the sharing and receiving of feedback in a collegial and non-competitive environment was one of the biggest benefits of membership. Another Past President, Diane Dersch said “There is no competitiveness but lots of encouragement which makes it a joy to be part of this group.”
With such an emphasis on the non-competitive, collegial, supportive atmosphere, the stage is set for wonderful educational opportunities, with content being freely shared by members for one another, as well as outside guest speakers coming in to share their knowledge. This is an area that I take great pride in. Knowing that the majority of the members value educational opportunities, we have devoted a great deal of time and resources to bring in those opportunities. By alternating business meetings with education meetings, we ensure that there is a heavy focus on education, rather than trying to squeeze a few minutes of educational content into each meeting. The arrangement has allowed us to attract guest speakers interested in longer blocks of time. This idea has expanded, too, morphing into the ProSeries Workshops where we have top level professional photographers presenting full-day or 2-day workshops. These workshops, open to the general public, have served dual purpose for the Guild by raising our public profile and helping to recruit new members. Our ProSeries has brought us speakers including Tony Sweet, Mark Bowie, Doug Hansgate, and Dan Hughes.
doors for those members who are interested in competition, without threatening the collegial supportive atmosphere within the club. These larger competitions allow our Guild to compete collectively against other clubs. Additionally, individual members have been recognized on the international level through PSA activities. With everything going on within the Guild, the collective talent of our membership has grown so much over the years! Members have always enjoyed exhibiting images when and where possible. From our annual shows at Wood Library, to new and emerging shows like Cobblestone Arts Center, area libraries and Valley Manor in Rochester, the quality of the shows is incredible, and is a true testament to the skills and talents of our members. Outside of our direct shows, we’ve also seen many of our members recognized at Image City Photographic Gallery, as well as Life in the Finger Lakes, the Canandaigua National Bank Calendar, and other area venues. These exhibits can be a real value for members who enjoy the satisfaction that comes from exhibiting their work. David Soderlund commented “I exhibited my first print in a Guild show, and the encouragement of Guild members led me to continue to print and exhibit my work not only in Guild exhibits but also in juried shows and even in a one-person exhibit at Billsboro Winery.”
The Guild’s membership in the Niagara Frontier Regional Camera Club (NFRCC), as well as the more recent membership with the Photographic Society of America (PSA) has also brought additional benefits for members. Through the I’m sure that every member NFRCC connection, our could give me a list of reasons members get discounted why they joined the Guild, rates on the popular Canthe last benefit that I wanted Am Photo Expo, one of to mention specifically is the “Puppet Master” took Bronze in the PSA compeition in June 2020. the largest international opportunity to go in the field photographic conferences to photograph with peers. for amateurs and professionals alike. Every year, the Guild This experience can be so rewarding in terms of both learning is well represented by a fleet of our members making the from, and social connection with peers. Whether it’s learning drive to Buffalo or Ontario, Canada. NFRCC has also been the technical skills of photographing a specific subject matter, both a source for guest speakers, and an opportunity for us to open discussions about how to process those images, or simply market our ProSeries workshops to the larger photographic dipping your toes into a new genre of photography you’ve community. Further, our involvement with NFRCC has helped never tried, attending a Guild outing can be hugely beneficial us to develop a relationship with Hunt’s Photo. Hunt’s Photo for our members. has built their business model on catering to the camera club people across the country, and are eager to provide educational I’d love to hear YOUR reasons for joining the Guild. If I’ve speakers (ie, Mike Moats) as well as discounts on gear for club missed something critical why you’ve stuck around this long, members. message me and let me know! And hey, thanks for being a part of us! The NFRCC and PSA memberships have also opened the
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Review: Canon imagePROGRAPH Pro-1000 Printer David Soderlund
When I began my journey in digital photography 10 years ago I didn't think much about printing digital images; instead, my complete focus was on learning to capture them with my camera and process them on the computer. Later, when I wanted to print images I sent them to a printing service but I found the experience disappointing. I was frustrated by the slow turnaround time, limited paper choices, and a lack of correlation between the image displayed on my computer screen and the printed image that arrived in the mail. A few years later I decided to figure out how to make my own prints that would meet my standards for quality. I purchased an Epson R3000 dedicated photo printer, and using it I achieved a degree of satisfaction with my prints that had eluded me when using a print-to-order service. Even so, I became frustrated with some limitations that I encountered with the R3000: it only printed on media up to 13" wide; it required a wasteful ink change process to switch between Photo Black ink (for luster, semi-gloss and gloss media) and Matte Black ink (for matte media such as most fine art papers); and, it had a propensity to clog when left idle for a few weeks between print jobs. In 2017 I attended a Fine Art Printing workshop presented by Les Picker, where I learned about and used the imagePROGRAPH Pro-1000 printer in his studio. The capabilities of this printer addressed my main frustrations with my Epson R3000. When we moved from New York to Nevada in 2018 I decided to sell the R3000 before moving, and I bought the imagePROGRAPH Pro-1000 (which I will refer to here as the Pro-1000 for the sake of simplicity) later that year.
Figure 1. Pro-1000 dimensions (closed).
Hunt's gave me approximately $700 of free large format Canon photo paper plus free shipping to Reno and no sales tax. Canon also offers two "professional" photo printers that appear to be targeted more toward the amateur enthusiast photographer: the Pixma Pro-10 ($699) and Pixma Pro-100 ($499). These are 13" printers that use less elaborate ink sets (pigment-based inks in the Pro-10, dye-based inks in the Pro100) and a different print head design. These are also often discounted with Canon rebates and vendor bundles. To confuse things further, Canon recently announced a new 13" printer, the imagePROGRAPH Pro-300 ($899). Despite its name it shares only some of the features of the larger imagePROGRAPH models and employs a different pigment ink set.
In this review, based on almost two years of experience in printing with the Pro-1000, I provide my hands-on impressions of this printer. I will also share what I consider to be the main differences between the Pro-1000 and the most directly comparable Epson printer.
Canon and Epson appear to have taken different approaches to the table-top photo printer market. Epson has traditionally offered 13" and 17" printers that otherwise employ the same inks and print technology. The current versions, introduced earlier this year, are the SureColor P700 (13"; $799) and P900 (17"; $1,195). By contrast Canon's 13" and 17" printers are not part of the same printer series.
Canon's Professional Photo Printer Line-up
Pro-1000: Specifications and Features
Canon makes several photo printers that it calls "professional." The imagePROGRAPH printers are the top of the line, designed for professional photographers and for use in printing/graphics studios. The Pro-1000 is the smallest (prints on media up to 17") and least expensive ($1,299, list price at B&H) of this series, which also includes the Pro-2100 (24"; $2,695), Pro-4100 (44"; $3,995), and Pro-6100 (60"; $10,195). All of these printers share the same pigment-based inks and print technology (more about those features below). The Pro-1000 is often discounted below its list price by rebate offers from Canon, and vendors also often include additional free or deeply discounted items (such as photo paper) that further reduce the effective cost of the printer. For example, I received a $300 rebate on my Pro-1000 from Canon, and 18
Size, connectivity, and controls: The Pro-1000 is really a table-top, rather than desktop, printer. With paper and output trays closed the printer footprint is 28.5" wide and 17" deep (Fig. 1). However fully extending the (top) multi-sheet feed tray increases the minimum working depth to 27.5 inches (Fig. 2, top). The Pro-1000 weighs 72 pounds, so it requires a sturdy table. The Pro-1000 can be connected directly to a computer by USB; it can also be networked via either Ethernet or WiFi. The printer controls are very simple: a few buttons and a 3" color LCD screen (Fig. 3). Printer set-up and maintenance functions are addressed via menus and a directional controller that is reminiscent of the controls on a TV remote.
Inks and printing technology: The Pro-1000, like its larger siblings, uses Canon's 12-ink LUCIA PRO pigment-based ink set, which includes 11 pigmented inks (Matte Black, Photo Black, Gray, Photo Gray, Cyan, Photo Cyan, Magenta, Photo Magenta, Yellow, Red, and Blue) and a non-pigmented Chroma Optimizer. The inks designated "photo" are lighter in tone and provide greater tonal control and separation in both color and monochrome prints. The Chroma Optimizer (used only with papers that take Photo Black ink) provides a clear coat that enhances blacks, reduced "bronzing" (color casts evident when luster, semi-gloss and gloss prints are viewed at an angle), and eliminates the gloss differential in these papers between areas of a print with ink coverage and without ink (i.e., pure white). The inks for the Pro-1000 come in 80-ml cartridges that are installed behind a panel in front of the printer (Fig. 4) and are delivered to the print head via capillary tubing, with one delivery channel for each of the 12 inks. New printers come with a set of full-size (not "starter") ink cartridges, but the process of filling and charging the ink delivery system consumes some of the first set of inks. The consumed ink is not used or wasted -- it just fills the ink delivery pathway to the print head. A full set of 12 replacement ink cartridges costs $699; fortunately the inks are stable and last for a long time. (I have owned my printer for 22 months and I only recently began replacing empty ink cartridges.)
Figure 2. Top: side view with multi-sheet feed tray open. Bottom: side view with single sheet feed tray open.
The print head is a user-replaceable part that receives and distributes inks using arrays of 1,536 nozzles for each of the 12 inks; if a nozzle should clog, the printer automatically uses a new nozzle on the next pass of the print head. The minimum ink droplet size is a microscopic 4 picoliters, which makes for highly detailed prints. To me, the difference in the design of the ink delivery and printing system between the Pro-1000 and comparable Epson printers is one of the major benefits of the Pro-1000 for two reasons. First, because the Pro-1000 has separate ink channels and heads for Photo Black and Matte Black ink there is no need to switch inks in a common black channel as with Epson printers. This makes switching between papers that take Photo Black and Matte Black ink seamless, with no ink waste. In practice, I never explored matte fine art paper options with my Epson R3000 because I was leery of the whole ink switching process. Second, the redundancy of the Pro-1000's print head nozzles for each ink channel eliminates clogging problems. Epson inkjet printers have a reputation for clogging, and head cleaning protocols consume ink. Further, a clogged Epson print head that cannot be cleaned must be replaced, an operation that involves an expensive part and a trip to an Epson service center. The cost of this repair is often high enough that it renders the printer not worth repairing. By contrast,
Figure 3. Control panel.
Figure 4. Location of ink cartridges. 19
should the print head on the Pro1000 need replacing it is a relatively inexpensive part that can be installed by the user. Paper handling: The Pro-1000 has two paper feed pathways: a top multi-sheet feeder (Fig. 2, top), and a rear feeder for single sheets (Fig. 2, bottom). The top feeder can accommodate multiple sheets of papers up to ~12 mil (0.3 mm) thick (e.g., most luster, semi-gloss and gloss papers) whereas the single sheet feeder can accommodate papers up to ~28 mil (0.7 mm) thick (e.g., thicker fine art matte papers). Printed images from either input path appear on the front output tray. Unlike comparable Epson printers the Pro-1000 has no flat-feed capability (and therefore cannot print on inflexible media such as CDs and printable poster board) and no provision for using rolled paper. Paper feeding on the Pro-1000 takes advantage of Canon's Air Feed System, which uses a vacuum pulled through small holes in the print platen to hold the paper flat while passing beneath the print head. This prevents paper skewing and misalignment and helps avoid headstrikes when using paper sheets that are not completely flat. The maximum allowable paper size for the Pro-1000 at the time of its release was 17"x22", a size that is widely available from different paper suppliers. Subsequent firmware updates have increased the maximum allowable paper size to 17"x47.5". This increase permits the use of 17"x25" sheet paper (available for some Moab papers and nearly all Red River papers), special panorama papers (such as Red River 13"x38" panorama papers) or custom lengths of 17" paper cut from rolls. The ability to use these longer paper sheets for panoramic prints compensates, to some degree, for the Pro-1000's inability to use rolled paper.
Pro-1000: Performance Correspondence between displayed and printed images: A printed image (viewed in reflected light) will never look exactly like the same image on a computer monitor 20
(viewed in transmitted light). Despite this limitation, we strive to achieve printed results that preserve, as much as possible, the image we have created on the computer. Matching the displayed and printed versions of the same image requires calibration of monitor brightness. I set my Apple 27" display to a brightness of 90-100 lumens, a value that falls within the recommended range using the ColorMunki Display monitor calibration tool. With my monitor calibrated properly, I have found that images printed on the Pro-1000 -- whether color and monochrome, on matte or glossy papers -- correspond well in terms of overall brightness with the image displayed on the monitor. In my experience, this was not always the case with my Epson R3000; I often had to brighten images (usually with a Levels adjustment layer in Photoshop) so that the brightness of the print was an acceptable match to the image displayed on my calibrated monitor. Quality of printed images: Color images produced by the Pro1000 across a wide variety of paper types from matte to metallic are uniformly outstanding in terms of color reproduction and fidelity. I print from Lightroom using the paper manufacturer's ICC profiles, without soft proofing, and in all of the cases I have examined the first print on any paper type was excellent and required no further adjustment of the print file. Similarly, the Pro-1000 produces black and white images on a variety of papers that are uniformly excellent. The Canon printer driver offers a "Black and White Photo Print" option that overrides color management and uses only the black and gray inks to generate a monochrome print. I find that this option is not necessary; color-managed monochrome prints are excellent and do not display any of the green or magenta color casts that can appear in black and white prints from color printers. Moreover, color management is necessary when printing toned monochrome prints. Paper Selection:
Despite the overall reproducibility of color and monochrome prints on various media, subtle differences exist between paper types that may influence each user's choice of papers. In a previous Contact Sheet article (June 2020, page 15) I described my exploration of the four Canon papers I received free with my printer and identified my favorites for color and black and white prints. I have now expanded this exploration to include six Moab papers (three matte, one baryta, and two metallic) and four Red River papers (all matte). I learned that I really prefer matte fine art papers to baryta, luster, or glossy papers, and I also learned that I prefer bright white papers (with optical brightening agents) to natural papers that have an off-white tone. My favorite paper for both color and black and white prints was Moab Entrada Rag Bright, but Red River 60 lb. Premium Matte PLUS ran a very close second. I have boxes of perfectly useful 17"x22" Canon papers, so one consideration for me in choosing any new paper is its availability in 17"x25" sheets to allow printing 16"x24" images with borders. Moab Entrada Rag Bright, my favorite paper, comes in two weights, 190 gsm (grams per square centimeter) and 300 gsm, but only the heavier weight is available in 17"x25" sheets. However, Red River Premium Matte PLUS, which is intermediate in weight between the two version of the Moab paper (230 gsm), not only is available in 17"x25" sheets but also is 40% of the cost of the Moab paper on a per-sheet basis. I'll be buying the Red River paper when I want sheets larger than 17"x22". If you are interested in exploring different papers, I encourage you to follow a testing procedure like the one I outlined in my previous Contact Sheet article. To identify differences between papers and find papers that suit your photography best, it is essential to print the same image(s) on each paper type.
Conclusions
For most amateur enthusiast photographers, decisions about dedicated photo printers involve choices
among 13" or 17" printers. There are a number of options for 13" printers that differ in their ink types, other features, and price points. However, for 17" printers, there are really only two options: Canon's imagePROGRAPH Pro-1000 (reviewed here) and Epson's SureColor P900. Both printers produce excellent prints, so choosing between them is likely to involve criteria other than print quality alone. In this review I have noted what I believe to be the two main advantages of the Pro-1000 over the Epson P900: ease of switching between media that use Photo Black and Matte Black ink, and an ink delivery/print head design that eliminates head clogging, even when the printer sits idle. The principal shortcoming of the Pro-1000 is its inability to use rolls of photo paper.
$100 more than the Epson. However, manufacturer's rebates and vendor bundles can either negate or amplify this price difference depending where and when one shops. Replacement inks for both printers are not cheap: a set of 12 Canon ink cartridges (80 ml each) costs $699, and a set of 10 Epson cartridges (50 ml each) costs $420. If you adjust ink costs for the difference in the volume of Canon and Epson cartridges, the cost of replacing an equivalent volume of a set of inks is similar. If you are considering a 17" photo printer, I encourage you to give close consideration to the Canon imagePROGRAPH Pro-1000. I've been using mine for almost two years. I have no complaints, and I love the prints it produces.
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There is not a significant cost difference between these two printers. Based on list price, the Canon costs approximately
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FingerClothing Lakes Photography Guild OrderGuild Form
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Email order to HooperPhotographic@yahoo.com or bring to the May meeting. Payment due at the May meeting. Order Information:
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Black and White Invitational at Image City Featuring Imagery by Nikhil Nagane
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What Does it Mean to be a PSA Member? Tom Kredo
]I’ve been a member of PSA for a few years now, and I’m finding new things every year to be happy about my purchase. Club Membership Club membership is very basic and only gives us access to the club competitions. We are participating in the Projected Image Division (PID), and the Projected Image Division Creative for the 2019-20 season. There are three rounds of competition, Nov 15, Feb 15, and April 15. For each round, eight images from eight different photographers are used. Awards will be given to the top clubs at the end of the competition, as well as individual awards to the top scoring images. Competitions are judged by members of PSA camera clubs. We also compete in the club newsletter competition which we did very well. Congrats to Jim Hooper! Individual Membership For $45 a year I receive the following benefits without any extra charge: • Online Courses • Exclusive Webinars on Photographic Education • Image Evaluation Services • Mentoring • Study Groups • PSA Journal • Create a Member Gallery • Earn ROPA Distinctions, Star Ratings, PSA Honors I have basically used all of these services, except for the online courses. Let’s do a deep dive into these services. Online Courses Working with accomplished instructors you could take a course in Creating Competitive Images, Portraits, and Still Life Photography for example. Many of these classes last over six months. Webinars So far in 2020, there have been 16 webinars for PSA members that last about 90 minutes. All of the courses are recorded and available on the PSA website for viewing at a later time. I have been to about seven of these and found them to be excellent. Some of my favorite ones have been with Lisa Cuchara who is an excellent photographer and instructor. Lisa’s subjects have been Creating Sweeping Panoramas, Wabi Sabi, and Urban Exploration. The webinars are moderated and you are fee to ask questions at the end of the webinar. Image Evaluation Services I have sent in at least 100 images for critical feedback by PSA accredited photographers. There are separate categories for different types of photography. The basic process is to enter three images on the website, pick a category, and wait for a few days to receive your feedback in an email. Evaluators provide an email commentary regarding what was good and what could 24
be improved. Topics covered include: exposure, depth of field, lighting, interest, composition, ways to increase impact, ideas for different techniques, how to better communicate a photographic message, and presentation. The evaluators are assuming that you want to enter these into international competition, so they will provide feedback if they think the image would be accepted into these competitions. Mentoring I have not used this service. Basically there are PSA members that volunteer to work with you on their expertise. You contact the expert in the area you are interested in, and they email you and you both agree to start a correspondence. Some of the mentors are experts in HDR, Portrait, Underwater, Websites, and Wildlife Photography. Study Groups I have participated in three study groups: Macro, Black and White and Nature. There are about 8 group members at any given time. There is a moderator that is in charge of the group. You upload one or two images each month, and everyone in the group gives you written feedback and sometimes a 1-10 rating (depending on the group). This is all on the website and everyone in the group can see your evaluations. It is not anonymous if that is a concern for you. PSA Journal You have the option to pay a bit more for the PSA journal to be mailed to you in a hard copy. I find many of the articles to be interesting and worthwhile. I like the hard copy just because. Member Gallery You can upload your images and have them shown on the PSA website. ROPA, Star and PSA Honors There is a whole international industry dedicated to looking at your images and providing a score for a fee. Literally hundreds of PSA accredited contests are available each year. The goal is to get as many of your images Accepted into the show which is about the top 35% of all images in the show. Once you have 18 images accepted, you can apply for a one-star rating, and then keep progressing to have letters after your name like FPSA, MPSA. Typical charges are about $45 for maybe 10 images per show. Some people have thousands of acceptances which can get very pricey.
DIY Corner Jim Hooper
Weave a Custom Wrist Strap In 30 Minutes or Less (and under $10)!
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Sure, every camera you buy comes with its own neck strap, typically emblazoned with the manufacturers name and/or logo, and I guess that would work just fine. But if you’re like me, that neck strap never got out of the box, much less out of the little plastic baggie that it came in. For me, seeing a camera with the original neck strap is a sure sign that someone just bought a new camera, and wants everyone in the world to know they are Team Nikon, Team Canon, or Team Sony. For me, it doesn’t work, and I’ve never used the original strap. Now, I’ve tried a variety of straps in the 20+ years that I’ve been shooting. Some were ok, some weren’t great, but I am always on the lookout for something better. Early on, I tried the neoprene straps, which were better than most because they really did cushion the impact of a big heavy camera around my neck. But after a while, I discovered the shoulder sling style straps, most commonly exemplified by the Black Rapid straps. To be honest, these are really nice straps, in my opinion, but rather pricey. At one point, I decided to see if I could make my own version, which I did, and it worked quite well. But the hardware that I used was big and bulky, and the strap tended to curl and twist, and over time, the hardware I used ended up wearing on the finish of the camera body. When I spotted a Black Rapid strap for sale on Facebook Marketplace, I decided to give it a go. The fit and function was great... for the most part. But the Black Rapid straps use a connection point that screws into the tripod socket on the bottom of the camera. That’s fine if you never use a tripod, but I occasionally do (and many of you probably use them a lot more than I!). Tying up the tripod socket was a pretty big inconvenience for me. I ended up sending the Black Rapid to the Consignment shop, and went back to my own custom built strap (which I still love). When I bought my newest camera, I wasn’t certain that I
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wanted to continue using the shoulder sling I’d built, because the connection clip really was wearing on the finish beside the strap-mounting lugs. So for almost a year now, I have been using my camera with no strap whatsoever, and you know what? For the most part, it’s been fine. But there are some times when I need to do something else that requires the use of both hands, and I end up having to put the camera on the ground for just a moment. It’s ok, and so far, I’ve had no problems, but its got me thinking recently about the possibility of a simple wrist strap. I’ve seen a lot of youtubers and pro photographers using them, so I started shopping around. These simple little wrist straps range greatly in price, but it’s easy to spend $30-$50 to get one that you’d like to try. So, once again, I went back to my trusty paracord skills, and decided to try an make my own wrist strap. It was pretty easy, didn’t take long, and I had all the materials I needed, already in the house. I’ve decided to share my process with you, in case anyone else might be interested in trying it out! Materials • 11’ 550 paracord, color of your choice • 1 split ring (key ring style) • Scissors or a sharp knife • Candle and lighter Step 1: To get started, measure out 11’ of the paracord. When cutting paracord, the rope will quickly fray and unravel if left untreated, so you’re best to cut with a sharp pair of scissors and then carefully melt the ends with a candle. When the rope melts at the end, I typically wait a few seconds for the molten plastic to cool down just a bit, and then press the end against my scissors or knife to blunt the tip before it hardens. Step 2: Find the midpoint of the rope, and tie a simple overhand knot about 4-5 inches from the middle.
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Step 3: Slide the two tails through the keyring, and place the ring about 10-11 inches from the knot. The distance from the knot to the ring should be a little longer than the circumference of your wrist. Step 4: Bend the tails and split them to either side of the stem. See the photo for what this knot will need to look like, but you’re going to pass one of the single ropes under the stems, then over the other single rope. Then take the second single rope and pass it over the stems, and down through the hole created by the fist single rope and the stem. See figure 4. Pull this knot tight. Step 5: Be attentive to the Kitty in your house that will undoubtedly be playing with the tail ends of the ropes by this point. Step 6-8: Repeat the same knot as you tied around the ring. Note: As you look at the knot, you will see one single strand coming “upwards” and one going “downwards”. It is important to start with the strand that is coming “up” and tuck that one behind the stems, and over the other single rope. Always, always, always, start with the strand that is coming upwards. That will switch from the left to the right side and back again, with each stitch. Continue tying these knots around the stems until you reach the knot that you tied in step 2.
Step 9: Once you reach the original knot, tie an overhand knot in each of the strands, as close to the strap as you can tie it. Tighten as much as possible. Step 10: Use a sharp pair of scissors to cut the excess rope, about 1/8 inch from the knot. Repeat on both sides. Step 11: Light the candle, and carefully melt the tips of each of the ropes to prevent fraying. While the tip is still molten, blunt the tip by pressing it against the side of your scissors to shape it. Step 12: Pass the remaining loop of rope through the keyring. Step 13: Pass the tip of that loop through the strap-mounting lug on the right side of the camera (as seen from behind). Step 14: Pass the full strap through the small loop on the left side of the lug, making a Lark’s Head knot. That’s it! You’re finished! Slide your hand through the strap, and get out shooting! I hope you’ve enjoyed this little tutorial. If you do try this out, and run into any problems, let me know! I’d be glad to help! And also, shoot some photos of your new strap, and post them to the Guild facebook page! I’d love to see what you come up with!
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Photo by Babara Drake 28
