Southern Exposure December 2009

SOUTHERN EXPOSURE SOUTHERN EXPOSURE online publication of seppa

inside

DECEMBER 2009

state links MONTHLY WRITERS 2011 CONVENTION

EDDIE TAPP Color Space

John Woodward Sun Transit

cover art “don’t hiccup” David Carlson

the Pages SOUTHERN EXPOSURE DECEMBER 2009

6 10 14 17 20

Mary Fisk-Taylor

Real Life Parties

Victoria Kelly

Don’t Dare Go Bare

Janet Boschker

Have a Plan

Cheri MacCallum

Start to Finish: Part one

Jamie Hayes

What Red-Necks Want

22

John Woodward

24

Eddie Tapp

26

Sun Transit

Color Space

Kevin Newsome

Passion, Passion, Passion

Attend

3

Maryland Convention

8

East Cost School

9

PPNC Winter Seminar

12

Imaging USA

13

South Carolina Convention

16

SEPPA 2011

1

“Evil Boy”

by Janet Boschker

Learn

Shop

Showcase

16

Academy Productions

18

Miller’s

28

CCI Lab

eb

bog

Board of Governors

Executive Board

Chairman of the Board Kevin Newsome kevin@newsomesstudio.com

Delaware

*** Peggy Parkinson

President

Mary Alice Ross maryaliceross@gmail.com

District of Columbia

1st Vice-President

Doug Peninger ncdoug01@triadbiz.rr.com

Florida

2nd Vice-President George Singleton george.singleton6@verizon.net

***Cherilyn Nocera Terri Crownover

Georgia

***LaRita Hulsey Sherri Noftsinger

Secretary/Treasurer Anthony Rumley anthony@anthonyrumley.com Print Exhibition Chair Randy McNeilly

randy@mcneillyphotography.com

Executive Director Thomas McCollum seppa@bellsouth.net

Maryland

***John Stein David Corry

Mississippi/Alabama

Southern Exposure

***Gill Brady Mary Lee Blakenship

Southern Exposure magazine is an online publication of SEPPA and is published monthly.

North Carolina

***Rex Truell Janet Boschker

Deadlines

South Carolina

***Wilber Jeffcoat Jimmy Wood

Article & Ad Submission 5th of each month Proofs 20th of each month On-Line Publication 1st of each month

SEPPA 2712 Marcia Drive Lawrenceville, GA 30044 888-272-3711 www.4seppa.com

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Joe Tessmer

Tennessee

***Jan Wilson Barbara White

Virginia

Robert Holman ***state presidents representative

As your state president and SEPPA representative changes, please inform Tom McCollum, so we may update our records.

SEPPA state links

Additional information of state events within the SEPPA District can be found using the state links below. Please view their websites by clicking on the web address and you will be re-directed.

DELAWARE

mississippi/alabama

www.delawarephotographers.com

www.ppma.net

District of Columbia www.ppsgw.org

Florida www.fpponline.org

north carolina www.ppofnc.com

south carolina www.ppofsc.com

georgia

tennessee

www.gppa.com

www.tnppa.com

Maryland

virginia

www.marylandppa.com

www.vppa.org

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Mary Fisk-Taylor

Parties Real Life

Over a year ago we opened a new studio in Midlothian, Virginia.

This new studio is a great compliment to our existing high-end portrait and wedding studio in Richmond’s west end. We wanted a new location that would be a more fresh and funky space that would allow us to create fun children’s portraits and build a high school senior portrait business. We have been ecstatic with the community’s response and success of this studio. We have also been pleasantly surprised with the two new business models that have grown from this portrait studio. We have managed to build an event and party division that we did not even expect.

Real Life Parties has been a fantastic way to make some extra income, but more importantly get potential clients in our door several times a month. We have embraced our birthday and special occasion party option as a marketing tool as much as a revenue source because it is not unusual for 25 or 30 kids and their parents to come through our studio on a Friday night or Saturday. These are all potential clients for our studio for future portrait or event business.

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We offer three different Real Life Parties options, from our very basic event to a “Party Like a Rock Star” version, which is a turnkey party that my clients love!! The investment level for the parties is not in everyone’s price range, however, we have managed to book one to two parties a month. I have advertised these Real Life Parties on our facebook page and a local Richmond mom’s blog. Both of these marketing tools are completely free and have proved to be very effective. The rest of my party bookings have come from referrals from other happy clients.

All of the party collections include the use of our space and a 4x6 printed image of each party attendee or friend group.

So, each child or teen goes home with a fun 4x6 image from the event of either themselves or him or her with their friends. The larger event collections also include crafts, food, drinks and gift bags. We even have our rock star collections that include a birthday signature portrait, custom portrait invitations, thank you notes and a birthday press printed memory book after the event. We even have the ice cream man come to the larger events, which is a sure hit with the kids and adults!!

party

These parties obviously work well for birthdays but other events we have celebrated are cotillion after parties, graduation celebrations and bar/bat mitzvah pre-event parties. Regardless of the occasion we have some great families visiting our studio with their kids and teens. A member of the party staff greets them all and we keep a stack of complimentary Real Life session cards at the door for them to pick up if they are interested. To date we have been able to book over 22 portrait sessions from these parties, which is just the icing on the Real Life Party Cake!

contact CONTACT Mary Fisk Taylor mary@hayesandfisk.com 1-804-740-9307 7

Victoria Kelly

Undressed

Don’t Let Your Photos Go…

One of the best selling items I offer in my studio is the senior “hotshots” album with favorite images from their session. These books are sized 8x8, contain 10 sides and up to 20 images, mounted into a self-mount book from the “Elements” line at Finao.

My first efforts in creating these books were time-consuming and an ordeal to produce. I spent hours reviewing digital scrapping websites and building an impressive graphics library of brushes, papers, flourishes and the like. It didn’t take me long to realize that I had accumulated so much “stuff” that it was next to impossible to remember what papers could complement which brushes and into what folder had I put my favorite flourishes. And, since my time is my money, I figured I’d better come up with a way to make a custom book for every senior in 45 minutes or less.

And then the cavalry appeared. I came across a great tool called PhotoDUDS from Beth Forester in West Virginia.

As a master photographer with a large senior clientele, she has collaborated with a designer to come up with a fantabulous collection of graphics, brushes, templates and ideas.

45 minutes

contact CONTACT 10

Victoria Kelly vkelly@victoriakellyphotography.com www.victoriakellyphotography.com

My first PhotoDUDS purchase was the “Kork” collection.

My criteria for deeming this product an A+ on the Victoria Kelly “what have you done for me lately” scale was whether or not I could create a 10-side senior book using ONLY the contents of the collection. It had to be visually stimulating, easy to use, and created in 45 minutes or less. (Now, mind you, this 45 minutes DOES NOT include the time I spend in retouching and readying the images for the book. Keep in mind that the book is an add on to a sale and the retouching time has already been allocated in the initial print order.)

Just as there are many different ways to accomplish a single task in Photoshop, there are many different ways to design a book. In a nutshell, here’s my process: My books are sized 8x8, so I create 5 empty documents sized at 16x8 with a guide set to vertical at 8 inches. As I create the documents, I name each one of them with where it will go in the book, i.e., “p0203, p0405” and so on. The first and last single pages are created as one double spread labeled “p0110”.

For this example I’m using 3 of Anna’s images and one of the newest PhotoDUDS collections, “Heraldry”.

I open each image that will be used in the book and begin dropping them on the pages where I think I want them to be placed. This is just an exercise to get the images on the spreads and ready for the next step.

When I’ve accounted for all the images to be used in the book, I begin refining the placement and sizing the images on the pages. At this point, the theme of the book becomes clear (yep, you’ve caught me...I very rarely know what a book is going to look like when I start the design process.

It’s how my creative mojo works.) and I’ve decided which PhotoDUDS collection I’m going to use for the embellishments: Kork, Bohemian, Memento or one of the other senior collections that are available.

Believe it or not, at this point the bulk of the design work is complete. I work with thumbnails of the spreads, open the backgrounds folder for whatever collection I’m using and begin dropping the backgrounds onto the bottom layer of the spread. Once I’m happy with the backgrounds, the embellishments to be used to enhance the images and the pages pretty much set themselves.

I customize every book with the senior’s name, year of graduation and high school. Each senior that comes into the studio is required to complete a “411” sheet that includes their name/nickname, school and other pertinent information. There are a bazillion ways to spell “Lizzie” and you certainly don’t want to remake a book because of a spelling error!

Many of the collections contain what I call “bonus” goodies--ready-made templates for gallery wraps, cards, 411 cards and stickers. The templates come to you in layers ready to be customized, and, in addition, the press-printed items have an extra layer with printing guidelines so that you don’t have to worry about cutting off an important part of your image.

photo-duds

Each PhotoDUDS collection makes it easy to be as simple or intricate in your layout as you would like. The brushes, elements and papers are extremely well-designed and changing a color is as simple as making a hue/saturation adjustment. And, if you’re having trouble getting YOUR creative mojo to kick into gear, there’s a great idea gallery on the DUDS website you can browse for inspiration.

So...if you’re looking to maximize your time in the process of delivering a stellar product, visit the PhotoDUDS website at www. photoduds.com and check out the collections. With all the time you’ll be saving you can sit back, relax and enjoy your favorite beverage while contemplating all that holiday shopping you need to be doing.

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Janet Boschker Working with

Children Have a Plan

Continuing our discussion on photographing babies, let’s just keep one thing in mind – the baby is in control! Just because babies are little, don’t underestimate their power in the session. Most little babies are pretty happy as long as things are going their way. If tummies are full, bottoms are dry and they are rested, you are on your way. That is, until they get bored with you or become over-stimulated. How to deal with this? Have a backup plan! If the child begins to fuss, stop the session and give them a break. This can happen at any time, so be sensitive and don’t force the issue.

They are all different, some like to be cuddled, some don’t.

So if I am trying for a close shot of mom & child and the child is protesting, I stop, regroup and move on to something else. Here is how I have structured my approach with babies up to about 6 months old.

PLAN A

Over the Shoulder

This is an easy way to get to know the baby while he feels secure in the mom’s arms. She faces away from the camera and positions the child so that he is peeking over her shoulder. I explain that she is a prop, not to interact and let me get to know her child. The camera is on a tripod, and I speak softly to the baby to get some sweet expressions – also snapping away if he looks around at the light or down for variety. Part 2 of this routine is to have the mom turn in profile, talk and snuggle for a different look. Part 3 is to have her turn her body toward the camera and give me that “cheek to cheek” while looking directly into the camera.

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PLAN B

The Baby Nest

My version of a bassinet is really an old office chair I picked up on the side of the road that had nice lines to work with.

I picked up a floor pillow at Pier One for about $25.00 and a white quilt at a garage sale for $1.00 (to soften the hard lines of the throw-away chair). Now, I could customize the look of the “bassinet” with pillows and fabrics! I found what works best for me are queen size matelisse bedspreads – they double as floor cloths and you can pick them up on sale in January for under $100. I have collected swirly patterns for girls, more geometric patterns for boys, and have recently added vintage chenille just for fun.

The Baby Nest

PLAN C

Peek-A-Boo: Flat on the Back See my November article for an easy alternative to the baby nest! (visit www.4seppa.com and click on the PDF link)

PLAN D Tummy Time

Not all little people enjoy tummy time, so be aware and move on if they become fussy. This is hard work for them, so be ready with the camera and work quickly. If they struggle to hold their head up, abandon the idea to avoid a meltdown!

All these ideas are starting points – every child will vary according to his or her development. The key to success with tiny people is to be flexible and sensitive to their needs. I find that if I tie my baby plan to the physical development of the child, I have much better success depicting the landmarks of the first year – interaction with others, sitting/crawling/pulling up, and standing/walking.

contact CONTACT Janet Boschker www.northlightphotography.com jbnlight@aol.com 15

Cheri MacCallum

Start to Finish Creating a Panting

Part One

Over the next few issues, I’ll be covering how I create a painting from start to finish. The first piece will be on how I prepare my images for a painting in Photoshop before taking into Corel Painter.

Every image I paint, whether it’s a floral, landscape or a portrait of a person, will get some enhancement in Photoshop.

Now, it’s time to work on the highlights and the shadows.

I duplicate the layer by holding down the alt key while clicking on the “new layer” icon on the bottom of the layers palatte (the one that look like a little piece of paper with the corner turned up). This will bring up the dialogue box.

There are always exceptions, but generally speaking, I will give the image more depth and tonal values by enhancing highlights and shadows. This gives the image a deeper, richer look before we even paint it.

I change the blending mode to “overlay” and click on the bottom box that reads, “fill with overlay neutral color (50% gray)”. Now, notice in the layers palatte a new layer that is gray. This is the layer that we will do all our highlight and shadow work.

Before Here, we have a portrait of a gentleman, beautifully photographed by North Carolina photographer Kevin Jordan. I start by doing standard retouching to eliminate blemishes and other unwanted elements as with any other portrait.

Every one has their own methods of retouching, so I won’t go much into that here. I tend to use the healing brush and the patch tool the most.

I get my paintbrush and I have it in “normal” mode in the brush option bar, set at 5% opacity. Next, I make sure my colors are back to default by clicking “d” on the keyboard that will bring up black and white (the colored squares at the bottom of the tool bar). We will paint with white for highlights and black for shadows.

highlight highlight vs.shadow shadow vs. continued on page 19

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I examine my image, seeing where highlights are naturally falling, and begin with the face.

highlights HIGHLIGHTS -forehead -nose -under the eyebrow -apple of cheek -upper lip -chin -edge of jaw

Just because there is a highlight, it doesn’t mean we need to “punch-up” all the highlights. Some will already be light enough and lightening them would blow them out. Use good judgement here. Making sure the brush is relative to the area we’re working in will keep our strokes from being too streaky with too small of a brush, or over doing the area with too big of a brush. I then work my way through the rest of the image and do the same thing. In his suit, you can see the highlights falling from the folds of the material and we will work on those too.

I now move to eye enhancements

eyes EYES

-lighten the whites, just a little -darken crease lines -darken lid lines -darken outside of iris ,just a little -lighten area of iris opposite catch light

Here’s my ususal run down for this area. I lighten the whites of the eyes, just a little. I darken the crease lines and the lid lines a little. I darken the outside edge of the iris, just a touch. I lighten the area of the iris, oppposite of the catch light (the half moon) to add sparkle. I darken the lashes, more if the subject is female.

Doing these enhancements will go a long way from taking our image from a photograph to a painting and can be used as enhancements even if we were not going to paint it.

Now, we move to the shadows. I look at the image, to see where the shadows are naturally falling, and I make the shadows a little deeper and richer. Some will be dark enough. Here, again, use your best judgement

Our final image has been re-touched and enhanced. In the January issue, we will paint this gentleman, using Corel Painter.

Until next time...

shadows SHADOWS

-temples -under the cheekbones -shadow side of nose and mouth -between chin and mouth -clothing: folds of material

Cheri MacCallum is the owner of Art by Cheri where she specializes in the painting, fine art printing and finishing of commisioned portraits for professional photographers. Cheri is a regular speaker and workshop instructor on “Painting Portraits in a Digital World.”

Enhanced 19

Jamie Hayes I Know

What Red-necks Want Ok, let me explain. First let me state that I was born and raised a redneck, a proud member of the Shin-doe-a order (for non-redneck folk that’s Shenandoah!) So when my friend Tony, not a redneck but an avid hunter, fisherman and carpenter, told me that he had the perfect product to sell to a redneck and that he needed photos for his website and brochures. I knew he had come to the right photographer.

Oh crap! Would I be tempted to own one?!!! His new product was, wait for it, a custom plaque used to display your animal trophies on your wall. (or maybe convenient place to hang your John Deere baseball cap!)

My mission, if I choose to accept it, was to show the roundness of the edging detail, wood grain, different types of wood and sizes and shapes of these plaques and to be able to repeat the same lighting for future designs. Tony had a request to make a custom plaque for a very special Elk head.

It appears that the Elk was injured as a youth and developed a unique right antler as a result.

I used our studio walls for the background. I simply hung the trophy in place of a 30x30 studio sample. The main light was a 3x4 Larson Soff Box. I used all Profoto Compact 600R strobes and metered this light at f/14. This was the base exposure in which all other lights would be compared.

Photo 2 shows the pattern of light and the detail produced by the main light.

To add depth and dimension I added an accent light to the right side of the skull and plaque using a 9x24 Larson Soff Strip Soff box with Flex Grids (Photo 3). It created a very narrow beam of light that brought out a lot of texture.

Photo 4 shows how both the main and accent lights combined to create maximum roundness and detail. To lighten the shadow side I used a Larson 14x48 Soff Strip again with Flex Grids, ( Flex Grids allow you the maximum amount of directional control ) placed to the far left instead of behind the camera like in traditional portraiture.

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This allowed some light to reach into the eye sockets and not create additional shadows on the front plane of the skull as well as adding a new highlight to the rounded edge of the plaque (Photo 5).

Now all that was left was to show a little detail to the underside of the wall base mount of the plaque. I accomplished this by adding the last strobe, a 17x17 Larson Soff Box, on the floor aiming it straight up. In Photo 6 you can see how this brings out the color and detail of the round wall mount and adds a little “Blair Witch Project” light to the skull.

Shin-doe-a The Set-Up

EQ equipment

Camera: Canon 1DS Mark III Lens: Canon 35-350 L Series 3.5-5.6 Zoom Lens set at 90 mm Exposure: 1/60 sec @ f/14 50 ISO RAW File Capture and jpeg

Although the Elk head and antlers are the largest item in this image the wood mount plaque is really what Tony wanted me to showcase. Photo 8 shows how I accomplished this by adding accent edge lighting to the sides of the wood. Notice the highlights on the right edge as compared to Photo 9, in which I turned off the accent light. The great thing about this light setup is that once you have all of the lights in place you can shoot any flat product straight on and bring out all of the edge details. (see Photo 10) Well there you have it the next great flex pay item for QVC! See ya’ll in the mountains, rednecks, and you know who you are!!!

(for viewing purposes only) Light Meter: Sekonic L-358 Light Modifiers: Larson 4x6, 17x17 Soff Boxes, 14x18 and 9x24 Soff Strips with Flex Grids Strobes: Profoto Acute 600B

contact CONTACT Hayes & Fisk: The Art of Photography 804-740-9307 www.hayesandfisk.com jamie@hayesandfisk.com 21

John Woodward

Athletic League

photography

Sun’s Transit and the

The concept of the sun’s transit and its utilization in photography is best illustrated in athletic league photography.

A professional photographer is separated from an amatuer by his or her ability to understand and control lighting conditions.

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In athletic league photography, as you are in the field for the entire day in some cases, you can use the sun’s transit to create great effect.

great effect

For general use, in portraiture you would place the sun behind your subject in order to create the appropriate “hair light” and provide separation from the background. Think of athletic league photography as a really, really long outdoor portrait session.

During the course of the day, the sun will rise, “transit” and set. Your best effort as a photographer will occur if you understand and place your teams and individuals in such a way as to keep the sun to the side and behind your subjects for the entire day.

Arc to the sun

In order to do this, you must be able to determine where the sun will rise and set. Additionally, there is an arc to the sun (track) which, when placed correctly, keeps the sun from ever appearing in the subjects eyes and making them squint.

It is important to note that the 47 degree swing that the sun takes between the two solstices will have a direct impact on the placement of your teams and individuals. For this reason, you will not be able to use the same “natural” background for spring and summer sports.

Be sure to apply this thinking to all of your outdoor photography and you ensure yourself that you will keep the mask of the face of all your subjects in the kill zone. Remember to expose for the highlights and fill the shadows.

Once you determine the sun’s transit, you will need to find a common background which falls along that line. In the team set, you need to create a “sitting” line for the front row and establish the box as illustrated. In the individual set, the right side of the box determines the line-up for the next team.

The coach hands the ball, bat, etcetera to the individual, and then the individual moves off to the left where your crew will start building the team shot. When the team shot is finished, everyone moves off to the left, being careful not to walk behind your working set. Very large groups may require a perspective line when you are creating the containment box. You can use the same set-up for large

The lights are generally feathered up and away in order to avoid picking up the green cast of the playing field.

You must realize that all of the faces are in the “kill zone” and you will be required to balance your fill flash with the daylight in order to give the photographs a natural appearance. This is not a time for automatic flash, which can be fooled by different uniform colors. If you have mapped your portable flash, you can make minor adjustments as the ambient conditions change. I use Lumedynes, on marine and car batteries. This allows for several thousand photos before they need charging. Your fill flash will need decent power.

John Woodward has graciously given permission to the editor of Southern Exposure to publish portions of his Mastering the Light teaching DVD. This and other articles are re-printed with permission from the author.

contact CONTACT You may contact John Woodward at: woodward2@aol.com or become his friend on Facebook

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Eddie Tapp

Tapp: On Color Spaces

PROFESSIONAL PHOTOGRAPHERS COLOR SPACE

You want to get the best possible results from your workflow, and these results should be consistent and predictable. The great news is that you don’t have to be a color management geek anymore to accomplish this, but you should master two key disciplines: (1) consistent shooting and (2) consistent processing styles. Your shooting should include proper exposure methods along with correct white balancing. Professional tools for this include light meters, ColorChecker (that I have always considered a color insurance policy), and a white balancing method. Your processing style should include an accurately calibrated display and the means to manage color spaces along with your creative and enhancement strategies.

In Adobe Photoshop you can setup a working color space preference that will help you manage color spaces. Take a look at these four primary scenarios for setting different working space setups in Photoshop: • sRGB: The only space you should use for images on the Internet; some photographic labs require sRGB for their printer’s RIP software. It is also used for a closed loop workflow such as in sports photography. Most will only convert to sRGB for professional labs or the Internet after initial processing and saving in the original working color space.

• Adobe RGB: The most popular working color space suitable for most ink jet printing, prepress and photographic labs.

• ColorMatch RGB: Perfect for prepress workflows where you would be preparing files for a printing press or newsprint.

• ProPhoto RGB: The largest working color space, encompassing advanced 16 bit workflows and is recommended for initial processing for professionals.

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ProPhoto RGB is for 16bit images and holds the largest amount of color and tonal data possible for a controlled color managed workflow. Processing your images initially in 16bit and ProPhoto RGB ensures the highest possible photographic tonal range encompassing a large color space, smooth transitions between shadow, mid-tone and highlight regions. From there, converting to sRBG 8 bit for labs or the Internet takes on the best possible use of sRGB’s color space and in most cases will yield minimal clipping or visual color differences.

Adobe Lightroom’s default color space is ProPhotoRGB, meaning that from your RAW or DNG file workflow you are automatically accessing the best possible processing capabilities. In Adobe Photoshop you have to setup Adobe Camera Raw to process your images in 16Bit ProPhoto RGB.

color space vs. color mode In the beginning we sometimes confuse a color space with a color mode.

For just a moment… Think of a color mode as a country, color mode being RGB, Grayscale, CMYK. Next think of a color space as a neighborhood, a color space being sRGB, AdobeRGB, ProPhotoRGB, ColorMatchRGB, all of these reside within the country RGB. Next, think of your destination color space such as a printer or the Internet, as a specific building that your files color space will transform (convert) into(which could also be transformed into a different country such as from RGB to CMYK or RGB to Grayscale). And finally, think of the bit depth, 8 bit or 16 bit as the height (8 bit 256 levels and 16 bit 4,096 levels) What has become the most important regarding color space is the neighborhood that our files reside in for processing.

With DSLRs the color space choices are sRGB (default) or Adobe RGB (preferred) when shooting in the JPEG Format.

But when shooting RAW Format, there is no color space embedded, as a matter of fact, the entire neighborhood of color and tonal data is in somewhat of an obis and will need a color space neighborhood to reside in before it’s processed and converted to a final destination.

In Adobe Camera Raw (ACR) which is Photoshop’s RAW engine processor, you need to setup how your RAW files will go through your initial process. At the bottom middle of the ACR interface, click on the purple or blue text, this takes you to the preferences of setting up how your RAW files will be processed initially. The following is how I have my ACR preferences set up: Space: ProPhoto RGB Depth: 16 Bits/Channel Size: default Resolution: default Sharpen For: None (at least for now) check: Open in Photoshop as Smart

Objects

This setup is subject to the type of workflow that you have, or that you are developing but this is the best options you could choose today in ACR. After the process of any color and tonal adjustments and your creative enhancements, your work should be saved and stored in its initial color space i.e. ProPhoto RGB. Finally, when preparing images for your lab (or Internet) that may require you to convert to sRGB, from Lightroom you can use the Export interface and from Photoshop use Image Processor (easiest to use from Adobe Bridge under Tools/ Photoshop/Image Processor). Either way, you can setup your output workflow to convert to sRGB on the fly.

In Adobe Lightroom, all of this is hidden behind the scenes and is set for a masterful performance. As mentioned, Lightroom’s default RAW color space is ProPhoto RGB and unless you change that, it will take full advantage of the color and tonal obis mentioned. Other brilliant raw processors that are set to take advantage of the full bit depth and color space are Capture One and proprietary software such as Canon’s DPP (Digital Photo Professional).

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a

Kevin Newsome

Few Moments

with…

“PASSION”

For December, Kevin takes on the word passion. Oooooh, this one, you will love! Southern Exposure looked up the definiton.

Watch the video and see what you think.

Passion, as defined by Webster’s Dictionary:

The XRite ColorChecker Passport (shown previous page) was recently released by XRite. It has the famous 24 patch ColorChecker (insurance policy) with a Creative Enhancement Target to show exposure (highlight and shadow detail), Hue, Saturation and Lightness values along with warming and cooling patches for white balancing. There is also a White Balance Target (not shown) and it comes with a plug-in for Lightroom and the ColorChecker Passport software to create camera profiles for ACR almost instantly and easily. It comes in a hard shell compact case for around $100. Visit xritephoto.com.

Using the ColorChecker Passport is easy and has brought on a new level of RAW workflow for me. Once you’ve created the profile it is instantly ready to use in Lightroom or ACR and the Camera Profile takes full advantage of the color obis.

I’m now experimenting with a variety of other Lightroom and ACR settings to work in conjunction with the Camera Profiles and very excited about the results.

Choose your color space wisely and stay insured my friend…

Eddie is a photographer, educator, consultant and author from Atlanta. An Explorer of Light with Canon USA. Eddie was inducted into the Photoshop Hall Of Fame in 2006 and is a Coloratti with XRite. He travels globally teaching workshops, seminars and consulting and is Director of Education at the Institute of Visual Arts in Maui, Hawaii, where he will co-teach an exciting workshop April 19-23, 2010, more detail at eddietapp.com. Come to the Light… You can also catch Eddie at the Virginia State PPA Convention February 19th, the Professional Photographers of North Carolina Convention March 1st, or contact Eddie at eddietapp@mac.com.

Etymology: Middle English, from Anglo-French, from Late Latin passion-, passio suffering, being acted upon, from Latin pati to suffer — more at patient Date: 13th century 5 a : ardent affection : love b : a strong liking or desire for or devotion to some activity, object, or concept c : sexual desire d : an object of desire or deep interest Click on the title, “Passion,” to view the video.

Cover

Artist

David Carlson has been a professional photographer specializing in aviation photography for over 25 years. In aviation photography his specialty is air-to-air as well as aerial photography. As an FAA Certified Commercial pilot and Certified Flight Instructor he has had the opportunity to fly many of the aircraft that he photographs, from J3 Cubs to P51 Mustangs.

In addition to aviation photography, he has shot commercial photography for many companies and magazines such as the Smithsonian’s Air & Space, Pilot Journal, Sport Aviation and Dive Training magazines. David has been published in over 30 countries. He has won many international, national and local awards for his photography, including Kodak Gallery and Fuji Masterpiece Awards, PPA Gold Photographer of the Year, Florida PPA Photographer of the Year.

David is also a senior manager for Canon U.S.A., Inc., in the professional markets development division of the photographic products group. He has been involved since before the inception of digital cameras and supporting products. As part of his role with Canon, he has worked many special events like Super Bowls, World Cup Soccer, Six Olympics and Presidential inaugurations just to name a few. In 2009, David joined the prestigious Camera Craftsman of America, a group of the top 40 photographers from around the world.

David Carlson

“Don’t Hiccup” When I make images of aircraft, I try to find an unusual way to show them.

An aircraft like this Stearman has not changed in looks since it was built in the 1930s. They have been shot from just about every angle. I thought that this would make for an unusual perspective. When setting up this shot the overriding consideration was safety.

Whenever you mount a camera you must make sure that all aspects and affects are taken into consideration.

I think that the image shows the aircraft in a different and exciting light.

“Don’t Hiccup” won First Place Commercial at the 2009 SEPPA Affiliated judging.

Note: Images chosen for the cover of Southern Exposure are first place or distinguished award winners from the annual affiliated judging.

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