TAPPA Tribune - February 2022 by TAPPA

February 2022

The TAPPA Tribune is the monthly magazine of the Tampa Area Professional Photographers Association

Contents President’s Message

Hiking the Appalachian Trail with Reckless Abandon

This Month’s Program

RSVP - click here

A mind map adds meaning to the PPA International Photographic Competition.

Print of the Month

Upcoming Events

RSVP - click here

Photos from the meeting

Board of Directors

Be a Part of Something Great

ADVERTISE

On the cover: Photo by William Cadzow Visit TAPPA on FaceBook TAPPA.org info@TAPPA.org

TAPPA Tribune

Photo: Cat Ford-Coates

President’s Message

Well, here we are at the beginning of a

different take on the importance of each

new year, with a great place to meet and

of the 12 elements and how they work

an ever increasing membership. At least

together to help define a merit image.

that’s the current trend and one that I hope continues.

Looking forward to a busy and prosperous 2022 with entertaining and educational

Next month is our annual image

speakers, fellowship with photographic

competition an event I strongly suggest

artists and friends and hopefully an end of

everyone enter , maybe even, especially

the pandemic.

if you have never entered competition before. Competition has made me a better photographer and taught me more than

I’ll be watching for YOUR images at the Salon

I ever could have imagined when I first

Gratefully

started so long ago. Elsewhere in this

Win Wolloff

issue you will find a great article on the

TAPPA President

12 elements that go together to make up a merit worth image. It is reprinted by permission of the author Lisa Dillon M.Photog, Crafts. ASP fellow and gets right to the heart of the things that help one image stand out from the rest. I urge you to give it a read even if you have been a successful competitor in the past, as it offers real insight into the process and a

TAPPA Tribune

This Month’s Program

Hiking the Appalachian Trail with Reckless Abandon Kevin E. Newsome AKA Reckless Abandon Meeting Details Tuesday, February 11, 2021 Social and Networking

6:00-6:15

Print of the Month entries must be in by:

6:15

Announcements

6:15-6:30

Meeting and Awards

6:30-7:00

Program

7:00-9:00

http://tappa.org/r-s-v-p-meeting/

Lace up your trail runners and bring your questions for this fast paced, energized, info-packed, message-delivering, motivational presentation, unlike anything you’re going to find in the photography world.

TAPPA Meets on the 2nd Tuesday 6pm at:

Sometimes you just gotta take a hike.

$20 RSVP at:

Tampa Museum of Photographic Art 400 North Ashley Drive Cube 200, Tampa, FL 33602

NEW Location!

info@tappa.org Tel: 727-577-5172

RSVP - click here

In March of 2021, Kevin put his business on hold and hiked the entire length of the Appalachian Trail, carrying a thirty pound backpack from Springer Mountain, Georgia to Mt Katahdin, Maine, a distance of 2,193.1 miles in 171 days.

TAPPA Tribune

Kevin E. Newsome M.Photog,Cr,CPP,API,FDPE,FDAE,FSA,FED AKA Reckless Abandon Appalachian Trail Thru-Hiker NOBO c/o 2021

Past President of: FPP 2000 TAPPA 2002 SEPPA 2009/10 TAPPA 2013 PPA Councilor 2010-20 PPA Chairman, Bylaws, Rules & Ethics Committee 2018-19

Kevin & Kaye Newsome have owned Newsome’s Studio of Photography, Inc since 1986, currently specializing in conventions, corporate events, executive headshots, and corporate group composites. www.newsomestudio.com

Parking Parking for the museum is available at the Rivergate Plaza underground parking garage for $5 per hour with a daily maximum of $32. FMOPA is only able to validate your parking in this garage for a flat rate of $5 for those who park in the garage after 5pm and before 6pm on weekdays, and all day on weekends and holidays. Valet parking at a reasonable rate is available on the North side of the building Monday through Friday 11am to closing.

Street parking is available on the side streets perpendicular to Ashley Street. Follow the instructions for meter machines. Street parking North of Kennedy Boulevard is free on weekends and after 6pm on weeknights. City of Tampa Poe Parking Garage is a two block walk from the museum at $1.20 per hour. The Poe Garage is just North of the Children’s Museum on Ashley Drive. TAPPA Tribune

Photo: Kevin Newsome

A mind map adds meaning to the PPA International Photographic Competition. By Lisa Dillon, M.Photog.Cr., CPP, and Bryan Welsh, Cr.Photog., API 3.24.2017

One of the most daunting sentences you can hear as a novice competitor in PPA’s International Photographic Competition is “Entries are judged using the 12 Elements of a Merit Image.” What are these 12 elements? Where can you find them? And most of all, what do they mean? If you’re new to image competition, it can feel like a game. It’s possible you have only a passing familiarity with the 12 Elements of a Merit Image. Yes, the list is displayed at every image competition and a short description of each element can be found on the PPA website. But do you really understand what they mean? Do you understand how they underpin one another and build upon one another? Many people believe these elements are listed in order of importance but a brief conversation with Randy McNeilly, M.Photog.MEI.Cr., CPP, API, F-ASP, former chair of IPC, confirmed our belief that this is not true. Impact is often touted as the most important element of all, but you can’t really separate impact out as separate element. Impact is what you get when all the other elements are working together in concert. For us, impact is a result rather than an independent element.

TAPPA Tribune

So rather than looking at the elements as a linear catalog or a checklist, our brains saw them as more of a constellation of interconnected elements with some in a slightly more subordinate position and others in a more prominent position, but all working together to create impact. We created this mind map to explain how we see these elements working together, assembled in logical groupings.

Impact takes the center of the map, with the rest of the elements leading in to it. We broke the element list apart and created four major areas, or pillars: composition, creativity, technical excellence, and storytelling. Branching off these four major components are the elements that support each pillar. You’ll also notice that the left side of the mind map covers the more technical aspects while the right side of the mind map covers the more emotional aspects.

We grouped color (sometimes called color balance or color harmony), presentation, lighting, and technique together as the elements that make up technical excellence. You can’t have technical excellence if your white balance is off or your colors are fighting against each other. And the way you present your image at competition is a huge part of technical excellence. If you print your image, you should choose the best media for your subject matter, which could be glossy, metallic paper, art paper, whatever makes the most fitting presentation. Matting should present the image to its best advantage. Image files should be prepared appropriately prior to printing so they can be viewed properly under the strong lights at competition. Digital submissions should have an appropriate digital mat and possibly key line or stroke to frame it.

For lighting, technical excellence is achieved when you’ve chosen the best lighting for that subject in that setting. That means it could be broad light in certain circumstances, depending on the subject and the mood of the image. Or perhaps short light would be the best way to light the subject, particularly if your subject is a woman. But there are other lighting styles—for a fashion or film noir image, the best lighting choice might be butterfly. Given the proper scenario, you might even choose spooky lighting. The actual lighting technique matters much less than whether it supports the subject matter and story you’re trying to tell with that image. Judges look for directionality and intentionality with a lighting scheme—did you choose your lighting intentionally or just take what was given? With photojournalistic images, you may have little or no control over lighting, but you can control where you are and when you press the shutter release.

TAPPA Tribune

such as grass or brightly painted walls? When it’s apparent that the skin tones are altered for an overall effect, it’s OK to have a tint to the skin, but when it’s clearly a matter of poorly controlled white balance, it will be a negative factor in your overall technical excellence.

As an element, technique looks at how you approached the creation of your image. It includes your choice of presentation media (printed or digital; paper selection, and so on), but it goes further than that and includes posing and expression, key (whether the subject’s clothing is in key with the background) and even how the image was captured as well as the post-processing you did after capture. Technique looks at things like digital noise in the capture, moiré, ghosting, chromatic aberration, and other distracting and avoidable elements in an image. It also looks at post-processing. Is there discernable banding in the processing or the printing? As you processed the image, did you accidently create halos (areas that are lighter or darker around an element in the image caused by sloppy dodging or burning or sometimes from the sharpening technique)? If you applied a texture, is it there to enhance the image or to hide some digital noise? Are there cloning tracks in the image? Are there digital artifacts from oversharpening? Is your white balance off, creating unintentional, unnaturally tinted skin tones in the subject? Is there a color cast on the skin of the subject from strongly colored objects in the scene

TAPPA Tribune

Technique also applies to your black-and-white conversion—is it muddy? Soft and creamy? Snappy and contrasty? And most importantly, is your black-and-white conversion appropriate for the subject and the mood you’re trying to evoke? A soft and creamy black-and-white image might be appropriate for a sweet newborn but could be out of place for a moody, heart-tugging image. As with lighting and presentation, there are no hard and fast rules about which style to choose. As the maker, you need to select the processing that fully supports the story you’re trying to tell and the subject matter. Color balance provides a sense of harmony to the image, which is why it’s often referred to as color harmony. This harmony can take many forms. Working with complementary colors (colors directly opposite each other in the color spectrum) or analogous colors (groups of three colors that are next to each other on the color wheel) are two ways to ensure that your images will be balanced. However, your colors need not always be

harmonious. Sometimes clashing color creates just the right amount of tension for the image, evoking strong feelings and reactions. Not every image needs to be pretty to be effective at conjuring emotion.

When you look at technical excellence as a product of the effective use of color balance, technique, lighting, and presentation, the elements start to make more sense and work together. Instead of being disparate pieces, they are components that go logically together. When all these elements are thoughtfully and intentionally in place, you achieve technical excellence and that points you toward impact. But the job isn’t done yet. Now let’s look at composition as an element. We’ve attached center of interest as a component

of composition, but there’s much more to a pleasing composition than having a strong center of interest. If, for example, you’re photographing a stand of trees, there might be one that is different enough that it stands out and becomes the center of interest. In that case, the placement of that special tree will greatly determine if your image has a pleasing composition. But sometimes a stand of trees is interesting all on its own for the uniformity of the tree trunks or the strong repetitive pattern and chiascurro (an effect of contrasted light and shadow created by light falling unevenly across the subjects in your image) that the trees create. In cases like that, you won’t have a strong center of interest because the entire image is the center of interest. And truly, sometimes, not having a center of interest is the whole point of the image, such as with an abstract piece or a fine art piece. But center of interest is just one part of the composition element. Does your image bring viewers into the image and keep them there? Are there leading lines that take you right to the center of interest? Are you working with the rule of thirds? Or are you breaking the rule of thirds intentionally for a specific effect? Are you using mood lines (patterns and lines that convey mood or emotion) to create visual tension? Do the overall lines of the image create a mood that matches the story you are trying to tell with this image? Are you using the Golden Mean as a compositional element in your image? It’s OK to break rules of composition, but you have to do it with great intentionality and find a way to indicate that you did so knowingly. Sometimes a symmetrical image creates just the right feeling of stability and strength that you need for an image. Other times that same symmetrically can create an image that is too static and the net effect is boredom for the viewer. You have to make sure you know the rules, though, before you try TAPPA Tribune

to break them so you can do it effectively and intentionally. Storytelling is an element that has often been given short shrift because of its place at the bottom of the list. Many people see it last and believe that it’s the least important element. For us, it’s one of the four major underpinnings of impact. Subject matter is an important facet of storytelling, but it’s not the whole thing. There are aspects of storytelling throughout the image— the setting, the props, the expression, the pose, and even the title, which we like to call the 13th element, are all part of storytelling. Storytelling is further enhanced by your choice of post-processing and possibly even presentation. A vintage-style image might lose some of its impact if it’s printed on glossy paper but that impact could be recovered if it were printed on a paper that supported the vintage feel. For a retro piece, it’s possible that art paper might be a stronger choice. Maybe a torn or deckled edge would go even further into supporting the storytelling aspect of the image.

TAPPA Tribune

While not technically an element, titles are a very important component to your competition image. It’s your only chance to actually talk to the judges, so think carefully about what you choose to say. Do you really want to throw away that chance to talk by saying something that a hundred other people have already said? Old and tired titles do little to advance your cause. And some titles have absolutely nothing to do with telling the story of the image and can end up being a stumbling block for judges who are trying to reconcile the two. Use your titles to draw out the story. Point your viewers in the direction you want them to look. After you’ve worked so hard to capture the image, process it perfectly, and then print or prepare it for display, don’t let a mundane, tired, boring, overused, ill-fitting title be the first thing the judges encounter.

The final pillar of the impact is creativity, supported by style. While it’s true that style could support other areas (composition or storytelling, for example), we felt it fit best as a component of creativity. It’s hard to define creativity, but we tend to know it when we see it. Creativity is best defined as the ability to transcend traditional ideas to create meaningful new ideas. We see it with a fresh approach to something that’s been done over and over and over. We see it with imaginative and inventive compositing or styling in an image. An image that shows us a new way to look at something scores high on the creativity and style scale.

turnstile or pops up on the monitor and you get this momentary cessation of breath. Your mind goes blank for a moment and all you can do is absorb the image before you. Then you can start looking at it from the standpoints of the other elements. Images like this don’t just happen— they are thoughtfully created and nurtured and cultivated through the judicious attention to the other supporting elements. Sometimes one or another of the elements will prevail and take precedence over another (such as when a strongly emotive image will allow storytelling to make up for slight deficiencies in technical excellence). Think of impact as the tabletop with the supporting pillars of composition, storytelling, technical excellence, and creativity. The other elements keep those pillars strong and make sure that the table doesn’t fall over and spill the allimportant element of impact.

The last element to discuss then is impact. As you can see, impact doesn’t just happen. It is the amalgamation of the rest of the elements combined. Bob Hawkins, in his original description of the 12 Elements of a Merit Image, described impact as the sense one gets upon viewing an image for the first time. We call it the wow factor. An image with great impact comes around on the TAPPA Tribune

Print of the Month

NEW RULE S!

Each month we have a print of the month competition at the meeting. You’re allowed to submit up to six images, three of which can earn points toward Photographer of the Year. This is a great opportunity to show off your work and see what your fellow members have been working on. Everyone is encouraged to participate.

Print of the Month Rules - Prints are to be mounted. - Size: 8x10. - Electronic Imaging size can be two 8x10 taped together on the back and spread open for viewing. - Four entries per member each month, all of which will count toward Photographer of the Year points. - All entries MUST have your name and the category you wish to enter on the back of the print. - Prints must be turned in before 6:15 pm. Prints received after 6:15 will not be accepted!

Winners: - Please send your winning files to Chuck@ ChuckVosburgh.com for the newsletter as soon as possible. Deadline for publication is Friday after the meeting. - Name your files by your last name-placecategory. For example: Smith-1st-Portrait.jpg - Resolution 1500 pixels on the longest side or greater is acceptable. JPEG format is preferable.

TAPPA Tribune

Print of the Month - Portrait First place: William Cadzow

Print of the Month - Portrait Second place: Win Wolloff

Print of the Month - Portrait Third place: Ricardo Groenke

Print of the Month - Electronic Imaging First place: Michael Landes

Print of the Month - Unclassified Second place: Pedro Carillo

Print of the Month - Unclassified Third place: Michael Landes

Visit us on the web at TAPPA.org

Upcoming Events February 11 , 6pm

Kevin Newsome CDC COVID guidelines will be followed. More information on all of these events and more can be found at TAPPA.org

Meeting Details Or on YouTube

Second Tuesday Every Month Social and Networking

6:00-6:15

Print of the Month entries must be in by:

6:15

Announcements

6:15-6:30

Meeting and Awards

6:30-7:00

Program

7:00-9:00

$20 RSVP at: http://tappa.org/r-s-v-p-meeting/ TAPPA Meets on the 2nd Tuesday 6pm at: Subscribe to the TAPPA YouTube Channel and get all the latest TAPPA tutorials, webinars and recordings of some of our featured presenters from our meetings. Click here to check it out

Tampa Museum of Photographic Art 400 North Ashley Drive Cube 200, Tampa, FL 33602

NEW Location!

info@tappa.org Tel: 727-577-5172

RSVP - click here

TAPPA Tribune

Photos from the meeting

Photos: Scott Morrison

TAPPA Tribune

Board of Directors

2021 Oﬃcers President

Win Wolloff

727 514-6805

WinWolloff@gmail.com

Vice President

Robert Sargent

813 930-7390

Robert@SargentPhotography.com

Treasurer

Robert Sargent

813 930-7390

Robert@SargentPhotography.com

Director

Bruce Hardin

813 503-7579

hbw21@hotmail.com

Director

Bill Cadzow

(727) 585-8800

LiaraStudios@yahoo.com

Director

Chuck Vosburgh

727 743-1740

Chuck@ChuckVosburgh.com

Secretary

Committees Delegate

Julie Johnson

Membership

Bill Cadzow

727 585-8800

LiaraStudios@yahoo.com

Program

Robert Sargent

813 930-7390

Robert@SargentPhotography.com

Salon

Michael Landes

863 512-2637

landesmr@yahoo.com

Door Prize

Chris Gil

813 730-2562

ChrisGilPhotography@gmail.com

Scholarship

Carol Hackman

727 867-9254

HackmanC@tampabay.rr.com

Audio Visual

Robert Sargent

813 930-7390

Robert@SargentPhotography.com

Newsletter Editor

Chuck Vosburgh

727 743-1740

Chuck@ChuckVosburgh.com

Photographer

Scott Morrison

727-793-8666

scomopho@mac.com

Web Master

Jade Galura

479-223-7028

galuraphotography@gmail.com

Hospitality

Rob Moorman

727 423-3146

cameradude1@gmail.com

Marketing

Rob Moorman

727 423-3146

cameradude1@gmail.com

Be a Part of Something Great Being a part of TAPPA has many benefits both professionally and personally. Your annual dues helps TAPPA provide nationallevel educational programs every month, a great place to meet and many other educational and social opportunities throughout the year.

Membership Classification PROFESSIONAL MEMBER: (Voting) An individual that is a Florida resident. An individual who owns a legally established business engaged in selling photographic goods or services to the public. An individual who is employed by a legally established photographic business. May vote, hold office, use the TAPPA logo, and enter print competition. A valid Sales Tax Number and Occupational License are required. ASSOCIATE MEMBER: For additional members from the same firm or studio already represented by a PROFESSIONAL MEMBER. They may not vote, hold office, or display the TAPPA logo, but may enter print competitions. The PROFESSIONAL MEMBER’S Sales Tax Number and Occupational License are required.

MEMBER: For enthusiasts, hobbyists, non-professionals, and newcomers to the profession, who are not associated with any PROFESSIONAL or LIFE MEMBER and may just be getting started in the profession. They may not vote, hold office, or display the TAPPA logo, but may enter print competitions. No Sales Tax or Occupational License are required. STUDENT: An individual that is currently enrolled in photography related courses in the State of Florida and can provide authentic student identification. May not vote, hold office, or use the TAPPA logo, but may enter print competitions. SPOUSE: An individual not engaged in photography whose spouse is a TAPPA member. May not vote, hold office, use the TAPPA logo or enter print competitions. Questions? You can always email our Membership Director.

A membership application is on the next page or go to TAPPA.org

TAPPA Tribune

Tampa Area Professional Photographer’s Association Membership Application

Your Name ____________________________________________

Code of Ethics

Business Name _________________________________________

1. I will endeavor to enhance and ennoble the status of the photographic profession by maintaining a dignity of manner in my behavior, in the presentation of my photography and photographic services, in the appearance of my studio or place of business and in all other forms of public contact.

Business Address _______________________________________ City _______________________ State _____ Zip _____________ Business Phone ________________________________________ Cell ____________________ Home Ph ______________________ Email Address __________________________________________ Web Address ___________________________________________ Photographic Degrees ____________________________________ ______________________________________________________ FPP Member? Yes / No If yes, membership number: __________ PPA Member? Yes / No If yes, membership number: __________

TAPPA Membership Classification (check one) ______ PROFESSIONAL: (Voting) An individual (Florida resident) who owns a legally established business engaged in selling photographic goods or services to the public, OR, an individual who is employed by a legally established photographic business. May vote, hold office, use the TAPPA logo, and enter print competition.

Annual dues are $89

______ASSOCIATE: For additional members from the same firm or studio already represented by an ACTIVE TAPPA Professional member. They may not vote, hold office but may use the TAPPA logo and enter print competitions.

2. I will observe the highest standard of honesty in all my transactions, avoiding the use of false titles, confusing or inaccurate technical terms or descriptions and misleading terms or claims. 3. I will at all times endeavor to produce only those types of photographs and photographic services that will enhance the prestige of the profession, to apply my best efforts on behalf of the public, and to play my part in raising the general standard of photographic craftsmanship. 4. I will show a friendly spirit of cooperation with my fellow professional photographers and assist them whenever possible should they be in trouble or difficulty. 5. I will assist and give of my knowledge to the members of my profession, and will encourage them individually and collectively, so that the quality of photography may constantly be raised to higher standards. 6. In all matters relating to the interpretation of this code I will recognize the authority of the Tampa Area Professional Photographers Association, Inc., and agree to hold harmless the Board of Directors in any decision made on behalf of the organization. I have read the above Code of Ethics and agree to abide by it, evidenced by my signature in ink this ___________ day of _______________ 20_____. Any member of the Tampa Area Professional Photographers Association, may be reprimanded, suspended, or expelled by the Board of Directors for a violation of the Code of Ethics, or the Bylaws.

Annual dues are $79

______ STUDENT: An individual that is currently enrolled in photography related courses in the State of Florida and can provide authentic student identification. May not vote, hold office but may use the TAPPA logo and enter print competitions

Signature

______ SPOUSE: An individual not engaged in photography whose spouse is

Please make checks payable to TAPPA Or pay online at www.tappa.org

Annual dues are $59

a TAPPA member. May not vote, hold office or enter print competitions.

Annual dues are $35

This application must be completed in full with proper fees, prior to being considered for membership.

Chuck Vosburgh 727.743.1740 Chuck@ChuckVosburgh.com Lee Burgess 727.724.1022 lee2810@verizon.net Rob Moorman 727.527.1237 cameradude1@earthlink.net Randy Van Duinen 727.577.5172 randy@rvdphotography.com Karen Barnett 727.267.8296 oakcrestproductions@tampabay.rr.com Win Wolloff 727.514.6805 winwolloff@gmail.com Carol Walker 727.5775626 carol@thomasbruce.com Robert Sargent 813.930.7390 robert@sargentphotography.com Michael Landes 863.512.2637 landesmr@yahoo.com Ginny Otto 715.252.3195 ottophotography@icloud.com Booray Perry 813.728.7110 booray@boorayperry.com

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The TAPPA Tribune is published monthly for the membership of the Tampa Area Professional Photographers Association. Its purpose is to share knowledge and insight with the photographic industry. The deadline for submission of articles and ad changes is the second Friday of the month. Permission is hereby granted to reprint the contents of this newsletter, provided the authors and The TAPPA Tribune are recognized as the source. The ideas and views expressed do not necessarily reflect the policies of the Tampa Area Professional Photographers Association; they are solely those of the authors and editor.

Editor: Chuck Vosburgh 300 62nd Street North St. Petersburg, FL 33710 Chuck@ChuckVosburgh.com 727.743.1740

Advertising: To advertise in the TAPPA Tribune, please contact the editor for rates and distribution information.

Meetings: TAPPA monthly meetings take place the second Tuesday of the month at:

LOCATION Bryan Glazer Family JCC 522 N Howard Ave. Tampa, FL 33606 Networking Meeting

6:00 pm 6:30 pm

TAPPA Tribune

ADVERTISE In the TAPPA Tribune For information and rates, contact Chuck Vosburgh at Chuck@ChuckVosburgh.com or call 727.743.1740

Visit us on the web at TAPPA.org

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TAPPA Tribune

TAPPA Tribune - February 2022

Articles inside

ADVERTISE

President’s Message

Print of the Month