The Photographer - August/September 2017

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Official Publication of the Texas Professional Photographers Association, Inc.

VOLUME 52 - #5 Aug/Sept 2017

Magazine Editor

Bill Hedrick, M.Photog.Cr. 1506 E. Leach St. Kilgore, TX 75662 903-985-1080 Editor@ThePhotographerOnline.com

Executive Director

Steve Kozak, M.Photog.Cr 5323 Fig Tree Lane Grand Prairie, TX 77052 972-601-9070 Steve@tppa.org

Printing by

Complete Printing & Publishing 1501 W. Panola Carthage, TX 75633 800-964-9521 www.CompletePrinting.com

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ON THE COVER “Shadow Dancer” was created by Aileen Harding, M. Photog. Cr., CPP of Baytown, Texas. The heron was photographed during breeding season at the Smith Point Rookery in High Island. One of the joys of living along the Gulf Coast is being in a major migratory path for birds. Aileen especially enjoys photographing the larger herons. “They’re easier to see and not nearly so fast as the little songbirds,” she says. “I love to just sit and watch their behavior. Some herons dance so that their shadows will make the fish move and then they pounce. I knew I was middle aged when I began to enjoy watching birds and visiting gardens.” The image was shot manually in natural light with the Canon 5dMII and 70-200 f2.8 lens plus the 1.4 teleconverter. Focal length was 1, shutter speed 1/500, ISO 100 with evaluative metering. “Shadow Dancer” merited at 2016 TPPA and is part of the PPA 2016 Loan Collection.

Sept. 28 - Oct. 1

Don’t Miss It! See Pages 6-9

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Make Your Bed!

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PhotoGenesis 2017

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A Message from TPPA President, Trey Homan

September 28 - October 1 in San Marcos

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Spotlight: Laura Pollard

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Boudoir Photography

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Summerfest Wrap-Up

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Mark McCall Honored at Summerfest

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Spotlight: Jeremy Ridout

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Fun with Food Photography

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Using Off-Camera Flash

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Legacy of a True Gentleman

“Coastal Castle”

Poses that Sell by Tim Babiak

Trophy & Ribbon Winners by Bill Hedrick

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Receives National Award by Bill Hedrick

“A Reading of the Velveteen Rabbit”

Cool Stuff! by Malinda Julien

Creatively by Alison Carlino

Curtis Williams, 1934 - 2017 by Bill Hedrick

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THE PHOTOGRAPHER is the official publication of the Texas Professional Photographers Association, Inc. Acceptance of advertising or publishing of press releases does not imply endorsement of any product or service by this association, publisher, or editor. Permission is granted to similar publications of the photographic industry to reprint contents of this publication, provided that the author and this publication are credited as the source. Articles, with or without photographs, are welcomed for review for inclusion. However, the editor reserves the right to refuse publication, or if accepted, the right to edit as necessary. For more information, visit www.ThePhotographerOnline.com. Send all communications, articles, or advertising to: THE PHOTOGRAPHER, 1506 E. Leach St., Kilgore, TX 75662. Phone (903) 985-1080, or Editor@ThePhotographerOnline.com.

THE PHOTOGRAPHER

Aug/Sept 2017

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2017 TPPA Executive Council President Trey Homan l

Trey@ehoman.com

17222 Classen Rd., San Antonio, TX 78247 (210) 497-3809

Vice-President Tammy Graham l

Tammy@locationsphotography.com

Make Your Bed!

3300 Joyce Drive, Ft. Worth, TX 76116 (817) 300-0780

Treasurer Ross Benton l

Ross@StudioBenton.com

1876 Nacogdoches Rd., San Antonio, TX 78209 (210) 804-1188

Secretary Marla Horn l

Marla@ahh-photography.com

10716 Camelot Dr., Frisco, TX 75035 (972) 567-8613

Councilman-at-Large Belinda Higgins l

higginsphotography@earthlink.net

1301 Genoa Red Bluff, Pasadena, TX 77504 (281) 998-9905

Councilman-at-Large Luke Edmonson l

Luke@LukeEdmonson.com

7628 Brownly Pl., Plano, TX 75025 (972) 208-0215

Chairman of the Board Stephanie Ludlow l

Stephanielonghorn@yahoo.com

205 N. Mays, Round Rock, TX 78644 (512) 246-0063

Executive Director Steve Kozak l

Steve@tppa.org

5323 Fig Tree Ln., Grand Prairie, TX 77052 (972) 601-9070

Texas School Director Don Dickson l

Don@DonDickson.com

1501 West 5th, Plainview, TX 79072 (806) 296-2276

Magazine Editor Bill Hedrick l

Editor@cablelynx.com

1506 E. Leach St., Kilgore, TX 75662 (903) 985-1080

PPA Councilors Gabriel Alonso (Ft. Worth), Brad Barton (Grand Prairie), Doug Box (Caldwell), Don Dickson (Plainview), Cris Duncan (Lubbock), Walter Eagleton (Denton), Elizabeth Homan (San Antonio), Trey Homan (San Antonio), Fonzie Munoz (Corpus Christi), Randy Pollard (Victoria), Cliff Ranson (McAllen). To contact any of your PPA Councilors, you may obtain their phone numbers from the TPPA Membership Directory or visit the TPPA website at www.tppa.org Complete financial information on Texas Professional Photographers Association is available to any TPPA member by contacting Steve Kozak, Executive Director, 5323 Fig Tree Ln., Grand Prairie, TX 77052 Steve@tppa.org

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Aug/Sept 2017

THE PHOTOGRAPHER

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ost of us have heard this said a thousand times, and as parents have said it a thousand times more. That daunting, outdated, irrelevant and stupid (my kids’ words) task that seems ridiculous, especially since you are going to sleep in it again tonight! While many of us do not agree with this statement, I do think we can understand the reasoning in which it is delivered. Make Your Bed is also the name of a speech (and subsequent book) that was delivered to the 2014 Graduating Class of Texas A&M by Admiral William H. McRaven (U.S. Navy Retired). Admiral McRaven’s speech was on the 10 lessons he learned during his Navy Seals training. 1. Make Your Bed 2. You Can’t Go it Alone 3. Only the Size of your Heart Matters 4. Life’s Not Fair-Drive On! 5. You Must Dare Greatly 6. Failure Can Make You Stronger 7. Stand Up to the Bullies 8. Rise to the Occasion 9. Give People Hope 10. Never, Ever Quit! The book is short, can be read in a couple hours and motivates your mind and spirit. Chapter one is entitled “Make Your Bed.” You do this each and every day. Do not just throw the comforter over the messed up sheets. One must straighten the sheets and fold the corners under the mattress to create a tight fit. The pillows are not just thrown onto the bed. But rather arranged to give an appearance that your bed is inviting, warm and welcoming after a long day of work. You do it even when you are feeling lazy, distracted or depressed. You make your bed when you are running late, arguing with your spouse or not feeling well. Each day you make your bed! The purpose? To create success. You see, when you begin your day with an achievement, it changes your attitude. By making your bed you have been successful even before you stepped into the shower. And, after a long day of nothing going right, of misplacing orders and overlooking artwork, of helping with fifth grade homework that you do not understand, of rude people on the roads, and don’t forget burning dinner… you can turn and look at your bed and say, “Today I was successful.” Then, you can climb into your welcoming bed and get the rest you need to make the next day a success. It is a simple concept, but it works! On days when I do not make my bed, I feel as if I come home to a messy and unorganized house. I feel like I forgot to do something and frequently wonder what it is that I did that day. I am not trying to act like your Mom, but tomorrow when you wake up… MAKE YOUR BED!

Trey Homan TPPA President

If you are not a member of Texas PPA, this is my personal invitation to you to join! Email Steve Kozak, TPPA Executive Director, at Steve@tppa.org or call 972-601-9070.

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Texas Professional Photographers Association Convention September 28 - October 1 Holiday Inn San Marcos, Texas

Come experience a new look for conventions. Develop your inner artist by exploring other artists who have the same passion. Registration for PhotoGenesis is $159 for TPPA members or $199 for non-members. With our “Join and Go” rate, of $254, you can attend PhotoGenesis AND become a member of TPPA.

Pre-con Classes - Bring your gear and get ready for a fun and inspiring photo shoot. These on-location venues provide you with a chance to photograph models and to try out different equipment. At the location will be a short demonstration by a Photo Coach who will be there to assist you. Come experience these one-of-a-kind locations and get ready for something new and unusual. Additional fee required.

Walk-Up Workshops - Come to the ultimate share-and-learn workshop. Learn a new technique or see an idea demonstrated by one of your peers. This is a very casual and informal learning environment where you walk up to a table that is hosted by a fellow photographer and see techniques, new concepts, or ask for advice. These are not sales tables. Everyone is there to assist you in becoming a better photographer. Walk-Up Workshops are included with your PhotoGenesis registration. All Convention Series - Listen to high impact speakers who will change your life.

Discover your inner artist and truly find your passion as a photographer. You may attend any of the “All Convention” programs with your PhotoGenesis registration.

If you plan to attend any of the “Pre-con” programs, there is an additional fee of $79 for TPPA members or $99 for non-members. Class sizes will be limited, so sign up early!

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Tim Babiak

David Boeck

Alison Carlino

Cris & Deanna Duncan

Mary Fisk-Taylor

Adilfa Ford

Jamie Hayes

Josh Jordan

Malinda Julien

Steve Kozak

Kathy Norwood

Robert Norwood

Guy Phillips

Ethan Tweedie

Angela Pencsak

ALL-CONVENTION programs... these are included in your registration:

David Boeck Cris Duncan Deanna Duncan Cris & Deannna Duncan Mary Fisk-Taylor Adilfa Ford Jamie Hayes Josh Jordan Steve Kozak Angela Pencsak Guy Phillips Ethan Tweedie

Enhance Your Wedding Game CPP Review Class Photographing & Selling to 4 Basic Personality Types Unlocking the Natural Beauty of Landscapes #BeMoreSuccessful Photographing Families, Great and Small The Art of Drone Photography Street Photography Preparing for CPP Image Submission Secret Sales Techniques: Newborn Photography Getting Started with Lightroom Architecture Photography: Post Production

Sunday, Oct. 1 at 1:30 pm Saturday, Sept. 30 at 9:00 am Saturday, Sept. 30 at 11:00 am Sunday, Oct. 1 at 1:30 pm Saturday, Sept. 30 at 3:30 pm Sunday, Oct. 1 at 3:30 pm Sunday, Oct. 1 at 11:00 am Saturday, Sept. 30 at 1:30 pm Sunday, Oct. 1 at 11:00 am Sunday, Oct. 1 at 9:00 am Friday, Sept. 29 at 10:00 am Saturday, Sept. 30 at 9:00 am

PRE-CONVENTION programs... additional fee for each of these:

Tim Babiak Alison Carlino Josh Jordan Malinda Julien Robert & Kathy Norwood Ethan Tweedie

Stylize, Fashion & Drama: Hands-On, In-Depth The Power of Lighting Off-Camera Street Photography Play with Your Food FAA Part 107 Prep Class On Location Architecture: Tricks & Techniques

Friday, Sept. 29 at 1:30 pm Thursday, Sept. 28 at 6:00 pm Friday, Sept. 29 at 1:30 pm Friday, Sept. 29 at 9:00 am Thursday, Sept. 28 at 6:00 pm Friday, Sept. 29 at 1:30 pm

A Complete Schedule of Events at www.TPPA.org/photogenesis THE PHOTOGRAPHER

Aug/Sept 2017

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“Coastal Castle” was created by Laura Pollard and won a Distinguished Ribbon at TPPA Summerfest 2017. To capture the full effect of the mightiness of this house, the builder used a lift to raise Laura and her tripod up to the second story. “Being scared of trying to balance in the wind... in the dark... that high up... standing on plywood... it was a hand sweating challenge,” says Laura. “I photograph his homes every year for the ‘Parade of Homes Tour’ and it seems every year we have new challenges to ‘get the shot.’ This is one of the many things I love about photographing commercial work.” Laura and her husband, Randy, own L-Ann Imaging of Victoria, Texas.

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B

oudoir photography has been a popular genre for years and this trend seems to have no end in sight. As I talk to many photographers, they express an interest in boudoir photography and want to learn more. I tell these people that the first step to good boudoir photography is to be a good portrait photographer. Applying the fundamental concepts of portrait photography to boudoir photography are a big plus. Boudoir photography extends on portrait photography in several ways, not the least of which is posing. Posing for boudoir can be challenging because often the entire body is in the image and creating an attractive result is paramount. In this article, we’ll look at some general posing principles for boudoir, then cover some specific poses that have become top sellers for me. General Posing Principles for Boudoir Photography Many general posing principles carry over to boudoir. For example, creating an s-shape with the body as well as the adage “if it bends, then bend it” apply here. Try to avoid presenting the backs of hands and soles of feet/shoes to the camera. In my general photography as well as boudoir photography, I try to keep hands away from the face. Opinions vary on this hand placement point – just be sure to evaluate poses based on elements other than hand placement. For legs, generally try to bend the leg nearer to the camera. This approach applies to lying and standing poses where the legs are presented one over the other to the camera. Feet and toes should almost always be pointed. Finally, try to present the body in an hourglass shape – shoulders should be wide, waist should be narrow, hips wide then knees narrow. The wider parts shouldn’t be unnecessarily wide – just wider than the waist and knees. Let’s look at some of these general principles in practice. Kneeling - The kneeling pose (right) is one of the easiest to execute and it makes the subject feel comfortable while producing beautiful results. Have the subject kneel on a bed, piece of furniture or floor and turn the subject slightly away from the camera. After she is in place, direct her to place her knees apart and heels together then direct the subject to raise off her heels to show the muscles in the legs. For hand placement, ask the subject to gently place her hands on her thighs and different heights from the camera point of view. In this image, we see Afsaneh in this pose with her eyes to the camera. She may look relaxed but she is definitely working her thigh muscles to lift her body. Notice the position of her right arm (camera left) which is bent showing the right side of her body. Also notice that Afsaneh’s chin is down while opening her eyes. You can vary the kneeling pose by having her looking off-camera. This pose can also be varied to show the backside. Sophia in rose petal pose. Model: Sophia May. Hair/makeup: Anna Fugate-Downs.

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Afsaneh in the kneeling pose. Model: Afsaneh Ortiz. Makeup: Adrian Hernandez. Hair: Afsaneh Ortiz. Aug/Sept 2017

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The Arch - The arch pose is a lying or standing stretching pose and generally works best with the eyes closed. The back is arched and the chest lifted while a hand is brought to the head. Anastacia (top photo), lies on a chaise with her feet propped on the back of the chaise. Care is taken to bring the near knee over the far knee to create an hourglass shape. This pose can also be varied to a standing pose, even with hard window light. Note Anastacia’s closed eyes, giving the viewer the impression of a glamorous personal moment.

Anastacia in the arch pose. Model: Anastacia Sterling. Hair/makeup: Kate Elizabeth Kubala.

Backside and Face - The backside and face pose can be tricky to learn. The goal of this pose is to create an image of the client’s backside that also includes her face. Let’s look at a few ways to do this. The first way is to photograph the subject on her tummy with her face toward the camera. Typically, she’ll be directed to lift her chest like a push up. Instead of kicking up her feet (which would show the soles of her shoes), ask her to let her feet drop to the bed with her ankles crossed. Select a shooting position that is off-center and have the client roll her hips by bringing the top knee away from her body. This will lift her backside creating a curve and make it more visible from the camera position. This pose works well for bridal boudoir and provides the opportunity to present the left hand to the camera showing the engagement ring. For a more modest presentation, have the subject present the side of her hip to the camera. Sophia (middle photo) shows this variation while her expression conveys playfulness. This pose can also be performed standing. When doing so, make sure the leg nearest to the camera is straight and the leg farther from the camera is bent to bring the knees together and create an hourglass shape presented to the camera. The Pretzel - The pretzel pose is a challenging pose due to the bend of the back and the position of the upper leg. You’ll need a piece of furniture similar to the chaise shown in the example photo. Ask the subject to lie on her tummy with her upper torso on the arm of the chaise. Bring the near knee toward the camera and place the near heel next to the far knee. Then direct the subject to bring the far foot up while pointing the toe. The client will work for this image yet the results are worth it. As a former dancer, Sarah Jane had the flexibility and athleticism to execute this pose (bottom photo).

Sophia in a variation of the backside and face pose showing only the side of the hip. Model: Sophia May. Hair/makeup: Zoraima Pelaez.

Sarah in the pretzel pose. Model: Sarah Jane. Hair/makeup: Anna Fugate-Downs.

Rose Petals - After a client is tired from executing some challenging poses, virtually all welcome the opportunity to lie on their back and have rose petals showered upon them. Artificial rose petals are available from online retailers and can be reused for multiple shoots. Ask the client to lie on her back in a position that lends to a diagonal composition in the frame with her face closest to your shooting position. Turn her hips a bit to the side and bend the knees placing the knee closest to the camera on top of the lower knee. Remember to point the toes. Typically, hands will fall by the face but the pose can be varied by bringing and hand down to the subject’s midsection. In the image on the title page, Sophia renders a beautiful, romantic image in this pose. Conclusion - Boudoir photography can be successful if you start with an understanding of the types of images clients tend to choose. If you’re starting out, pick a few of these poses and try to recreate them. Consider printing inspiration images for reference during your trial process. When you find a pose is working, consider variations such as eyes connected to the camera as well as looking off-camera. Repeated success will add to your repertoire in this genre. With a little effort, you’ll find this genre is fun and profitable.

Tim Babiak of Exquisite Photography is one of Austin’s leading portrait photographers and educators. He is a two-time Austin PPA Photographer of the Year, two-time Bronze Medal in PPA’s IPC, and is a past President of the Austin PPA. He teaches photography to hundreds of people via his “Austin People and Portrait Photography” Meetup group as well as at Austin’s Precision Camera and Video. Tim’s passion for making people look their best as well as his friendly personality makes him one of Austin’s favorite photographers. THE PHOTOGRAPHER

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DRONE GROUP PHOTO COURTESY OF ROBERT SUDDARTH

Summerfest Keeps Getting Better! by

Steve Kozak

S

ummerfest 2017 is now in the rear view mirror and what an outstanding event it was. Summerfest is so unique because it blends the educational opportunities of a photographic conference with a vacation retreat for the entire family. I’m pretty sure there is no other event in photography that accomplishes this. With photographers, vendors, families and kids, we saw close to 300 enjoy this extraordinary event on the shores of Lake Conroe at the La Torretta Resort. As always, Summerfest kicked off with the annual TPPA Photographic Competition. TPPA invested in a 2nd digital judging station and this really made the competition run efficiently. We had close to 80 print cases and over 420 images and albums for our judges to evaluate. TPPA ensures the results are representative of District and IPC results by using only judges from PPA’s International Print Competition and jurors who are in training. We brought back our Image Competition Boot Camp led by Mark McCall which saw over 50 attendees! This one-day workshop was structured to help those who want to begin entering images in the competition and those who want a higher degree of success. By gaining a better understanding of the judging process and how to prepare images, participants increase their chances of getting a good score. We heard nothing but high praises from those who enlisted in our boot camp. Sunday night kicked off with a free picnic meal for all attendees and their family at the TPPA Lakeside Villa sponsored by our vendors. Thanks to H&H Color Lab, WHCC, The Hand Stand, Color Incorporated, US Camera Pro, Artesian Backgrounds, dgFlickUSA, Serendipity Albums, Millers, Allstate and Arlington Camera for their generous support of Summerfest. Monday kicked off with three programs which included Phyllis Kuykendall on volume workflow, Justin Moore on drone photography and Larry Peters with underwater portraits. Monday continued with an inspiring program presented by Bert Behnke on family portraits and Cris Duncan teaching a full-day class for those preparing for the PPA Certification. Forty plus photographers signed up for the class and several of them sat for the test on Tuesday morning. Phaneendra Gudapati presented a program on fashion lighting and Chris Smith shared his program on “The Santa Experience.” (continued on page 24) THE PHOTOGRAPHER

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Best General Album in General Exhibit by a Master

Best Classic Portrait

“Our Adventure in Italy” Elizabeth Homan

“Dancing with Joy” Best Portrait of a Man

Elizabeth Homan

“Hidden Sins” Brooke Kasper

Best Multi-Maker Album

Best Illustrative, Sport Event

Nick Fisher & Melanie Hall

Jennifer Fermaint

“Chateau D’Amour”

“The Price of Grace”

Best Portrait of a Group

Best Illustrative in General Exhibit by a Student

Elizabeth Homan

Ira Weinschel

“Summer Sunrise”

“The Mosque of Rüstem Pasha”

Best Illustrative Architecture & President’s Theme Trophy Distinguished Ribbon - Best Illustrative General Exhibit, Non-Master

“Beyond the Keyhole, A Strange New World” Jennifer McGraw

Best Illustrative Fine Art Still Life

Best MA General Collection, Non-Master

Best Illustrative Commercial

“The Gathering Room”

“The Final Bow”

“A Long Time Ago in a Galaxy Far, Far Away”

Melanie Hall

Teri Whittaker

Brad Barton

Best General Album in General Exhibit, Non-Master

Best Restoration

“Tyler”

“Tin Type Souvenir”

Katie Amber

Best Portrait of a Woman

Best Illustrative Scenic

Phyllis Kuykendall

Cris Duncan

“The Debutante”

“Tunnel View”

Best Illustrative Wildlife Best Illustrative General Exhibit by a Master

“Sacred Moment”

Jen Hargrove

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Brooke Kasper

“Family Dinner”

Francie Baltazar

“Shoosh! I’m Trying to Ignore You”

CPP Award, ASP State Elite Award, Lexjet Award Distinguished Ribbon - Best Illustrative, Fine Art Still LIfe

“Entangled Mind”

Best Portrait of a Wedding or Social Event Best of Show & Best Photographic Open, General Exhibit by a Master

Best Portrait of an Animal Best Portrait, Photographic Open, General Exhibit

Catherine Dybala

Best First Time Entry Best Photographic Open, General Exhibit, Non-Master

“Told Ya I’d Fit”

Aileen Harding

Jen Hargrove

Best Event Album in General Exhibit by a Master

Best MA Genereal Collection by a Master

Best Portrait of a Child

Best Photographic Open General Exhibit by a Student

Best Event Album, General Exhibit, Non-Master

Bree Adams

Cristie Reddehase

Bree Adams

Eric Edge

Jen Hargrove

“Sister, Sister”

“Unhappily Ever After”

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“Troublemaker”

THE PHOTOGRAPHER

“The Smoking Man”

Aug/Sept 2017

“Daylin”

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“Zoey”

“Let’s Face It - We’re Hot!”

Cristie Reddehase

“Hello World”

“The Farmer’s Daughter”

“Thunderbirds”

Bree Adams

Jennifer McGraw

“Ignoring the Lepers”

Dominique Harmon

Mark McCall

Gail Nogle

“Lovely Joy”

“Phoebe, Pandora and Penelope” Phyllis Kuykendall

Gail Nogle

Dominique Harmon

“Addiction”

Dennis Kelley

“Grapes of Wrath” Brooke Kasper

Jeremy Ridout

“Jefferson Family”

“Bon Appétit”

Catherine Dybala

Cris Duncan

“Beloved”

Laura Pollard

“Big Bad Bird”

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Aileen Harding

“Maxamillion”

Dominique Harmon

Chris Hanoch

“Sheer Elegance”

Deanna Duncan

Francie Baltazar

“Klean Corp”

“Ring of Fire”

Paul Zellers

Cristie Reddehase

“The Falls”

“Savoring the Limelight”

“Medusa’s Child”

Callan Muckleroy

Alison Montgomery

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“Old World Charm, Modern Style” Elizabeth Homan

“Dreamer”

Bree Adams

“Angel Ascending”

“Color Study in Pink”

Cristie Reddehase

Teri Whittaker

“Mother Nature’s Heiress” Karen Butts

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“Heirloom”

Francie Baltazar

“Dawn on Lake Louise” “The Archer”

Melanie Hall

“Art and Design”

Debbie Riggs

“Foxy Roxy”

“Welcome to the Freak Show”

Aug/Sept 2017

“Plotting My Next Move” Shawna Hinkel

“After Midnight”

Christine St. Laurent

“Coastal Castle” Laura Pollard

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“Purple Mountain Majesties” Lucy Huffstetter

“Boxed In”

“A Taste of Honey”

Callan Muckleroy

Caitlin Reininger

“Release”

Tawana Brown

“Downtown Beauty”

“Neutral Density”

Randy Salazar

Laura Pollard

“Beauty in Decline” Teri Whittaker

“The Watcher” Ira Weinschel

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“Shadows of Sadness” Linda Sherrill

“The Giving Hands”

“Feeling Blue”

Gail Nogle

Shawna Hinkel

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Tuesday began with a repeat of the three morning classes from Monday and the tee off for the annual TPPA Golf Scramble. Three teams of golfers competed for glory and prizes while enjoying a day on the beautiful and challenging course at La Torretta. The morning continued with a class from Larry Lourcey on creating merit images and a class from Mark McCall on weddings and bridal portraits. Randy Pollard closed the programming on Tuesday with a terrific program on sports composites. Tuesday evening saw the return of the fish fry at the TPPA Villa. A huge thank you to Jenny Eisenhauer, Ross Benton and all of the cooking crew for pulling off another spectacular meal. The awards program on Tuesday was a time to honor and reward the hard work of TPPA members who entered photographic competition. We also presented the TPPA Star Volunteer Awards for 35 volunteers who served at least three hours at Summerfest. Volunteers recorded over 335 hours to make this a wonderful experience for everyone in attendance. Wednesday closed with a spectacular program from Kirk Voclain. His program was packed as he made us all laugh and shared his unique insights on marketing and photographing seniors. His high-energy program delivered a fitting close to a successful Summerfest. If you thought this Summerfest was great, just wait until you see what we have in store for you next year!

Mark McCall Receives National Award At Summerfest 2017 T

he National Award is presented each year to an individual who has proven their dedication to the profession by years of service and commitment. The inscription on the award simply states “For Meritorious Contributions to Professional Photography.” This year’s award was presented at Summerfest ‘17 and the recipient of the National Award from Texas was Mark McCall of Lubbock, Texas. PHOTO BY JENN BEENE

Most of us know Mark McCall as that highly energetic guy we see at conventions and seminars, rushing around from one place to another, multi-tasking, volunteering for anything and everything, and always with a smile. That’s just the way he is... always wanting to help others and excited about the task at hand. Mark was only eight years old when he was in the checkout line with his mother at a local discount center when he spotted a calendar with the most breathtaking images he had ever seen of mountains, forests, and glaciers. He was fascinated with the images and begged his mother until she bought it for him. But it was Mark’s grandmother who first noticed his interest in photography and gave him a “beginner” camera. His $5 weekly allowance paid for film and processing. A lot has taken place since Mark became a full-time professional photographer. He served as a TPPA Councilor-at-Large and then rose through the ranks to become president of the association. In more recent times, he has taught the Print Competition Boot Camp and has become a well-known figure both state-wide and nation-wide. Therefore, it is with great pride that the Texas Professional Photographers Association honors Mark McCall with this award to express our love and gratitude for someone who loves the profession and has always been a strong supporter of this association and its members.

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“A Reading of the Velveteen Rabbit” was created by Portrait Artist, Jeremy Ridout and is an excellent example of how a good consultation can result in a timeless portrait for the client. Looking for a unique portrait of her 6 and 4 1/2 year old girls, Summer and Sofia, the client sat down with Jeremy to make a design plan. During the discussion, he learned that the girls loved to read to each other at home. In his mind’s eye, Jeremy knew exactly how the image should be created and shared his vision with the client. By the end of the short consultation, numerous decisions had been made including the style and color palette; the attire the girls would wear; props that the the family would bring; and even how the children would be placed in the image. On sitting day, the client brought several family heirlooms including the chair for Sofia to sit on and the antique jewelry that the girls would wear. Once placed in the set, Summer read her favorite book, The Velveteen Rabbit, to her younger sister as Jeremy made several images looking for the perfect expression on each little girl. Elements of these images were composited into the final piece, which was then painted and toned to create an incredibly meaningful work of art for the family. The scene was lit with two Einstein strobes: a main light with a homemade, window-pane gobo and an on-axis fill with a 32” Photogenic umbrella. A David Maheu background helped to set the elegant feel of the portrait. The image earned a merit score at the TPPA State Image Competition and will be entered in other competitions next year. Jeremy Ridout operates J.Ridout Portraits from his recently opened Gallery in Frisco, TX. He began creating images in 2010 and has attended the Texas School of Professional Photography every year since 2011. He will be teaching a PPA Super 1-Day course, “Your Roadmap to a Sustainable Business,” this October.

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This article is not meant to be an all-inclusive instruction as much as it is just a glimpse of how we created these shots. It covers what appears to be an easy shot, a simple presentation of fresh fruit. We begin with decisions: mood, hero choice, use of image, format needed, items offered for sale or editorial, extra items to be included, recipes, plating presentations, whether the shooting is on location or in studio, whether we are styling or if there is a stylist provided, whether we purchase and prepare or are receiving items, and the list goes on and on. To cover a full food shoot from beginning to end would take more space than this article allows. So for the purpose of brevity, we are going to assume this is a mood shot only, no sales. This is important, because we do not have any restrictions on food enhancement. If this was a for-sale item, it must then be presented in its natural state. Recipe Equipment includes: Canon™ 5D SR, Canon 100mm f2.8L macro lens (shoot #2), Canon 24–70mm f2.8L lens (shoot #1), Camera stand, Tethered shooting, MacBook Pro, Novatron 1500 VR lighting system (Yes! We use everything until it no longer works; these are over 20 years old), soft boxes on main and fill (with strip on overhead light and honeycomb grid with barn doors on background), Pocket Wizard Plus IIIs, Color Checker (X-rite), Sekonic LiteMaster D-478D Light Meter, 18% grey roll paper (shoot #2), white roll paper (shoot #1), footstool (we are short), white bounce boards (Styrofoam) with clips to hold upright food styling items. Natural Props include: floor lift, wooden breakfast tray, off-white square plate, wooden bowl, antique off-white napkin, antique fork, coffee cup (darker tan with green handle to mirror the green grapes), and cat jar for whimsy. Moody, Enhanced Props include: wooden oval plate, granite, grey square, wood and stainless cheese knife, clear wine glass, elevated small wood cutting board, wood specialty cheese knife, wooden-fence tabletop, white plastic table (to elevate items), food enhancement products. Other Food Enhancement Products include: glycerin, spray antiperspirant, wedge sponges, T-pins, spray bottle for water, Freshen Up™, cyanoacryalte, small brush. Food purchased from Aldi™ grocery store include: fresh green grapes, on the stem; fresh red grapes, on the stem; fresh Bosc pear, halved; fresh strawberries, whole; bread, French loaf, halved and sliced on the diagonal; butter, softened and spread on bread halves; Prosciutto; coffee, in cup; sugarcubes, in cat jar; white wine (Naked Grape™ brand); cheese, Havarti, brick-style; cheese, Gouda, redwax-sealed round. Let’s begin! We begin with the shopping list and head off to the market! For each of the products involved, we must sort through many items to find just the perfect one.

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resh Grapes with Cyanoacryalte and Antiperspirant Glaze. . . Served with a side order of cosmetic sponges and glycerin, right? Not exactly a typical menu description, but they’re definitely key ingredients in the recipe for a food photographer. “We eat with our eyes.” No one really knows where this phrase first appeared; however, we all know what it means. Food is not only nutrition but it is desire — we want what we see. Chances are when you see luscious-appearing food photographs, they are altered slightly to present their best image. Talk about makeup and wardrobe! Angles, lighting, styling, color choices, and a lot of other decisions go into creating a food photograph or dressing food for a film set. Presentation of food is a fascinating industry. Chefs, dishware designers, food stylists, and photographers know that proper styling of the food is paramount. Welcome to the awesome and exciting world of food photography. Whether for a magazine, advertisement, film set, or social media, the image-capturing techniques of our most universal and beloved subject — food — are almost as fascinating and varied as the recipe itself. Chefs and cooks alike offer a myriad of ways and skills in creating a dish, and so does the food photographer. There is no one way to achieve the perfect shot, because beauty is in the eye of the paying client.

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Aug/Sept 2017

THE PHOTOGRAPHER

Begin with sorting through all the food items to find the most pristine specimen. This will be referred to as “the hero.” The others are the stand-ins. Good use of our PPA Imaging bag from last year! THE PHOTOGRAPHER PHOTOGRAPHER THE

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The first shot will be a top down, with more of a breakfast feel, a light and airy composition. In the example, we have left the bottom left corner open for copy.

On this shot, we used the Canon 5D SR, Canon 24–70mm f2.8L lens. Our lighting is two (2) soft boxes with side lighting and a strip soft box with a diffuser, to further soften from the top back, angled slightly in. The floor is slightly elevated on a plywood panel sitting on 2x4s. (Note: if we had made the flooring the white paper, it would have been distracting to have white lines showing through the cracks in the breakfast tray.) Our camera settings are: ISO 100, 55mm, f5.6, 1/125 sec. in raw .C2). This shot is shot naturally, without the use of enhancing products. Post processed using Adobe Lightroom™, with slight color correction, clarity +3,vibrance +2, sharpening +10 with noise reduction +5, there is no Photoshop used in this shot, basically SOOC.

Our next shot, shoot #2, uses a different angle and styling. We lay out the set, take a few color-checker and exposure shots and then begin to build the set. We are also changing the lens to the Canon 100mm f2.8L, dropping the grey background, and elevating the angle to point of view. This shot will be enhanced with glycerin, spray antiperspirant, cosmetic sponges, T-pins, Freshen-Up, water spray, and cyanoacryalte. THE PHOTOGRAPHER

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Building the set first and setting the lights.

A small brush with glycerin is used to add highlights

Put in the stand-ins to arrange for composition and lighting.

The lights are moved to the rear left, and bounce boards are placed to the right. The boom is a strip softbox coming from slightly camera right. Background is changed. The shot is more dramatic using heavier lighting ratios. We vary the light on the background by simply moving the light further from the background to go from grey to black. Once we have our composition laid out, allowing for graphics or logos, we shoot two variations for the mood setting for fresh fruit as an evening event or romantic interlude.

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Shooting into the subject and leaving it light and not overly dramatic in lighting ratio allows the art director to use the negative space for copy or graphics

We have created a completely different look! Cropping and the addition of a wineglass are the changes. The advantages in learning food photography are that it is challenging and will push your ability to concentrate. Because each shoot can take several days, you are creating a still life. So let your inner artist out! Food doesn’t talk back, and everything you learn also applies to just about any macro work you may do. I love food photography, even through all the fashions and styles of how it looks. Grab a grape, a light, and a camera and create your own recipe!

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Malinda M Julien, CPP, is a second generation professional photographer from Fort Worth, Texas. Photography has always been a part of Malinda’s life and her entire family now works at their studio. Julien & Lambert Photographic Services is a commercial photography company specializing in architecture, fashion, editorial work, industrial, products, and food photography. She attended the University of Texas at Arlington and says she is a “constant student of all things photography.” Jon Julien, her husband, is their equipment person, drone pilot, and second shooter. Son, Charles Lambert, is the co-owner of the company and has a degree in Fine Art Photography from Hardin Simmons University and son, Jon Lambert, is their architectural photographer with a degree in Architecture from Texas Tech University. Learn more about this incredible family at www.JulienLambertPhoto.com.

Aug/Sept 2017

THE PHOTOGRAPHER


Want to separate yourself from the natural light shooters? Backlighting a subject and adding water or fog is one way to do it.

I prefer to walk the scene and diagnose it first. One of the techniques you’ll often see me do is raise my hand and look at the way the light, shadows, and color falls on both sides (palm and back of hand). Then, I think about what needs to be done to modify the light to match my vision. I think about how I will compose the image. What angle will I shoot from? What lens to use? I typically find the ambient light exposure first. If I have an assistant with me, I will ask them to stand in as I proceed through my steps. Once you have these basic steps down, OCF can be seen as a creative and a corrective tool. Following are a few ideas to share with you to freshen up your OCF.

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lthough I have been using OCF (off-camera flash) for many years, there was a time in the beginning of my career that it terrified me. I had no idea what it could offer my images, had no training, and very little budget to purchase gear. About year five of my career, I finally got frustrated enough that I couldn’t produce those dark dramatic clouds or light a reception room they way I had seen others do. I knew it was time to learn the “f” word. This is year 14 and I wouldn’t shoot without it on a portrait session and definitely not on a wedding day. It has truly helped to define my bold color/dramatic lighting style that I now teach around the world. Think about drawing with light as a painter would, visualizing the final scene in your mind. Work backwards to create it, adding OCF where needed to highlight the areas you want the viewer to see first. Diagnosing the quality, quantity, and color of the ambient light is key to knowing if you need to add or subtract from the scene. If you know how to control your exposure, you can “drown out” a scene and then use OCF to paint back and create what your mind sees. What do the shadows have to offer you? What color is the existing light or what do you want to change it to? Is the light punchy and harsh enough for your vision or perhaps you’re imagining something softer and sweeter. A lot of people don’t realize that flash exposure and ambient exposure are separate manual settings you’ll dial in but in the end, they merge together to create your final vision.

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Idea 1 - Rim lighting with the addition of water or fog: The image of the golfer (above) screams “Alison Carlino!” I love the drama of a backlit image using anything that can give me water... sprinklers, spray bottles, fountains, and of course, real rain. Add a fog machine and a colored gel and you’ve got major social media traffic talking about you. I place the flash about 6 to 8 feet behind the subject and use their bodies to block the light head. If your subjects move, you’ll likely experience flare back into your lens (which could work too). Water images aren’t just done at night; I find fountains often on engagement or portrait shoots and when flash is added, it produces an extra layer of separation. Be sure to use your flash’s zoom feature or a grid to control the spill of light on the scene. Want to separate yourself from the natural light shooters? Backlighting a subject and adding water or fog is one way to do it. THE PHOTOGRAPHER

Aug/Sept 2017


Idea 2 - Drowning out a scene: As is typical on a wedding day, I walk into a lot of rooms with nasty lighting. Using max sync settings on your camera, you can take the overall light level down to nothing and then add back flash to “paint” the light in where you want it. For example, if it’s raining on the wedding night and you need to create dramatic portraits of the couple, you can use any room in their venue to create something more romantic and dramatic. When your shutter speed is set to max sync, your ISO is at its lowest value, and your aperture is closed down, you will have a dark image! This allows you to then pop the flashes or continuous lighting sources on like light switches, painting in what your mind sees. Just be sure to grab an umbrella and make that backlit rain image happen too! Idea 3 - Using color to your advantage: Whether it’s white balance settings that you change in camera or gels that you add to your flash, color has so many possibilities. Rogue is my supplier of choice for gels. I use ½ and full CTO gels to correct very warm colored venues but I also use them when I want to increase the volume of blue. If you set your in camera Kelvin temperature to correct for the warmness and also place a CTO gel on the flash, you can control exactly how “cool” your scene will become. If you like the orange hot spot behind your couple, place a full CTO on your speedlight, turn it towards the wall behind them, and change your white balance to the tungsten light bulb. Be sure to control the angle of the flash by zooming the flash to 105mm or using a honeycomb grid. You’ll have a cool colored scene except for where the flash hits the wall. The couple will be in silhouette so be sure to pose them where there is space between the bodies and noses. Use the theatrical gel colors on a wedding day or even on a high school senior sports session to match the bride’s color scheme or the school’s colors.

Idea 4 - Shutter drag with subjects frozen: Although it’s somewhat hard to wrap your mind around this (images below), you can handhold the camera at slower shutter speeds and still get a frozen image of your couple because flash saves the day! When glow sticks enter the dance floor, I slow down my shutter speed to a 20th of a sec and let the flash fire directly on the subjects at a low power to freeze the people twirling them in front of me. Their faces are in focus but the motion of the glow sticks adds to the excitement of the party scene. You can also set the camera to rear curtain sync and let the flash fire at the end of the exposure to freeze the action in front of you.

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Idea 5 - Finding a creeper viewpoint: Sounds strange, I know, but framing up your subject using surroundings that tell the story and pumping the flash in while you stand outside the scene is great way to draw the viewer’s eye straight to what you want them to look at. It really does help to have an assistant here because you might be far away and need the stand moved. Recently, I had an outdoor senior session near sunset. I walked her property and identified the areas where the sun could work as the backlight. I then placed the girl in poses she could handle, set up the flash in my triangle lighting pattern (45 degrees left or right from the subject), and then positioned myself where a metal bar created a triangle around her face. It feels like you are a creeper in the grass but you do what it takes to get the shot!

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Idea 6 - Spinning fire: If you’ve never gone to Home Depot and bought steel wool (grade 0000) with the intention of lighting it on fire in the name of great imagery, you just haven’t lived. I have taught this technique in a couple of my workshops through the years and last year, finally had a venue out in the country that would allow me to spin at the end of the wedding night. This technique (and most of the above ones) will be taught during my weeklong class at Texas School in April 2018. I hope you’ll join me and take your OCF to the next level! Lighting off-camera is a powerful way to upgrade your work, add dimension and color, and separate yourself from the ones that aren’t using OCF.

Aug/Sept 2017

THE PHOTOGRAPHER


Curtis Williams 1934 - 2017

Legacy of a True Gentleman

by Bill Hedrick

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his is the story of a true gentleman who was loved and respected by all who were privileged to meet him. There are those who hunger for attention and there are those who are quite content to serve their fellow man with little fanfare and always with a warm smile. Curtis Williams was such an individual. The Texas School of Professional Photography was his passion and his smiling face was a familiar and welcoming sight at that event for many years. From its earliest days, Curtis was there working tirelessly to help make that event what it is today. He was a trustee for 19 years and then trustee emeritus for the past 7 years and supported the Texas Professional Photographers Association and all its events, especially the summer seminar where he never missed one of them. He never knew a stranger. In 1996, Curtis and Betty received the National Award from Texas for their dedication to the profession of photography. This coveted award is presented once a year by state and regional affiliates of the Professional Photographers of America. Its inscription simply reads, “For Meritorious Contributions to Professional Photography.” On June 8, 2017, Curtis Williams left this world. He was born on August 7, 1934, to Jackson Barney and Ellen Cahill Williams in Austin, Texas. He attended Palm School, Allen Junior High, and Austin High School. On December 17, 1955, he married the love of his life, Betty Gail Cowan. He joined the Navy Reserves, and then the United States Marine Corps in the 1950’s and later worked for the City of Austin as a traffic signal specialist for twenty years. Curtis attended Austin Community College while his four children were teenagers and was the first ACC graduate to receive an Associate’s Degree in Photography. In March of 1978, he opened Portraits by Curtis, and with Betty by his side, he spent many years photographing weddings and portraits. Curtis and Betty were both active in the Austin Photography Guild, Texas Professional Photography Association, and the Texas School of Professional Photography. For those of us who knew him, we will remember Curtis as a great mentor, not only as a photographer but as someone who took immense pride in the job he did and who always put others before himself. We would do well to follow his example in life. Curtis Williams will be missed.

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