Focal Point
Northern California Professional Photographers
MARCH 2011
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Focal Point
MARCH 2011
Northern California Professional Photographers Officers
Committee Chairs and Coordinators
President Wayne Miller 925-330-8737 president@ncpponline.org
Membership Stacey Flurscheim 925-330-7130 3rdvp@ncpponline.org
1st Vice President Programs Denny Weigand 925-336-7994 1stvp@ncpponline.org
blog / Website Wayne Miller 925-330-8737 blogomeister@ncpponline.org
2nd Vice President Print Competition Tom O'Connor 925-586-2745 2ndvp@ncpponline.org
Newsletter - Focal Point Editor Tom O’Connor 925-586-2745 newsletter@ncpponline.org
3rd Vice President Membership Stacey Flurscheim 925-330-7130 3rdvp@ncpponline.org
FP Copy Editor Denny Weigand 925-336-7994 newsletter@ncpponline.org
Send Newsletter information to: Tom O'Connor. newsletter@ncpponline.org Deadline for submission of articles and ad copy is the 24th of each month. Information received after the deadline cannot be guaranteed publication Advertising Costs: 11 Issues per year NCPP Members: • •
Treasurer Malcolm Slight 925-330-8737
Hospitality Lisa Duncan 925-284-3878 hospitality@ncpponline.org
treasurer@ncpponline.org Secretary Kevallyn Paskos 925-766-3121 secretary@ncpponline.org Chairman of the Board Randy Cazinha 925-249-1999
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Additional / Larger Ads: • • • •
1/4 Page for 3 months $25 1/2 Page for 3 months $50 Full Page for 3 months $75 Change to ad $25
Note: Members can use the Yahoo Group email to advertise at no cost.
Apprentice Membership Ann Gordon 510-222-4115 appmembership@ncpponline.org Sustaining Members: •
Photographer Eduardo Cardona
•
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Non Members/Non Sustaining Members: • •
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Focal Point is published by Northern California Professional Photographers. Articles and comments are invited; publication is subject to space available and editorial approval. Note: Articles are the opinion of the author and do not necessarily represent the position of NCPP. Ads and flyers may or may not have the endorsement of NCPP or its Board of Directors.
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MARCH 2011 Table of Contents
Presidents Message • "Better Photography means growing as a person” - Wayne Miller
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Preparing an image for "Projected Image Comp"
6–7
March Speaker – Carol Andrews • “Shooting with Intention”
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March Image Competition • "PPA Style Print and Projected Comp"
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February Print Comp Winners
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Best of Show – March 2011
10 – 11
2010 Year End NCPP Awards
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February Meeting Images
13 - 15
"Panorama Basics" – Michael Kirwan
16 – 21
“How I Work with Memory Cards” – Andrew Mills
22 - 23
Workshop: • Citra-Solv “Altered Inks” Experience – Carol Andrews
24 - 25
Coming on April 12, 2011 – Ann Gordon
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Membership Information
27
NCPP Presidents, Awards & Degrees
28 - 29
PPA Certification, Merit & Degree Programs
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NCPP Membership Classifications and Fees for 2011
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Member Advertisements & Ad Specs.
32 - 33
NCPP Sustaining Members
34 - 39
Our Neighboring Affiliates
40
Calendar - Important Dates
41
Sunset Chart
42
NCPP MEETING THIS MONTH TUESDAY, MARCH 8, 2011 Doors open at 6:15pm, meeting starts at 7pm Come early at 6:15pm to socialize!! 3
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President’s Message - Wayne Miller (aka Blogomeister / PdTG guy) Better Photography means growing as a person. When one grows as a person it helps them also become better at photography too. The more we know about others helps us to know more about who we are as people and as artists. The idea of capturing the moment in a person’s life, or even a moment in nature as a landscape photographer, it’s all about knowing when the moment is right and clicking the shutter. As we start this photographic journey we are new-fangled dSLR shooters. Some use the machine gun approach and fire off several rounds of the same subject in hopes of capturing a keeper. As we gain experience and knowledge (we do not want to sift through dozens of the same subject/pose hoping and looking for a winner) we slow down and become more Zen like, setting up the shot, pose, and waiting for the precise moment to capture the image. I once heard a story that a new photographer asked a very famous photographer how he could become a better photographer. The answer was “become a better person”. This can be taken in several contexts. My take was to know more about whom you are as a person and how you relate to the rest of the world as a photographer. Years ago it was a lot harder to discover one’s self because the information on how to was only available to very few. Today with books, audio / video, and the internet, the path to this self-discovery knowledge is available for everyone. But how many are open to taking ‘the road less traveled”? We are in the “I want it now, and I want it for free” generation. Patience’s Grasshopper- as the road to knowledge and understanding is well filled with curves, bumps, and potholes. Let us relate this to being a photographer, and how one starts down this road. As we know, everyone who has a camera is a photographer, and if you sell: one print, do one wedding, or one portrait then you can call yourself a professional photographer. Many of the newbie’s know more about the new cameras, hardware and software than a lot of the seasoned Master Photographers. We are all faced with the new never ending “catch up with technology” or wilt syndrome. Film, digital, now video, Photoshop, Lightroom, Plug-ins and tomorrow maybe 3d or who knows what. The playing field has changed and will keep changing; that is just the way it is. In order to keep up and stay ahead we must push ourselves to meet these new challenges, because if we are ripe, (staying the same), we are wilting and rotting. This phenomenon is not just here in the USA but all over the world. I heard in England that the art schools are releasing 10,000 new photographers every year (population of 51 million). California has a population of 36 million and no guess of how many “professional photographers” we have here. But I know it is a hell of a lot more than 5 and 10 years ago. EMPLOYMENT OUTLOOK The following information is from the California Projections of Employment published by the Labor Market Information Division for Photographers. Estimated Estimated Projected Estimated
number of workers in 1993 number of workers in 2005 Growth 1993-2005 openings due to separations by 2005
9,260 11,720 27% 2,600
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President’s Message - Wayne Miller (aka Blogomeister / PdTG guy) Based on these estimates there was a 27% growth in the 12 years up to 2005. California population was 36 million in 2005 so that equates to .035% or 12,000 professional photographers. My guess is that from 2005-2011 the growth in professional photographers in California has more than doubled. Let us just pretend that there are 24,000 individuals calling themselves professional photographers in California. So 24,000 out of 36 million is about .055% of the population. Contra Costa County has over 1.1 million people, of which .055% would equal 605 pro-photos in the CCC area. I would imagine that there are more like 600 Prophotogs and another 600 part-time pros. So what does all this mean? More professional photographers, more semi-pros, more dSLR owners, more Meet-Up groups, more tutorials/videos/podcasts on the internet, and bottom line more for us as Professional Photographers to learn. As more consumers buy better cameras (sometimes better than our gear) there is a never ending need to learn more and be better photographers. How does one accomplish this? Join NCPP, join Meet-Up groups like NorCalProPhotogs, ask photographers to come to an NCPP meeting or join the group, give back to your fellow photographers and community. To quote Kevin Kubota “IF you live in a vacuum you’ll suck”, so get out and recruit photographers to join NCPP so we can become the best Professional Organization around. Denny Weigand received his Cr. Photog., degree at PPA ImagingUSA, and also retouches for NILMDTS. Denny gives back to the community as your 1st VP of Programs, and also as a person. The Cr. Photog., degree requires one to receive 13 speaking merits, and 12 service merits for the degree. Denny was my sponsor when I joined NCPP and also pushed me to receive my Cr. Photog., degree last year. We are all in this together and one person cannot do it all without help from another. If you are reading this and are close to Walnut Creek why not come to a meeting and see what NCPP is all about? If you are a current member then go a step further and help out by doing something for the organization and your community of Professional Photographers. We need people to help raise the bar for the Prophotogs community if we are to rise above the masses. In this sea of change and influx of Semi-Prophotogs we need to help raise the bar for the newbie’s as well as the established Prophotogs. So I am calling you out…….. Prophotogs, Semi- Prophotogs, join up, help out, and get off your assets: Join NCPP, come to the meetings, enter PI Projected Images Competition (video/rules on how to enter), give a “Tips from the Pros” class, do Something, Anything just get moving, get going, and help grow the craft. Know you know the answer to becoming a better person, or you can stay the same old same old…and the world will pass you by faster than a hot NY second. It is up to you, no excuses! NCPP Mission Statement: The Northern California Professional Photographers is an organization dedicated to advancing the business of professional photography. Our purpose is to create an environment amongst professional photographers that will inspire each of us and to help one another grow as business professionals and artists.
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Preparing your image for "Projected" Image Comp This article will remain permanently in the Focal Point.
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Preparing your image for "Projected" Image Comp This article will remain permanently in the Focal Point. Here are the basics for creating your "Projected Image" file. We will be setting the file type, dimensions, color space, jpg quality, pixels per inch and file name that that will qualify for NCPP Projected Image Comp. These requirements are the same as the PPA requirements with the exceptions of the two items in NOTE 2 below. 1. Create a file that will become the background for your image that is 4,000px x 2,200px @ 200 pixels per inch. (20" x 22") This size fits our monitor and will be displayed at its optimal. 2. The color space can be sRGB or RGB1998. 3. The file type is a jpg with a Quality setting of 10. Total file size not to exceed 3.5mb. 4. You can apply a color or pattern to this layer just as you would do for a printed image that you would have entered previously in print comp. 5. Next prepare the image that you are going to insert over the background. The color space, ppi etc needs to be the same as your background layer. 6. Size the image as you wish in either a vertical or horizontal format. The image size must be at least 80 square inches. An example is 8" x 10". The image may be placed anywhere you want to put it on the background layer. The positioning of the image on the background layer will be part of your "Presentation" score just like with Printed print comp. 7. Add a stroke or any other edge treatment to the edge of the image you want, or not. 8. All images will be shown only with the background in the "Horizontal Format". This is the same way that PPA is handling it. The monitor will not be rotated for vertical images. They will be shown just like the example images on the previous page. 9. There is to be no photographer name or studio name on the image. 10. Name your file with the following convention: • Member's First Name_Last Name_Image_Title_ (Use _ for spaces). • Example file name: Bill_Jones_Mount_Diablo_Sunset 11. More information for download or viewing at. NOTE 1: If you plan to submit any of these images to PPA, I would initially save this file as a layered PSD or TIFF. When I was done and ready to submit to NCPP, I would then save it again as a jpg with all of the requirements listed above and submit the jpg. This way if you later decide to enter this same image with PPA, you can open your PSD/TIFF and increase your background and image size to fit the 4,000 x 4,000px requirement of PPA. NOTE 2: PPA Projected Submission Specifications match what is required for NCPP, except: • PPA requires your PPA# in place of your name in the file name. • The background size is 4,000px x 4,000px. (Therefore, the image can also be larger). ENTRY RULES AND DEADLINES: • Cost per each image is $5.00 prior to the Sunday, (at midnight), prior to the Tuesday meeting. Late fee is $10 per image up to Monday midnight. Fee is to be paid via the NCPP PayPal link. Walk-ins Projected Images day of meeting $20 per image (cash at the door) • E-mail images to 2ndvp@ncpponline.org. Limit of 10 Projected images allowed per meeting. This is at the discretion of the Print Chair on a month by month basis.
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NCPP Proudly Presents on March 8th, 2011 - Carol Andrews "Shooting with Intention" is a concept to insure profitability in today’s photographic marketplace. This is a traditional art and photography technique, used throughout hundreds of years, and must be applied to today's digital photography to insure your survival, and your success. Without it, you will not be able to create and maintain a level of studio workflow, profitability, and above all, client satisfaction. Listen how "common sense" this approach is, and how to adapt it into your business today. Carol will guide you through the process that she and Ann Monteith refer to, as "50 or die"..... This is surprisingly new to our newer photographers, and once they hear it, they are "all over it".... it simply hasn't been taught... and it’s a secret that every Master Photographer knows.... Taught by Master Craftsman Photographer, Approved Business Instructor, Carol Andrews, she'll walk you through this effective tool, to better your business, and your life!
Bio: Master Craftsman photographer, Carol Andrews Jensen, loves to create the magic of a photograph. Over the last 20 years, her award–winning photographs have included exhibitions at Photokina in Cologne, Germany; Disney’s EPCOT theme park and the International Masters Loan Collection of the Professional Photographers of America. Her work has been acquired by the Sherman Hines Museum in Nova Scotia, Canada. She was inducted into Cameracraftsmen of America, an international photographic society of which there are only 40 members, and was only the fourth woman in the society’s 95-year history to be admitted. She teaches and judges photography and art internationally, and has taught as a creative-uses consultant for Polaroid. Currently on the board of directors of the Professional Photographers of America, Carol is also a small business consultant, and teaches business and inspirational programs throughout the United States. “I enjoy expressing beauty and my love for life through a camera and sharing the images and stories with others. I show people what love looks like,” Carol says. Carol Andrews, http://www.carolandrewsfineart.com/
6:15-7 PM: Socialize: Network with other photographers in meeting room. 7:00 PM: Meeting Starts NCPP members are free, Guest fee is $20 in advance or $30 at the door the day of the event. (Click here Early Bird $20.00 PayPal) 8
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Print Comp Winners and March 2011 Print Comp Program March 2011 has two different types of print competition: PPA Style Print and PPA Style Projected If you are interested in volunteering with image comp, please contact: Tom O'Connor at 925-586-2745 or Email Tom @ toconnorphotography@gmail.com The next NCPP PPA Style Image Competition will be at the April 2011 meeting and we will have both "Print" and "Projected" image competition. For more information on "Projected" see Table of Contents on page 3 of the Focal Point…Preparing an image for "Projected Image Comp"
CONGRATULATIONS!!!! 1st Place - Wayne Miller - "Never Surrender" There were no other scores of 80 or above so there was only one award.
Images by: Eduardo Cardona 9
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Best of Show Feb 2011 - "Never Surrender" by Wayne Miller
“Never Surrender” started with some images that I did in HDR at the Preston Castle in Iona, CA (which is about 100-miles North-East) close to Jackson. I did an evening tour with a few photographer friends. The Preston School of Industry used to be a boys school and claims to be haunted. It was featured on one of the ghost chaser TV programs with claims of haunting confirmed. The place is in decay and there is a foundation trying to rebuild it into an arts school. I started with three bracketed HDR images of the room. I then rendered the HDR images in Photomatix, and exported it back into Lightroom. The image sat there for a few months until I got an idea for the composite. I then pulled the image into Photoshop, cloned out the pile of backpacks on the floor, and then did some tweaking in Topaz Adjust 4. I love the stuff you can do in Topaz: add texture, grunge effect, boost colors, or sharpen effects. The image went back into hibernation for a few weeks. When I was looking at some thumbnails in Lightroom I ran across the girl’s image that I shot at the “Old Sugar Mill” in Clarksburg, CA which is an old building in back of a winery. The model was shot with a bounced on camera flash into a reflector. I supplied that hat, suggested the pose and she supplied the outfit….. The soldier was captured at the Preston school in the basement, and was shot with available light and a very high ISO. The model and the soldier were extracted by first using the lasso tool around the subject and then adding a layer mask to each image. I prefer using a layer mask to cut out subjects as it gives me more control and I can fine tune the image edges. I then added shadows to both subjects to create a real-life image vs. just a cut out image. I think the shadow adds depth and a more realistic feel to the image even if it is meant to be surrealistic. I also cut and added the red bra to the mannequin to add a little more interest to the image….. 10
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Best of Show Feb 2011 - "Never Surrender" by Wayne Miller
Sometimes the creative process starts within the minds-eye while shooting some images, and other times it is sparked while doing other things or reviewing some of your images. It can begin with an end in mind and sometimes takes on a creative flow of its own, just as the title was created after the image was complete and seemed to fit the mood. Never ever, ever, surrender or give up on the creative child inside…………….Wayne Miller, Cr.Photog., CPP
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MARCH 2011 NCPP 2010 Year End Awards
At the end of every year, NCPP tallies the votes/criteria to decide the winners of the awards given to NCPP members. We had a total of 76 images eligible to enter PPA Style end of year print comp. Of that, only 25 actually entered. So, 51 images stayed at home and did not come to the competition. I hope next year more members who have eligible images, enter. We had a lot of really good images that did not participate. It is free to enter and you never know how you might do unless you enter. • • • • •
Member of the Year is chosen by current members who were voted Member of the Year in the past. Photographer of the Year is determined by the total points earned in monthly PPA style print competition for the year. People’s Choice Print of the Year is determined by a vote of all NCPP members present at the January meeting. The images eligible to be entered are the images who earned a 1st, 2nd or 3rd place during the two People’s Choice monthly competitions during that year. Masters Choice of People’s Choice are the same images that the NCPP members vote on for People’s Choice Print of the Year, only just the Master Photographers at the January meeting vote for this award. Print of the Year and 1st, 2nd and 3rd place: The images that are eligible to be entered in the PPA Style end of the year competition are images that earned a score of 80 or above at the NCPP regular monthly meetings for that year. These images are judged by a PPA affiliate other than NCPP, so all of our images are viewed by judges who have never seen the images and do not know who the makers are. NCPP reciprocates by judging for the other affiliate. A 1st, 2nd, 3rd and 4th are chosen in each category. Then all of the 1st place images compete for Print of the Year. The print that wins Print of the Year is removed from 1st place in that category and the other 3 images move up to 1st, 2nd and 3rd. All of these receive an award. There is no award for 4th place, it is only there to move up to 3rd in the category where 1st place advanced to Print of the Year.
The 2010 winners are: Member of the Year:
Wayne Miller
Photographer of the Year:
Wayne Miller
Print of the Year:
Tom O'Connor – Bristlecone Pine and Milky Way
Environmental Portrait:
1st Place: 2nd Place: 3rd Place:
Richard Stahlberg - Captivating Richard Stahlberg - Enchanting Wayne Miller - Trapped
Illustrative:
1st Place: 2nd Place: 3rd Place:
Richard Stahlberg – Tango Argentino The Street Dance Wayne Miller – Little House on the Prairie Mack McNamara – Heartland Rhapsody
People’s Choice Print of the Year:
Wayne Miller – Red Rock Canyon
Masters Choice of People’s Choice:
Wayne Miller – Red Rock Canyon
Congratulations to all of the winners and to all of the other members who entered. The competition was very tough with so many really terrific images entered!!
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MARCH 2011 February Meeting Images
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MARCH 2011 February Meeting Images
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MARCH 2011 February Meeting Images
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MARCH 2011 Panorama Basics by Michael Kirwan
Digital camera technology and software advances have put the capability of creating stunning panoramic images in the hands of every photographer. Long gone are the days where you needed a specialized camera or back that shot film using 6cmx12cm, 6cmx17cm or 6cmx24cm cameras; and going back even further you would shoot film with 7”x17” or 8”x20 banquet camera. Or even more exotic using a Roundshot which takes one continuous circular image. So with all this technology to hand, how do we go about ensuring we get the best image possible? With a few basic principles in mind it is quite an easy task. Panorama basics; we mount our camera on a tripod, and while panning, take a series of shots. Just like the image below. In the example I am showing, this panorama consists of five images. This type of panorama is technically described as a “spherical” panorama. This is due to the camera rotating on a fixes axis, and the fact that the camera can only capture flat images. The sphere is even more pronounced when taking multi-row panoramas.
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MARCH 2011 Panorama Basics by Michael Kirwan
This means we are never going to get a truly optically correct panorama due to the fact that the images are being taken in on a circular path and the camera cannot capture a picture with the same curvature, but only in a flat plane. Now using a few basic principles we can get very close to a “perfect� panorama.
Three images, courtesy of Adobe (these come with CS5 as examples for the Photomerge tool
The image below is a great example of what happens when you take flat plane images on a circular path and stitch them together and the camera is not perfectly aligned. Look at all that white space, at the top and bottom of the images. So to turn this into a decent image we will need to do some serious cropping, not just of the white space but the image area as well.
The next picture is the cropped image, and you can see we have had to discard a fair amount of the image, and I hate to throw away parts of my image!
So what can we do to ensure we get the least amount of capture distortion? Here are some basic tips. Ensure the head of the tripod in completely level when you pan through 3600. This goes a long way in reducing the distortion and the amount of the image you will have to crop. It also has the advantage of ensuring a level horizon. Now not all tripod heads are the same, and I use an Arca-Swiss Studio Ball head that I just love for its smoothness and the weight it can rigidly support, but has a big
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MARCH 2011 Panorama Basics by Michael Kirwan
problem. The engineering of the panning base is not completely level through 3600. It is off by about half a degree, this makes a big difference; especially when you are focused on infinity. So if you are serious about taking panoramas I strongly suggest you invest in a leveling head. One of the best I have found is made by Really Right Stuff, it is well engineered and it works a treat. Also means you don’t have to worry about getting the tripod level, a boon when working out in the field. I have tested a number of other ball-heads and they all suffered from this problem. So run a test using a spirit level, and better yet take a small spirit level with you into the field. I picked a lightweight level up at Ace Hardware for less than $6.00, a good investment! Leveling heads are also available from Acratech which has a great bubble level built to ensure you have leveled the head. The next important item is to ensure the optical center (nodal point) of the lens is centered on the pivot point of the tripod. With fixed focus lenses this is typically where the aperture blades are located. I invested in the Really Right Stuff Panorama kit, which comes with a leveling base and slider and really helps with the initial set up. These adjustments are really, really important if you are planning to shoot multi-row panoramas. These leveling adjustments are even more important if you plan to shoot multi-row HDR panoramas. Another tip for good panoramas is to use a normal or medium telephoto lens. There is no need to use a wide angle, and better to take more images. I normally use a 50mm or 85mm fixed lens. Also don’t be afraid to mount the camera vertically and take your panoramas in portrait style. While you may need to take more images, when they are stitched you will have a really high resolution file. Also, make sure you have at least a 20% overlap of your images; this really helps the stitching software render an accurate result. Many ball and panning heads give accurate degree markings on the base, so a quick test so see how many degrees you need to pan for the overlap means you can quickly rotate the head to the next position. Now once we have a camera and tripod set up we need to go into full manual mode. Yes, manual mode for exposure and manual focus. This is to ensure we get the best and constant exposure across all images taken for the panorama. I make a test pan, noting the exposure changes as I move from left to right; then pick the average exposure. This also helps the software with the stitching process. Why manual focusing? This is done to ensure a constant focus point, and when panning. A tree in the foreground could mess with the focus. Now if there are close by objects, stop the lens down to ensure adequate depth of focus. Now go take your panoramas. The next step is to load and process your images and stitch them together. I usually use LightRoom to process the images and synchronize any changes to ensure the set all have the same look and feel. Then export or load into the stitching software. There are a number of software packages available, ranging in price from “free” to almost a thousand dollars. Now while I love panoramas, I am not into those high prices.
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MARCH 2011 Panorama Basics by Michael Kirwan
Photoshop comes equipped with Photomerge, and works quite well, but I have experienced problems when trying to stitch more than five images together; and especially multi-row panoramas. You can see it build the layers, joins them but returns a blank image. In the free category we have Photostitch from Canon, which comes bundled for free on the CD that comes with your camera. It works great, but does have a niggling little bug. In the preview it shows the area where it has stitched the images as a blurry line (looks like a Gaussian blur has been applied), but that is only in the preview, open the image in Photoshop and it looks great. Another freebie is Pos Panorama Pro; works OK and not bad for free. I also use Panorama Pro works with RAW files, which is reasonably priced as well as my favorite Autopano Pro. It is available as an internet download for about €99 Euros ($100); great software package, works with 16 bit RAW files, and has a host of other really cool features.
“Gateway to Yosemite” Single row panorama made up of five vertical images, stitched with Autopano Pro
Multi-shot and multi-row panoramas result in very large file sizes, a 14 image (2 x vertical and 7x horizontal) shot with my Nikon results in a file size of almost 600 MB, so be prepared to wait while the stitching software does its stuff. The end result is very impressive and the detail quite amazing and you have enough data to make some very large prints.
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MARCH 2011 Panorama Basics by Michael Kirwan
To get your feet wet in making Panoramas, you should try Canon Photostitch, comes on the EOS CD and is part of the Canon utilities suite (Digital Photo Professional etc). It has a very simple interface. Here is screen shot of loading the images into Canon Photostitch:
The interface has a tabbed workflow which is pretty much self explanatory, it will ask you to enter the focal length of the lens you used to take the images, if you used a lens not listed check the nearest focal length and off you go.
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Here is the result of the stitching in the viewer Photostitch viewer and where the image will be cropped. Below is the final image.
Not bad for free software! The next image shows my setup for taking single row panoramas.
Here you can see the nodal point of the lens is centered on rotation point of the tripod head. I hope you found these tips helpful, and happy shooting!
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MARCH 2011 How I Work with Memory Cards – Andrew Mills
The memory card – every digital photographer uses them, and they are the subject of many heated debates. Everyone is different, and have differing opinions, rituals and ways of doing things, but this article goes into how I use/work with memory cards. It contains some tips,etc., that I have gleaned from other photographers and some stuff I have found myself. Storage: I store my cards in a hard aluminium and plastic case that is just the right size for my pocket. This case hold 4 cards and protects them from knocks, dust/dirt and moisture (light rain, but not from being dropped into a lake!) Using this also has another sort of advantage – “fresh” cards are placed in face up, and “used” cards are placed in face down, so I know at a glance which cards are full and I don’t need to check through them to see which are which. That said, just to be safe, I do just briefly check what’s on a fresh card when I insert it as it only takes a second or two. As a back up, I do also keep a couple of spare cards separate from this case in my camera bag at all times. Rotate them: When I say rotate them, I don’t mean literally – I mean in the sense that I do not go to and use the exact same card each time. I try and use them equally and pick one from the case at random. Size: I prefer to use several smaller cards than one huge card – if one dies, I would lose fewer images and not all of them as I would if they were all on one large card. 2Gb cards are big enough to hold around 150 RAW images for my Canon 40D. If I had a Canon 1Ds or similar higher megapixel camera then I would use some larger cards due to the larger file sizes, but for me, 2Gb cards are big enough. Some photographers will argue that you could miss a shot whilst changing a card, but if you keep an eye on how many shots you have left (which you should anyway), you can change it during downtime if you are getting low on space. Old advice says you should not try and fill a card anyway as it could, in rare cases, cause read/write errors on the card. For example, if you are at some sort of racing event and have just finished shooting one race and notice you only have space for 10 images left, change the card now. You are now ready for the next race and will not have to panic changing the card during the race, potentially missing a good shot. Transferring files: Personally I have found it more convenient to use a card reader to transfer files from the card to my PC. It also saves the camera’s battery, is faster (in my experience) at transferring files and saves wear and tear on the camera’s USB socket (a card reader is really cheap, replacing a worn or damaged USB socket is really expensive).
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MARCH 2011 How I Work with Memory Cards – Andrew Mills
Format the card: An old one, but one I still follow – that is to format the card in the camera, rather than to just delete the files. Formatting helps prevent file fragmentation (which will slow the card down over time and in worse case scenarios, lead to file corruption) that can still occur when you delete all files. I insert the card, quickly flick through some of the images to make sure it contains images that can be deleted, then format. I rarely change other menu settings, so when I go to the settings menu, it’s usually already on this screen, so only takes a second or two. Don’t format on a computer! There are many different file systems (FAT8, FAT16, FAT32, NTFS, ETX3 are just a few) and each can be set up differently. Formatting in the camera makes sure the card is set up optimally for your camera make and model. The only downside of this method is that it may be harder (but not impossible) to recover images you’ve accidentally deleted. Which brings me on to… Don’t delete until… Don’t delete the images or format the card until you are ready to insert and use it next time. This kind of acts like a back up in case you somehow lose the copies on your PC. By the time you use the card again, you should have a proper backup of your images. You do have backups, don’t you? Use a known brand: I will never use an “unknown” cheap brand, or even an “unbranded” memory card. You just cannot guarantee their reliability so it’s just false economy and you’ll regret it when you lose your images. Think this will never happen to you? Just before Christmas I tried to rescue images off a failing card for a friend. They were of her and her family who went on a trip to Venice – many of those images were lost forever as they were corrupted. I mainly use Sandisk as they have an excellent reputation, but do also have cards by Kingston and Dane-Electric. Contacts: The electrical contacts on come card types like Compact Flash are hidden away and protected inside the card – some, like SD cards, they are on the outside. Wherever possible, never touch the electrical contacts on a card – you can be holding a static charge and if you are unlucky enough discharge this via the contacts on the card, you will fry it. There is also the chance that oil and dirt from your skin can cause poor connections between the card and camera. And finally…It is advisable to turn your camera off whilst changing the card. Admittedly, sometimes I forget, but it should help avoid problems that can result. The camera may have some sort of built in safety device to prevent electrical damage occurring when you change the card when it is turned on, but if you are unsure, then it’s not worth the risk. The other advantage with some cameras is that it activates the sensor cleaning function, so will help keep your sensor clean… Thanks to Andrew for allowing us to reprint his article: http://www.andyphoto.co.uk/
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Northern California Professional Photographers
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MARCH 2011 WORKSHOP – March 10, 2011
Master Craftsman Photographer Carol Andrews Presents: Citra-Solv “Altered Inks” Experience Join Carol in her "hands on" Citra- Solv "Altered Inks" experience....learn to make amazing colorful abstract imagery, perfect for digital backgrounds. Handmade photo transfers will also be demonstrated, using this all natural product. Citra-Solv is a natural orange cleaner, and the Citra-art movement is catching on across the country with photographers and mixed media artists as well. Carol has been nationally recognized as the Citra-Solv artist of the month, and her abstract "altered inks" have been acquired into private collections, as well as featured at Citra-Solv corporate headquarters. She is one of the most experienced artists in this medium. To view her work, check out www.carolandrewsfineart.com Wear your comfy artist’s clothes to get messy in....and bring a positive, fun attitude.....I'll furnish everything else....wait till you see this happen before your eyes..... You too, can be a Citra junkie!!! The cost of this fine workshop is $45.00. Use the PayPal link provided below to confirm you seat. Date, Time, Location and Payment: Thursday, March 10th at 10am. Laura Cottril's home 1687 Suncrest Court Walnut Creek (Click here for PayPal $45.00)
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Northern California Professional Photographers
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MARCH 2011 WORKSHOP – March 10, 2011
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Northern California Professional Photographers
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MARCH 2011
NCPP Proudly Presents on Tuesday, April 12th: - Ann Gordon
Dogs, Horses and Cats, Oh My (with my Apologies to L. Frank Baum) Americans spend more than $45 billion dollars a year on their pets with another 28 billion spent on their equine cousins. These companion animals are part of the family, surrogate children and best friends. Because of their status as members of the family spending on pets has been somewhat insulated from economic pressures weighing on other consumer-discretionary items. Learn to tap into this market and enjoy working with these rewarding and inspiring subjects. Award winning CPP Ann Gordon will cover animal psychology and management, owner management, and tips and tricks for getting that perfect expression from the four-legged types.
BIO Ann Gordon considers the combination of photography and animals to be the perfect blend of two of her life's passions. A photojournalist for nearly 25 years, Ann developed a particular interest in sports photography. The skills needed for capturing images of horseracing, track and field, vaulting, swimming, and other fast paced sports are the same as those needed to make a litter of puppies look like they are waiting to have their picture taken. Ann captures the essence of companion animals using both natural and studio light to create rich artwork.
 A Certified Professional Photographer, her work hangs in homes and collections in the UK, across the United States and in China. She keeps up with everything photographic through her memberships in the Northern California Professional Photographers Association, the Professional Photographers of California (PPC), the Professional Photographers of America (PPA), and the Equine Photographers Network. An acknowledged expert in the field she has been selected as an instructor of animal photography by both PPC and PPA for their professional enrichment programs. The Gordon home boasts three dogs: a Jack Russell Terrier and two Gordon Setters (what else?). Ann handles them in the show ring, in obedience trials and in the field. Mostly they sleep on her bed and under and on her desk sharing all her daily activities. The endurance riding and jumping of her youth has been replaced by competitive and pleasure carriage driving, dressage, and long trail rides in the company of her Friesian gelding. 26
Northern California Professional Photographers
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MARCH 2011 Membership Information
Contact Stacey Flurscheim with / for any Membership Information Stacey Flurscheim @ 925-330-7130 If you have comments or information regarding new applicants, please send them to: Stacey Flursheim, NCPP Membership Chair: membership@ncpponline.org
NorCalProPhotogs - Meetup NCPP has a new web presence with a Meetup group. Join NorCalProPhotogs now for free. NCPP-Meet-Up
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Northern California Professional Photographers
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MARCH 2011 NCPP Member Awards
NCPP Past Presidents 1998 1999 2000 2001 2002 2003 2004
Michael Van Auken Judy Host Jim Fidelibus Linda Johnson Walter Guasch Kimberly Peterson Jim Fidelibus
2005 2006 2006-2007 2007-2008 2008-2009 2009-2010 2010-2011
Michael Gan Michael Gan Laura Cottril Leslie Artis-Gan Brent Walton Randy Cazinha Wayne Miller
NCPP Member of the Year 1998 1999 2000 2001 2002 2003 2004
Peg Jackson Michael Van Auken Jim Fidelibus Jim Fidelibus Kay Simon Shelly Najera Linda Johnson
2005 2006 2007 2008 2009 2010
Heather M. Whiting Michael Gan Laura Cottril Tom O'Connor Brent Walton Wayne Miller
2005 2006 2007 2007 2008 2009 2010
Richard Stahlberg Leslie Artis-Gan Michael Van Auken - Tie Richard Stahlberg - Tie Richard Stahlberg Wayne Miller Wayne Miller
Photographer of the Year 1998 1999 2000 2001 2002 2003 2004
Peg Jackson Jim Fidelibus Richard Stahlberg Michael Gan Richard Stahlberg Shelly Najera Leslie Artis
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Northern California Professional Photographers
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MARCH 2011 NCPP Member Degrees
If you should be included, or if you know the names of anyone else who should be shown here, please email me at toconnorphotogrpahy@gmail.com so I can include them. At some point, this message will be removed from the FP. Thanks, Tom PPA Master Craftsman Photographers Lisa Evans Peg Jackson Michael Gan Judy Host Leslie Artis-Gan
PPA Master Photographers Jim Fidelibus Linda Johnson Deidre Ligenfelter Mary Small
PPA Craftsman Photographers Denny Weigand Wayne Miller
PPA Certified Professional Photographers Leslie Artis-Gan Dana Smith Laura Cottril Richard Stahlberg Lisa Duncan Arleen Thomas Michael Gan Jill Hager Darleen Tom Judy Host Denny Weigand Wayne Miller Greta Heintz Brent Walton Tammy Hughes Pam Biasotti Linda Johnson Jennifer Chesterman Scott Kouns
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Jennifer Fink Stacey Flurscheim Nicole Gee Tod Gomes Ann Gordon Malcolm Slight Terry Riggins Mary Small
Northern California Professional Photographers
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MARCH 2011 PPA Certification, Merit & Degree Programs
If you are interested in becoming a Certified Professional Photographer, Master of Photography, Master of Electronic Imaging or a Photographic Craftsman, click here. This link will take you to the PPA website and you will see the page shown below. The image below is just a screen shot of the website, the links are not hot on this screen shot.
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MARCH 2011
NCPP Membership Classifications and Fees for 2011
Professional Active: Annual Dues $135. A professional photographer is an individual who on a regular basis, takes and sells photographs or photographic services. Must satisfy federal, state (resale permit), & local license requirements. Professional Active members have full membership privileges (Free meetings, voting, use of NCPP logo for self promotional use, and image competition). Aspiring*: Annual Dues $135. An individual who does not work in the photographic field, or derive any income from photography but plans to enter the profession. Limited to one year. Membership privileges: meetings and entering image competition, but may not vote, hold office or use the NCPP logo. May not actively sell photography or advertise/promote themselves as a photographer for hire. Limited 20% enrolment. Student*: Annual Dues $50. Members preparing for a career in the photography and currently enrolled in a school as a full time student. Applicant must show evidence for enrollment. Membership privileges: meetings and entering image competition, but may not vote, hold office or use the NCPP logo. Limited 10% enrolment. Sustaining: Annual Dues $150. Membership issued to the business name of the organization, which is a supplier, vendor, or manufacturer of photographic materials, supplies or photographic services. One representative of the organization shall have meeting privileges only, additional pay guest fees. * Aspiring & Student Classifications must assist/help six events per year to maintain classification or move to Professional Active.
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Northern California Professional Photographers
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MARCH 2011
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MARCH 2011 Focal Point Advertising Information
Advertising Costs: 11 Issues per year NCPP Members: • •
You supply camera ready art work and text. 1/4 page for 3 months per year - Free
Additional / Larger Ads: • • • •
1/4 Page for 3 months $25 1/2 Page for 3 months $50 Full Page for 3 months $75 Change to ad $25
Ad sizes are: • 1/4 Page: 4-1/4” Wide x 5-1/2” High • 1/2 Page: 8-1/2” Wide x 5-1/2” High • Full Page: 8-1/2” Wide x 11” High Spec is: • Jpg @ 94ppi • Color Space: sRGB • Include at least 1/8” of white space at the outer edges the sizes listed above.
Note: Members can use the Yahoo Group email to advertise at no cost. Sustaining Members: • •
You supply camera ready art work and text. Full Page per year - Free
Non Members/Non Sustaining Members: • •
You supply camera ready art work and text. Full Page per year - $500
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Northern California Professional Photographers
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MARCH 2011 NCPP Sustaining Members
Sustaining Members are companies that manufacture or distribute photographic equipment, laboratories, publishers or firms providing services to photographers. These Sustaining Members also contribute to the welfare of NCPP, with monetary and technical support. Sustaining Members may participate in all NCPP events, however they may not vote or hold office. We encourage our NCPP members to support our Sustaining Members. If you are interested in becoming a Sustaining Member, contact Denny Weigand. 925-336-7994 or E-mail @ digitalwhims@comcast.net -Listed Alphabetically-
THE ART OF PICTURE FRAMING APF is a full-service wholesale custom framing facility. We work closely with Fine Art and Framing Galleries, Interior Designers, Professional Photographers, Art Consultants, Retailers and others in need of custom framing at wholesale prices. APF specializes in creating custom programs or packages to your individual business or market needs. We offer superior quality with flexible pricing to fit your individual needs. Contact: Mike Moretti 1084 Shary Circle, #B Concord, CA 94518 (Located behind Costco) E-mail: apfwholesale@sbcglobal.net 925-689-5177 web: http://stores.apfwholesale.com/StoreFront.bok
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Northern California Professional Photographers
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MARCH 2011 NCPP Sustaining Members
BAY PHOTO LAB Contact: Debbie Thomas E-mail: debbie@bayphoto.com 510-585-7049 web: http://www.bayphoto.com/ 2161 Delaware Ave. Santa Cruz, CA 95060 800-435-6686 fax: 931-475-5257
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Northern California Professional Photographers
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MARCH 2011 NCPP Sustaining Members
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MARCH 2011 NCPP Sustaining Members
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MARCH 2011 NCPP Sustaining Members
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MARCH 2011 NCPP Sustaining Members
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MARCH 2011 Our Neighboring Affiliates
PPC Professional Photographers of California Affiliates
City
Company Name â–˛
Phone
All Valley Professional Photographers - AVPP
La Canada Flintridge
(818) 262-7903
Associated Image Makers - AIM
Fairfield
1-888-442-6606
Central Valley Professional Photographers - CVPP
Fresno
559 266-0305
Channel Islands Professional Photographers Association - CIPPA
Camarillo
(805) 573-7637
Gold Coast Professional Photographers Association - GCPPA
Pismo Beach
805 733-5197
Inland Empire Professional Photographers & Videographers - IEPPV
Riverside
951-737-7310
Northern California Professional Photographers - NCPP
Walnut Creek
925 330-8737
Professional Photographers of California
Escondido
Professional Photographers of Los Angeles County - PPLAC
Culver city
(818) 344-0671
Professional Photographers of North Valley - PPNV
Redding
530-241-2191
Professional Photographers of Orange County - PPOC
Mission Viejo
949.916.2471
Professional Photographers of Sacramento Valley - PPSV
Sacramento
530 363-0138
Professional Photographers of San Diego County - PPSDC
San Diego
(858) 695-9563
Professional Photographers of Santa Barbara County - PPSBC
Santa Barbara
(805) 403-6556
Professional Photographers of Santa Clara Valley - PPSCV
San Jose
408 244-2293
Professional Photographers of the Greater Bay Area - PPGBA
So. San Francisco
530 574-6033
Professional Photographers of the Redwood Empire - PPRE
Santa Rosa
707 548-1181
Stanislaus Professional Photographers - SPP
Modesto
209 847-0540
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Web Site
Northern California Professional Photographers
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MARCH 2011
I
Sunset Table
This information is for Walnut Creek. You can obtain sunset times for other locations at http://www.sunrisesunset.com/
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