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Chair Programs
Treasurer Membership
Editor Communications
Meetup
Instagram Outings Outings
Chair Programs
Treasurer Membership
Editor Communications
Meetup
Instagram Outings Outings
JoeDoherty
SusanManley
EdOgawa
JoanSchipper
JoeDoherty
VeldaRuddock
EdOgawa
JoanSchipper
JoanSchipper
AlisonBoyle
joedohertyphotography@gmail.com
SSNManley@yahoo.com
Ed5ogawa@angeles.sierraclub.org
JoanSchipper@ix.netcom.com
joedohertyphotography@gmail.com
Vruddock.sccc@gmail.com
Ed5ogawa@angeles.sierraclub.org
JoanSchipper@ix.netcom.com
JoanSchipper@ix.netcom.com
AlisoniBoyle@icloud.com
FocalPointsMagazineisapublicationoftheSierraClubCameraCommittee,AngelesChapter.The CameraCommitteeisanactivitygroupwithintheAngelesChapter,whichwesupportthroughthe mediumofphotography.Ourgoalistoshowthenaturalbeautyofourworld,aswellasareasof conservationconcernsandsocialjustice.Wedothisthroughsharingandpromotingourphotographyand byhelpingandinspiringourmembersthroughpresentations,demonstration,discussion,andoutings.
Forinformationaboutmembershipand/ortocontributetothemagazine,pleasecontacttheeditors orthemembershipchairlistedabove.Membershipduesare$15peryear,andchecks(payabletoSCCC) canbemailedto:SCCC-JoanSchipper,6100CashioStreet,LosAngeles,CA90035.
Themagazineispublishedeveryothermonth.Acallforsubmissionswillbemadeone-monthinadvance viaemail,althoughsubmissionsandproposalsarewelcomeatanytime.Memberphotographsshouldbe resizedto3300pixelsonthelongside(ifvertical)or2550pixelsonthelongside(ifhorizontal)forthe highestqualitylayouts.Theyshouldalsobejpg,inthesRGBcolorspace.
Coverarticlesandfeaturesshouldbebetween1000-2000words,with4-10accompanyingphotographs. Reviewsofshows,workshops,books,etc.,shouldbebetween500-1500words.
Copyright:Allphotographsandwritingsinthismagazineareownedbythephotographersandwriters whocreatedthem.Theyholdthecopyrightsandcontrolallrightsofreproductionanduse.Ifyoudesire tolicenseone,ortohaveaprintmade,contacttheeditoratjoedohertyphotography@gmail.com,who willpassonyourrequest,orseetheauthor’scontactinformationintheContributorssectionattheback ofthisissue.
https://angeles.sierraclub.org/camera_committee
https://www.instagram.com/sccameracommittee/
DEPARTMENTS
2 NotesfromtheChair
3Announcements
14MemberPhotos
32BlackandWhitePages
38Contributors
40PartingShot
FEATURES
4TheMagicofCowboys
ACovid-eraZoompresentationbyphotographerLisaLangellledfour SCCCmemberstoanin-personworkshopataworkingranchoutsideof Phoenix.ByJohnNilssonandVeldaRuddock
10ShoottheDunes
Sanddunesarethesubjectofmanygreatlandscapephotographs.This columnoffersadviceonhowandwhentoshoot,plussometipson survivingwithyourgearintact.ByJoeDoherty
WhenIbecametheChairoftheSCCC twelvemonthsagoIwasfillingabigpairof shoes.JohnNilssonnavigatedusthrough decliningmembership,throughthe transitiontobi-monthlymeetingsinanew location,andthroughCOVID.Hekeptus activeduringlockdownusinganewand untestedtechnologycalledZoom,an effectivestrategythatisgoingtocontinue tobetheprimaryvenueforourspeaker series.Thisissue’scoverstoryisadirect consequenceofoneZoommeeting.
Johnhasnowsteppeddownfromhislast jobwithSCCC,asthepublisherandeditor of FocalPointsMagazine.Duringhistenure heturnedanewsletterintoamagazine, encouragedmemberstocontributetheir highestqualitywork,andwrangledacover storyforeveryissue.Itwasalotmorework thanmostpeoplerealize,andhedeserves ourgreatthanksforkeepingusinformed andentertained.
Withthisissuewe’rebuildingonwhatJohn started,andalsochangingsomethings.The biggestchangeisthatwe’resplittingthe SCCCcommunicationstrategyintotwo branches:newsandevents,and photography.
Newsandeventswillnowbesenttoyou twiceamonthviae-mail.Ifyouhavea show,abook,acalendar,apresentation,or anyothereventyouwouldlikefellow memberstoknowabout,sendittome (joedohertyphotography@gmail.com)and itwillbeinthenextnewsletter.
Theprimarypurposeof FocalPoints Magazine willbetoshowoffyour photographyinasglossyastyleaspossible. Itwillcomeoutsixtimesayear,anditis sportinganewlooktoshowcasethework ofourmembersandauthors.Pleaselook throughthisissueandletmeknowwhat youthinkofit.
–JoeDohertyWildlifeofSeaandSand: SuggestedDestinations forSoCalPhotographers
February9,2023at7:00pmPST
AlyceBenderisanaturephotographer, writer,educator,andadventurer.Camerain handsincechildhood,herfascinationfor photographydevelopedintoacareerafter servingintheU.S.AirForce.Herpassion forwildlifeandthenaturalenvironment compelshertoconnectotherswithnature throughsharingbothvisualartandin-field experiencesthatpromoteconservation, creativity,andethicalphotography.
SheisaTamronUSAAmbassador,contributingwriterandphotographerforthe Journalof WildlifePhotography,andherworkhasbeenfeaturedingroupandsologalleryshowsacrossthe USaswellasininternationalpublicationsfromtheUKtoJapan.Benderleadsphotography adventuresaroundtheworldtohelpbeginnerthroughadvancedphotographersexploreand expandtheirpersonalvisionandnaturalistskillsethically.Whennotinthefield,sheoffersa varietyofeducationalprogramsbothinpersonandvirtuallyforphotographyorganizations largeandsmall.
PleaseregisterforAlyceBender’stalkinordertogetalinktoparticipate.RegistrationisZoombomberrepellent.
https://us02web.zoom.us/meeting/register/tZEuce-urDktHNG24FBNy4lESO2-BIfUFr3W
ACovid-eraZoompresentationby photographerLisaLangellleadsfour SCCCmemberstoaweekendinArizona,
wheretheyphotographedcowboysand cowgirlsonaworkingranch.
Theideacametogetheroverayearago (October14,2021)duringthedarkdaysof theCovidLockDown.LisaLangell,ofLisa LangellPhotography,providedacompelling presentationaboutherphotographyteachingand-outingbusinesstotheSierraClub CameraCommittee(SCCC)membership overZoom.Duringthepresentationshe announcedathree-dayworkshopinPhoenix ontheDonDonnellyRanchatSuperstition Mountain.Thegoaloftheworkshopwasto offeranopportunitytophotographareal workingranch,itsinhabitantsandoperations, andtolearntechniquesandsettingsto accomplishthistask.
Wewaitedadayandthenapplied,discovering thatbothsessionswerealreadysoldout!So wejumpedattheopportunitytogetintothe
2023session!JohnNilsson,andlong-time friendandfellowSCCCmember,Basil Katsaros,traveledtogether,asdidhusbandand wifeteam,JoeDohertyandVeldaRuddock. Thefourofuswereanenthusiasticblockofthe attendees.
WearrivedattheranchonFriday,January13th , forthe2:00kickoffandorientation.Lisa reviewedthereviseditineraryandbestsettings fortheupcomingworkshop.Sheintroducedus totheranchcowboy/cowgirlphotographic modelsandarobuststaffwhowouldworkwith ustherestoftheworkshop.Althoughthere weremoreparticipantsthaninmostworkshops, wealwayshadaccesstoassistance,andbecause webrokeupintosmallergroups,weneveronce feltlikewewerenotseen,heard,orhelped.
Thethirddayoftheworkshop,Sunday,was expectedtobeveryrainysoLisapackedmore eventsintoFridayandSaturdaythanoriginally planned.Thesessionsincludedportraiture, action,silhouettes,reenactmentsand demonstrations,someprocessingtips,andasa bonus,aperformancebysongwriter,Steve Holmquist.FridayandSaturdaywewere treatedtogreatcateredchuckwagondinners providedbyBarbKennedyofCowgirlsForever. Thisworkshopdidnotgohalfway!
AfterorientationonFridaywewarmedupwith posingandphotographingourranchhand modelsandtheirhorses.Afterthatitwasoffto theranchentranceroadforeveningworkand somebacklit/silhouettephotography.Breezy conditionsandlotsofatmosphericdustand beautifulcloudcoverofanapproachingstorm resultedinacolorfulstageforthegreat horsemanshipofourcowboysandcowgirls.
Whenitgotdarkerwefocusedonsilhouettes. Weweretreatedtoanabsolutelymagnificent sunsetandasaresultourphotosweredramatic.
Afterphotographingalmostnon-stopforfour hoursitwasdarkandtimetoenjoyadinner underthestars.
Saturdaymorningdawnedclearandwarm.We weretreatedtophotographingranch-hand silhouettesonafarcactuscoveredhillsideinthe earlymorninglight.Themodels,Mikeand Lexaalreadyhadaromanticrelationshipand hammedituptoourgreatdelight.
Whensilhouetteswerenolongeranoptionwe transitionedtoarenaactivitieswherewe photographedthehorsesrunning.Thesewere greatactionshots!
Afteraquickbreak,Lisa,withtheassistance oftwoprofessionalportraitphotographers, MaryMannixandLoriFigueroa,introduced ustotheelementsofportraiture.Their presentationswerewell-organizedandfullof informationonsettings,howtoposeyour model,andattentiontonaturallighting.She thenintroducedustoalivelygroupofwestern “reenactors”whobroughtadepthtoour sessionsweotherwisewouldnothavehad.
Duringtheportraitureandreenactment shootswewentfromstationtostationto photographvariousscenarios.Several cowboysandcowgirlsandtheentiretroupeof reenactorsprovidedsubjectsforthisshoot whichwasaninterestingmixofstreet,scenic, andportraiturephotography.Wewere expectedtoposeourmodels,somethingmore difficultthanweexpectedbutthereforealso morerewarding.
Nextwehadactionshotsofvariousranch sceneswhichincludedahome-builtwagon. Wepracticedcapturing[ortryingtocapture] gunflare.Ahighlightoftheafternoonwas presentedbyAndellaPartenwhoisa championmultitalentedrider.Shetreatedus toanamazingshowinwhichsheshotballoon targetswithherpistolsatfullgallop.Forus, thechallengewastocapturetheflarefromthe gun,theballoonexploding,andthedramaof thisshowchampion.Andella’shorseonlyhad twospeeds–awalk/trotandflat-outracing–andwekeptourfingerontheshutterbutton foreachpass.Bothgunfireshootsamounted toalotofimages–mostofwhichwecould throwawaylater.AsanFYI,whilethe reenactmentactorsusedquarter-round blanks.Andellausedgunpowder. Thefollowingandlastmorningwasgreeted bysignificantrainasexpected.Lisahad anticipatedthiseventandrentedameeting hallwherewediscussedvariouscameraand photofinishingtechniques.Wehadthe
advantageofbeinginstructedbyLisaand highlyexperiencedcommercialphotographers MaryandLoriwhosharedtheirexperience withPhotoshop,LightroomandPhoto Mechanic.Theexperiencewascappedby lifetimearearesidentSteveHolmquistwhosang andplayedmanyofhisoriginalstory/songs aboutthehistoryoftheimmediateareaaround theSuperstitionMountains.
Thelastevent,beforegoodbyeswasaroundup demonstrationofaherdofLonghornCattle drivenbythecowboysandcowgirlsinandout oftheirpensandbackontothedesertrange behindthemainranch.Allthreeranchhands lassoedsomeofthecattleandbroughtthem downsafely.Thisispotentiallyadangerous activity,especiallyonthewetground,butan experiencedcowboyexplainedofhowthiswas donesafelyandresponsibly.
Wehighlyrecommendthisoutstanding workshopandanyotherworkshopofferedby LisaLangell.Herattentiontodetailand
planningwasexceptional.Specific recommendationsforgearand photographingwasprovidedforeachevent andinstructionforspecifictypesof photographywasgivenwiththeassistanceof herteam.Allinallitwasagreatexperience.
LisaLangellPhotography
https://langellphotography.com/ MaryMannixPhotography
https://www.marymannixphotography.com/ LoriFigueroaPhotography
https://lpro.smugmug.com
SteveHolmquist(singer)
https://music.apple.com/us/artist/steveholmquist/1136955915
BarbKennedyofCowgirlsForever
https://cowgirlsforever.net/ DonnellyD-SpurRanch
http://www.dondonnellyd-spur.com/
I’vephotographeddunesinmanyplaces–DeathValley,WhiteSands,Oceano,Sand Mountain,Kelso,Oostduinen–andIalmost alwaysgetitwrong.Morespecifically,Ialmost alwaysfailtoachievewhatIsetouttoachieve. LikemanyofyouIamsteepedinthedune imagesofEdwardWestonandAnselAdams andDavidMuench,of NationalGeographic, andofDavidLean’s“LawrenceofArabia.”
Dunesarepristineplaces,withripplesandlines andshadows,andtoweringshapesof monumentalproportion.
Ialmostnevergetthoseimages.I’vefoundthat thosescenesareasephemeralasredaspenleaves atNorthLake,andaswell-visited.Tocapture theiconicimages,andtoextendthemabit, requiressomeplanning,someflexibility,and someluck.Thiscolumnofferssomeadviceon howtoincreasetheprobabilityofsuccesswhen
youdecidetoshootthedunes,onceyou’ve identifiedthedunesyouwishtophotograph.
Watchtheweather. Somelandscape photographsarebetterwhenthephotographer isuncomfortable.Dunesarenoexception. Classicphotographsofsandduneshavefewor nofootprints.Theyhavesharpedgesatthetop ofeachridge,andhavewell-definedtextureson thesides.Thesefeaturesarecausedbyastrong windblowingconsistentlyfromonedirection, suchasthewindsthataccompaniedthe atmosphericriverthatrecentlyhitCalifornia.It isn’tnecessarytostandinthesandstormto capturetheimages,butithelpsifyouarevery neartheduneswhentheyhappen,soyoucan beoutsidewithyourcamerawhentheyquiet down.
Iftherearefootprints,trytoincorporatethem intothestory(asaleadinglinebetweendunes, forexample)orlookforplaceswherepeople can’twalk.Somedunesaresosteepthatit’s impossibletowalkacrossthem.Thecorollaryto allofthisis,don’twalkthroughyour composition.Ifyouareblessedwithpristine dunes,beverystrategicaboutwhereyoustep. Stayofftheridgesandintheshadows.Your fellowphotographerswillthankyou.
Shootearlyorlate. Thisiscommonadvice giventolandscapephotographers.Theblue
hour,thegoldenhour,alpenglow,“thetime whenautofocusdoesn’twork,”allhappenon thecuspsoftheday.Shootingintheflatlight beforesunriseoraftersunsetaccentuatesthe contoursofdunes.Dependingonthecolorof theskyitcanalsomakeforaninteresting palette,withdarkblueshadowsandmagenta orgoldenhighlights.Thelightchangesasthe sunkissesthehorizon,risingorsetting.It subtlystrikesthedunesandaccentuatestheir texture,creatingcontrastbetweenthelightand darksideofridges,andrapidlychangingthe characterofthelandscape.Thisisamoment whenit’sbesttobeinapositiontoshootwhat isinfrontofyou,sinceitdoesnotlastvery longandyouwillnothavemuchtimeto explore.
Thelandscapeistransformedagainwhenthe sunisfullyabovethehorizonbutstilllowin thesky.Thisperiodoftimewilllastthelongest duringthemonthbeforeandaftertheWinter Solstice.Thatisalsothetimeoftheyearwhen weatherismorelikelytotransformthe
landscape.Atthispointintheday,whetherin themorningorlateafternoon,youhavethe leisureofroamingaroundlookingforleading lines,shadows,andtextures.It’salsoagood timetohuntforcompositionsthatyoumight
wanttoshootwhenthelightchanges,soyou canbeinpositionatthedecisivemoment.
Don’tchangelensesinthefield. Itisabad ideatoopenyourcamerabodywhen surroundedbyblowingsand.Evenifitseems quitecalm,don’tdoit.Trustme.Planaheadso thatyouhavetheequipmentyouneedtorealize theimagesyouwanttocapture.Ifyouwantthe greatestvarietywithonelens,somethinglikea 28-300isagoodchoice,withaprotectivefilter onthefront(skylightorUV).Carryingtwo cameras,onewithwide-anglezoomandanother withatelephotozoom,isalsoagoodoption,if youcanswingit.Asmartphonewithagood camerasubstitutesforthewide-anglezoom.Or youcancommittooneperspective,wide-angle ortelephoto,andcarryjustthatlensonone body.Suchconstraintscanbeaspurto creativitybynarrowingtheavailableoptions.
Isolateshapesandjuxtaposetextures. Sand dunesaredefinedbytheshapeoftheircurves
andthetextureoftheirsurfaces.Ihaveheard thatthesearesodistinctivethatsomepeople canidentifythelocationofadunewithoutany furtherinformation.Takeadvantageofthis.Use thecharacteristicsofthesandtoexpressyourself bycomposingimagesthatemphasizethemost dramaticoruniquefeaturesofthedunesatyour location.Contrastrippleswithsmoothsand,or sharpridgesagainstsoftcurves.
Varyyouraspectratios. Wetendtoshootfirst andcroplater.Itiseasytogetsettledintothe standardfull-frameratioof2:3(from35mm filmdays).Leadinglinesaredramaticinthat ratio,andit’saformatthatlendsitselfto dramaticnear/farcompositions.Ifweonly shootinthatratio,however,theothers(like1:1 and4:5)becomeanafterthought,akindof post-processingrescue.Isuggestthatyou intentionallycropin-cameraattheseother ratios.Eachofthemhastheirownconstraints, andtheirowndynamicpower,andseeingthe
dunesinthosetermscanchangehowyourelate tothem.
Processforfeeling,notrepresentation. In landscapephotographythereisatension betweenmakinganaccuraterepresentationofa sceneandusingthescenetoconveyanemotion orathought.Withsanddunesit’seasyto resolvethattensioninfavorofbeingemotional andthought-provoking.Theaggressiveuseof color,contrast,andsharpness(byadditionand subtraction)ismoreacceptablewhenthereare noreferencepointslikeridges,rivers,or roadways.It’saperfectopportunityto experiment.
Don’tgetlost! Sanddunesaredisorienting. Theremaybenotrails,noobviouslandmarks, andnosignal.Gettinglost,orfindingyourway backonlytorealizethatyourshootingpartner islost,isapossibility.ToavoidthisnightmareI usetwostrategiestogetbacktomycar.The firstistodownloadtheGooglemapforthearea
IplantoexplorewhileIstillhaveconnectivity. IdropaplacemarkeratmylocationwhenI parkthecar,andthenusegpstogetbacktothe placemarker.ThisworkedwellinWhiteSands, wheretheparkingareasarewithinthedunes themselves.Thesecondstrategyistoregularly climbhighpointsandorientyourselftodistant landmarks.Perhapstakeaphotoateachplace, soyoucanworkyourwaybackvisuallyif needed.Andbringenoughwater.
Finally,keepinmindthatthisisnota competition.Alloftheimagesofsanddunes thatyouhaveeverseenwillobviouslyinfluence yourapproach.Buttoinfluenceisnotthesame astodictate.Useyourknowledgeandyour emotionalresponsetotheworkofothersto informwhatyouaredoing,butdon’ttryto copyit.Youcan’tcopyit.Thelight,the location,theseason,andthesandallmake reproductionvirtuallyimpossible.
Allphotos©LarryMiller
RedRockCanyonisoneofthegemsofthe CaliforniaStateParksystem.Yetits colorfuldesertbadlandsattractfewvisitors, whoaredeterredbyintensesummerheat,a paucityofgoodmaps,andalackoftrail signage.Icapturedtheseimagesona Novemberdaytripwithoutventuringmore thanamilefromthepark’svisitorscenter.
Allphotos©JoeDoherty
WetrytospendmostofJanuaryonthe road,capturingtheAmericanWestinits dormantandsnow-cappedglory.Inpast yearswe’vevisitedYellowstone,Owens Valley,andthevastopenspacesof centralNevadaandUS50.
Thisyearwespentsometimein California,ArizonaandUtah.The weatherchasedusoutofYosemiteValley afteronenight,andafterre-supplying ourcamperweheadedeast.Twoplaces inparticularcalledtous.Navajo NationalMonumentinNortheast Arizonaisanisolatedandbeautifulspot betweenTubaCityandKayenta.It containsbeautifulredrockformations, andanalcovethatprotectsacliff dwellingsettlement.
AllPhotos©JoeDoherty
WealsospentthreenightsinMonumentValley. Freshsnowfellduringourfirstnight,andweawoke toawhite-outoffogandfallingflakes.Bylate afternoonitclearedalittlebit,andwecaughtbrief glimpsesofthelandmarkmittensandothericonic rockformations.Onourlastfulldaywehireda guide,RayBegay,whotookusdeepintothepark.
MoonFurrows.TheskiesclearedovernightandthefullWolfMoonwassetting.Ihadanimageinmind withanoldfarmI’vebeenvisitingforyears.Onthebackroadin,thesettingMooninthealpenglowsky andthesnowyfurrowscaughtmyeye.AquickstopandafewshotsandIwasonmyway.
DivineLines.CountryBible Churchwasnearmylocation whentheserowsofcirrusclouds movedin.Iknewimmediately whatIwantedtocaptureaftera shortten-minutedriveinthe winterPalouse.
DrivewayArt1. Headingout thefrontdoortodeliversome artworktoagallery,Iwas quicklysidetrackedbythe frozenice/frostpatternsonmy drivewayandcar.Iwentback forthecameratocaptureafew images,whichturnedinto45 minutesofwonderfulfrosty capturesallaroundtheyardin theearlymorningsunlight.
Allphotos©JohnClement
FrostyStingers. Fromthedriedsunflowerportion ofmywildflowergarden.Ileftasectionofthe gardenjustforthispurposeofmakingwinterimages.
Heaven’sPorthole. ReturningfromawinterseminarthatIwasleadingintheHoodRiverValley,theheavyovercaststartedto openup.IwasaboutfivemilesfromthislocationbutIknewimmediatelytheimageIwantedoverthisolddesertedhomestead. Knowingwherethingsarewhenthelightishappeningcanhelpyoucapturesomewonderfulimages.
Allphotos ©VeldaRuddock
YosemiteValleyafter thesnows,and lightingupthetrees.
DunesintheMojave Desert(belowandbelow right)
MonumentValleyafterthesnow.Theparteveryoneknows(above),andthepartonlyguidesshowyou(below).
JohnClemmentbeganhiscareerinphotography intheearly70’saftergraduatingfromCentral WashingtonUniversitywithadoublemajorin GeologyandGeography.Sincethenhehas earnedaMastersofPhotographyfromthe ProfessionalPhotographersofAmerica.Hehas receivedover65regional,nationaland internationalawardsforhispictorialand commercialwork.Hisphotographsgracethe wallsofmanybusinessesintheNorthwestand hasbeenpublishedinnumerouscalendarsand coffeetablebooks.
Clementhasprovidedphotographsfor Country MusicMagazine and NorthwestTravelMagazine. HehassuppliedmuralsfortheSeattleSeahawks StadiumandimagesforTheCarouselofDreams inKennewick,WA.
Currentprojectsinclude17–4x8footglass panelsfeaturinghislandscapesinEastern WashingtonforthePascoAirportRemodel.Last yearhefinishedamajorprojectfortheOthello MedicalClinicwherealmost200imageswere usedtodecoratethefacilities.
www.johnclementgallery.com
JohnClementPhotography(FaceBook)Allied ArtsGalleryinRichland,WA.
ThomasCloutierhasbeenwithSCCCsince 2001,andhehasbeencontributingto Focal PointsMagazine sincethattime.
Cloutier’sinterestinphotographycoincides withhisinterestintravelandgiving representationtonaturelandscapes.Hisformal educationinphotographycomesfromCSU LongBeach.
AtpresentCloutierisavolunteeratCSU, LongBeachwherehetaughtWaterColorsand DrawingattheOsherLifelongLearning Institute(OLLI),designedforSeniorsover45. HealsoisadocentatKleefieldContemporary MuseumCSULongBeach.HeisLiaisonfor theArtAndDesignDepartmentsfora scholarshipprogramforstudentsatCSULong Beach,FineArtsAffiliates,FineArtsAffiliates. org.
Cloutieratcde45@verizon.net
JoeDohertygrewupinLosAngelesanddeveloped hisfirstrolloffilmin1972.Hehasbeenavisual communicatoreversince.
Dohertyspenthisteensandtwentiesworkingin photography,mostofitbehindacameraasa freelanceeditorialshooter.
Heswitchedcareerswhenhissonwasborn, earningaPhDinpoliticalsciencefromUCLA, specializinginAmericanpoliticsandresearch methods.Thisledtoanopportunitytoruna researchcenterandteachatUCLALaw,wherehe becamebestknownasanempiricalbankruptcy scholar.
AfterretiringfromUCLAin2016Doherty continuedtoconsult,butnowheandhiswife, VeldaRuddock,spendmuchoftheirtimeinthe field,acrosstheWest,capturingthelandscape.
www.joedohertyphotography.com
Asayouth,JohnFisanotti’sinterestin photographystemmedfromaninterestin astronomy.Hisfirstphotoswereattemptsto photographthenightskyusingafoldingKodak camera,thatoncebelongedtoanuncle.Later, heuseda35mmrangefindercamerato photographnature,particularlytheSanGabriel MountainsabovehishomeinLaCrescenta. Afterhighschool,Fisanottisoldhistelescopeto purchasea35mmSLRcameraoutfit.
Fisanottiwasaphotographymajorinhisfirst threeyearsofcollege.Hehasused35mm,2-1/4 mediumformatand4x5viewcameras. Expectingtobeacommercialphotographer,his personalworkleanedheavilytoshooting landscapesandoutdoors.
In1977Fisanottichangedmajors.After graduatingfromCSU,LosAngeles,witha BachelorofArtsDegreeinUrbanStudiesin 1979,hisfirstpost-collegejobwasina commercialphotolaboratory.
In1980,Fisanottipivotedfromphotography andbeganhis32-yearcareerinpublicservice. JohnworkedforfourSouthernCaliforniacities incityplanning,communitydevelopmentand redevelopment,andconcludedhiscareerasa ProjectManagerfortheCulverCity RedevelopmentAgency.Duringthesedecades, hecontinuedtoshootoutdoorscenicimages wheneverpossible.
Afterretiringfrompublicservicein2012,Fisanotti haspursuedhisastronomicalandphotographic interests.Beginningin2013,Johnhasbeenatelescope operatorforthe60"reflectortelescopeatMt.Wilson Observatory.Heincreasedhisphotographicportfolio -concentratingonoutdoors,landscape,traveland astronomicalimages.Beginningin2018,heexpanded hisrepertoiretoincludearchitecturalandrealestate photography.
Occasionally,Fisanottihasbeenfortunatetohave photographsselectedforvariousexhibitionsor publications.HecurrentlyshootswithNikonDSLR cameras.
http://www.johnfisanottiphotography.comand http://www.architecturalphotosbyfisanotti.com jfisanotti@sbcglobal.netorfisanottifotos@gmail.com
LarryMillerboughthisfirstSLRcamerain1985to documenthikesinthelocalmountains.Infact,his firstSierraClubCameraCommitteeoutingwasa wildflowerphotoshootintheSantaMonica MountainsledbySteveCohenin1991.Sincethenthe SCCChasintroducedhimtomanyotherscenic destinations,includingtheAntelopeValleyCalifornia PoppyReserve,theGormanhills,andSaddleback ButteStatePark.
Miller’sownphotographytripsgraduallyexpanded inscopeovertheyearstoincludemostofthewestern NationalParksandNationalMonuments,withthe ColoradoPlateaubecomingapersonalfavorite.
PhotographytookabackseattoMiller’scareer duringthe32+yearsthatheworkedasaradarsystems engineeratHughesAircraft/RaytheonCompany. Sinceretiringin2013,hehasbeenabletodevote moretimetodevelopinghisphotographicskills. Experiencingandsharingthebeautyofnature continuestobeMiller’sprimarymotivation.
lemiller49@gmail.com
JohnNilssonhasafondmemoryofhisfatherdragging himtotheDenverMuseumofNaturalHistoryona winterSundayafternoon.Hisfatherhadjustpurchaseda Bosely35mmcameraandhaddecidedhedesperately wantedtophotographoneofthedioramasofseveralSeal Lionsinabeautifulbluehalf-lightoftheArcticwinter.
Thephotorequiredatrickylongexposureandthe transparencyhisfathershowedhimseveralweekslater wasspectacularandmysterioustoNilsson’syoungeyes. AlthoughthedemandsofMedicalSchoolmadethis photooneofthefirstandlastNilsson’sDadshot,atfive yearsoldthesonwashooked.
Thearrivalofthedigitalagebroughtphotographyback toNilssonasaconsciousendeavor-firstasapastime enjoyedwithfriendswhowerealsoafflicted,andthenas apractitionerofrealestateandarchitecturalphotography duringhis40yearsasarealestatebroker.
SinceretiringandmovingtoLosAngeles,Nilsson continuedhishobbyasanatureandlandscape photographerthroughactivemembershipintheSierra ClubAngelesChapterCameraCommittee,aswellashis vocationasarealestatephotographerthroughhis companyOzImagesLA.Thecameraisnowatoolfor adventure!
www.OzImagesLA.com
CreativityhasalwaysbeenimportanttoVelda Ruddock.ShereceivedherfirstBrowniecamerafor hertwelfthbirthdayandcan’trememberatimeshe’s beenwithoutacameracloseathand.
Ruddockstudiedsocialsciencesandart,andlater earnedaMastersdegreeinInformationandLibrary SciencedegreefromSanJoseStateUniversity.Allof herjobsallowedhertobecreative,entrepreneurial, andinnovative.Forthelast22yearsofherresearch careershewasDirectorofIntelligenceforaglobal advertisingandmarketingagency.TBWA\Chiat\Day helpedclientssuchasApple,Nissan,Pepsi,Gatorade, Energizer,andmanymore,andshewasconsidereda leaderinmyfield.
Duringtheirtimeoff,sheandherhusband,Joe Doherty,wouldtravel,photographingfamily,events andlocations.However,in2011theytraveledtothe EasternSierraforthefallcolors,andalthoughthey didn’trealizeitatthetime,whenthesuncameupover LakeSabrina,itwasthestartofchangingtheircareers.
By2016RuddockandDohertyhadbothlefttheir “dayjobs,”andstartedtraveling–andshootingnature –bigandsmall–extensively.Theirfour-wheel-drive popupcamperallowsthemtogotoareasaregularcar can’tgoandtheywere–andare–alwayslookingfor theirnextadventure.
www.veldaruddock