Official Publication of the Texas Professional Photographers Association, Inc.
VOLUME 53- #4 June/July 2018
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 75052 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 “Eden’s First Light” was created by Doug Bennett of Colorado Springs, CO. Metlako Falls is located in the Columbia River Gorge east of Portland, OR. “The spot from which this shot was taken no longer exists as the cliff edge from where I took this shot fell into the gorge in January of 2017. Unfortunately, there is no longer a safe spot open to the public from which to view this falls,” says Doug. This shot was taken with a Nikon D3x using Unitary White Balance and “Exposing to the Right” techniques. The image was processed using Nikon Capture NX2 and Nik Color Efex Pro filters. “Instrumental in the final look of this image were the video critiques I received from my first two times entering this image in IPC where it did not merit,” he explains. “Finally, following the suggestions of the critiques, the image merited and went Loan in 2013.” Doug Bennett will be presenting a program on landscape photography at TPPA Summerfest 2018.
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Cause and Effect
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The Oregon Coast
A Message from TPPA President, Tammy Graham
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A Photo Excursion by Doug Bennett
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My “366 Project”
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An All-Inclusive Approach
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Summerfest 2018
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Light Painting
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SPLASH!
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Spotlight: Tammy Novak
A Daily Dose of Inspiration by Teri Whittaker
The Grand Experience by Nate Peterson
Nearly Here! by Steve Kozak
Step-by-Step with Jeffrey Eatley
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Underwater Photography by Diana Waguespack
“Their Journey Must End”
29 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.
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June/July 2018
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2018 TPPA Executive Council President Tammy Graham l
Tammy@locationsphotography.com
3300 Joyce Drive, Ft. Worth, TX 76116 (817) 300-0780
Vice-President Ross Benton l
Cause and Effect
Ross@StudioBenton.com
1876 Nacogdoches Rd., San Antonio, TX 78209 (210) 804-1188
Treasurer Marla Horn l
Marla@ahh-photography.com
10716 Camelot Dr., Frisco, TX 75035 (972) 567-8613
Secretary Jenny Rhea Eisenhauer l
photographybyjennyrhea@hotmail.com
12218 Old Stage Trail, Austin, TX 78750 (512) 626-3309
Councilman-at-Large Doc List l
doc@doclistphotography.com
6001 W. Parmer Ln., Austin, TX 78727 (512) 924-9248
Councilman-at-Large Cris Duncan l
cjduncan@mac.com
2402 Slide Rd., Lubbock, TX 79407 (806) 781-2747
Chairman of the Board Trey Homan l
Trey@ehoman.com
17222 Classen Rd., San Antonio, TX 78247 (210) 497-3809
Executive Director Steve Kozak l
Steve@tppa.org
5323 Fig Tree Ln., Grand Prairie, TX 75052 (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@ThePhotographerOnline.com
1506 E. Leach St., Kilgore, TX 75662 (903) 985-1080
PPA Councilors Gabriel Alonso (Ft. Worth), Brad Barton (Grand Prairie), Don Dickson (Plainview), Elizabeth Homan (San Antonio), Trey Homan (San Antonio), Stephanie Ludlow (Round Rock), Fonzie Munoz (Corpus Christi), Randy Pollard (Victoria), Cliff Ranson (McAllen).
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t Imaging USA this past January, PPA put out a message about the widening gap between photographers and their consumers. The premise is that consumer habits and expectations are always shifting and that photographers may not be keeping up with the evolution of the consumer - and are stuck in their old way of doing business. At TPPA, we agree with this premise. As the largest PPA Affiliate, TPPA is positioning itself to be the leading association for helping its members succeed artistically and financially. We continue to bring top educators to our events to show us how to get better at our craft and growing our business. Following PPA’s lead, we will also incorporate programming that includes: • Understanding the changing photographic marketspace • Connecting photographers to their consumers • Developing a healthy small business mind-set • Understanding sales “How is business?” The answer to that question depends on who you talk to. Every day, someone on social media is out there complaining about how bad things are and how people are not buying photographs. For the photographers doing the complaining, that is probably their reality... but we can cite countless examples of photographers who are doing a tremendous amount of business and generating record numbers. So, what makes these two photographer types so different? We are going to dive into this at Summerfest. Our first effort in addressing these topics will take place at our “Making Money Super Monday” event. You will see and hear a number of presentations that will impact how you look at your business and how you respond to changing consumers. We plan to dig deeper into the conversation and to provide you with the tools that can make a difference in how you connect with your customers. The truth is, consumers have never had so much disposable income and they are willing to spend it in greater amounts than ever before. We are going to show you how to develop a healthy small business mind-set so that you can get your share. Sir Isaac Newton stated, “For every action there is an equal and opposite reaction.” To put this another way, we say, “Spend the money so you can make money.” We believe that your investment in attending Summerfest will come back to you in real dollars as you put what you learn into use. Register now at www.tppa.org/summerfest.
Tammy Graham TPPA President
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 75052 Steve@tppa.org
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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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While most everyone is familiar with Multnomah Falls that one can easily see from I-94 east of Portland and which is certainly impressive, when I first saw Metlako Falls, I immediately had the sensation that this must have been what Eden looked like, thus the title “Eden’s First Light.” Metlako Falls is the furthest downstream waterfall of the major waterfalls on Eagle Creek and as a result, it is the upstream limit for salmon spawning in Eagle Creek. It is located off a short trail spur two miles in from the parking lot near the Old Columbia Gorge highway. The 101 foot tall waterfall was discovered in 1915 and named after Metlako, the Indian goddess of salmon. Metlako Falls was instrumental in my growth in landscape photography. When I captured the image in 2010, I was just beginning to dabble in PPA competition. I worked this image and entered it into three photography shows in the Colorado area and the results were beyond my wildest hopes. The image scored two Best of Shows and a First Place. Most happily, I pocketed $1,800 in awards monies! So, I thought “Eden’s First Light” would be an obvious entry for me in PPA print competition, surely a Merit, and hopefully a Loan Print. When it didn’t merit in 2012, I was surprised and thought maybe I just had a juror panel that was getting hungry or something. So I entered it again the following year in SWPPA District with essentially no changes and again no merit. But (and this is a big BUT) this time I ordered a video critique. When I watched the video critique, I was thinking, “Yeah, maybe...” to the comments being offered. Prior to entering the 2013 IPC, I decided to implement all those “yeah maybes” on the image. When I finished, I loved what was before me on the screen and could no longer stand to gaze upon my earlier version that had put so much money in my pocket. You can probably guess the rest of the story... in the 2013 IPC “Eden’s First Light” merited and then went Loan.
“Eden’s First Light”
Since that time, I have been sold on print competition and getting those video critiques. What’s more, print competition convinced me there was still so much more to learn and that learning never ends. At TPPA Summerfest, I will be sharing all that I have learned and more in my presentation on Landscape Photography. Now back to Oregon.
From the Metlako Falls overlook, 1/4th mile further up the trail is Punch Bowl Falls. This falls ranks with Mount Hood, Multnomah Falls, and Crater Lake as enduring icons of Oregon and the beauty of the Pacific Northwest. As evidenced by its name, the falls has carved a deep, bowl-shaped pool at the base of the fall. In fact, geologists have borrowed the name “Punch Bowl” as a new type-designation for other waterfalls with the same basic flow. Metlako Falls is also classified as a punch bowl waterfalls. Sadly, as I began my research on these two waterfalls on Eagle Creek for this article, I learned of two very astonishing events. First, in January 2017, very heavy rains resulted in the overlook at Metlako Falls (from which I captured my image) collapsing into the gorge hundreds of feet below. Now, there is no safe spot from which to view Metlako Falls. Then in September 2017, a 15 year old boy playing with fireworks along the Eagle Creek Trail resulted in the devastating Eagle Creek Fire which burned for three months consuming almost 50,000 acres. This fire severely damaged the Eagle Creek Trail and it is now closed until repairs can be made. Hopes are the trail will be opened in Summer 2018 and my hopes are it will include a new overlook for Metlako Falls. Driving east on I-94 from the Eagle Creek Trailhead, you can turn to the south on Hwy 35 leading towards Bend, Oregon. Near the junction with U.S. Hwy 26, is Trillium Lake. This magnificent location is situated 7.5 miles south-southwest of Mount Hood and is formed by a dam at the headwaters of Mud Creek. The area, which is covered by the lake, was part of the Barlow Road, a component of the Oregon Trail. This road was an option to taking the perilous trip down the Columbia River for the early immigrants striving to reach the fertile valleys to the west. This part of the Barlow Road was a log road across marshes allowing the immigrants to reach Summit Meadow, the toll station for this route to the west between 1866 and 1870. For photographers, the shallow depth of the lake often provides a mirror like surface to photograph the reflection of Mount Hood when it isn’t shrouded in clouds. The morning I was there, landscape shooters from Portland were ecstatic with the shooting conditions. I felt very lucky to have been there at
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andscape photography has brought an incredible amount of discovery to my life. It has fueled a passion for further exploration of the beauty of grandeur of landscapes I have yet to experience. While having great luck living in the beautiful state of Colorado, I am always drawn to the diverse beauty of Oregon. From the waterfalls of the Columbia River Gorge, beautiful mountain lakes, and the rugged Pacific coast with its famous lighthouses, I am always dreaming of my next trip to discover and experience more of Oregon. My emotional favorite area in Oregon has to be the Columbia River Gorge, an area that is rich in history and significance in the growth of the Pacific Northwest. For more than 13,000 years, Indian People flourished here thriving on abundant runs of salmon and steelhead. And, as is the case today in our modern economy, for thousands of years the Columbia River Gorge has been the economic pathway connecting the Pacific Northwest with the rest of the continent. The natural story of the gorge’s formation is also the story behind the numerous lush waterfalls to be experienced here. Over the centuries, the fiery volcanoes of the Cascade Mountain Range left lava and mudflows up to two miles thick through which the Columbia River cut a deep canyon. The greatest force in the Gorge’s creation came 15,000 years ago near the end of the last Ice Age. Gigantic floods up to 1,200 feet deep swept down the river scouring its cliffs. This left tributary streams draining snowmelt from nearby Mt. Hood hanging high above the river’s bed. This leaves us today with one of the world’s greatest concentration of waterfalls. Which bring us to the image titled “Eden’s First Light” (on the front cover of this magazine).
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Punch Bowl Falls THE PHOTOGRAPHER
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Mt. Hood in Trillium Lake 7
the right time. Of course being a landscape photographer, I wished I had been there earlier and that dramatic sunrise clouds and light had been present. West of Bend, Oregon, is one of the most amazing waterfalls in Oregon, if not the Pacific Northwest. It is Proxy Falls. The size is unbelievable especially when you are standing right underneath it, which is not that difficult. The falls is fed by one stream cascading into two separate shimmering veils dropping 226 feet. Uniquely, the water at the foot of the falls largely disappears as it sinks through the porous lava into the ground. The trail assessing the falls is an easy two mile round trip. At the base of the falls, one has to be very careful as the spray causes slippery rocks and logs. You also have to make sure your camera is ready for the spray (such as a rain sleeve) and be sure to have a lens cloth. Preferred times to shoot the falls are in the morning or afternoon because the sunrays shine through the tall trees and light up the misty water coming off the falls. The trailhead for Proxy Falls is located along Hwy 242 west of Bend (which in itself is a fabulously scenic drive) and is closed during winter. Fall is generally the best time for photography with fall colors, less weather variations, and fewer people. Early spring, once the road opens, is also a great time to photograph as the water flow is higher, spring flowers are blooming, and there are fewer people. Sparks Lake, 25 miles west of Bend off the Cascade Lakes Scenic Byway, is said to be “so beautiful, it doesn’t need to be interesting.” Without question, it is both beautiful and interesting. For us landscape photographers, Sparks Lake is what we dream about. Comprising 370 acres of lake wetland surrounded by another 360 acres of meadow, marsh, and stream wetlands, this spectacular setting, - a memorialized favorite of the late, acclaimed, landscape photographer Ray Atkeson – is dominated by three volcanic peaks (South Sister at 10,358 ft, Broken Top at 9,175 ft, and Mount Bachelor at 9,065 ft) rising in dramatic splendor above the crystal waters of the lake. When Mount Bachelor erupted 10,000 years ago, it formed a lava dam that began capturing snowmelt and rainwater to become Sparks Lake. But cracks in the volcanic rock below the lake means the lake is gradually draining water through the summer. In some of the smaller coves along the shoreline, one can actually hear the water gurgling below as the water filters out of the lake. Having no other water outlets,
Proxy Falls is fed by one stream cascading into two separate shimmering veils dropping 226 feet. The water at the foot of the falls largely disappears as it sinks through the porous lava into the ground below. the water enters a subterranean system of groundwater that connects just about everything in this region of Central Oregon. The water filters into other creeks eventually becoming the source of the Deschutes River. One can easily spend two days photographing around Sparks Lake as there are trails all about the lake with great compositions to be had in any direction you choose. The Oregon Coastline extends over 360 miles with rich photographing opportunities than could easily fill a book. While I have yet to visit all the coastal opportunities, one which simply astounded me was Cape Kiwanda. Cape Kiwanda State Natural Area is a state park in Pacific City, Oregon, and is a part of the Three Capes Scenic Route which includes Cape Meares and Cape Lookout. One of the dazzling features of Cape Kiwanda is its brilliant sandstone reminding me of the Canyonlands of Utah. Offshore is the monolith that has protected the soft strata of the Cape from being extinguished by ocean weather. It is the “other” Haystack Rock, a classic basalt sea stack not to be confused with the more widely known Haystack Rock at Cannon Beach.
Sparks Lake is comprised of 370 acres of wetlands surrounded by 360 acres of meadow, marsh, and stream wetlands, dominated by three volcanic peaks. THE PHOTOGRAPHER
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(right) Cape Kiwanda, with its brilliant sandstone, reminds one of the Canyonlands of Utah. The waves of the Pacific Ocean are some of the most vigorous breakers to be found along the Oregon Coast. (Bottom) Yaquina Head Lighthouse, made in Paris in 1868 and shipped to Oregon, is built with 370,000 bricks. During WWII, servicemen were stationed there to keep a lookout for enemy ships. Behind the Cape is the Great Dune, a massive hill of mudstone and sandstone layers cloaked in drifting sand. From the parking lot, you can hike up the sand dune to the north to the crest of the Cape to get a commanding view. The waves of the Pacific breaking below are some of the most vigorous breakers to be found along the Oregon coast. Composed with the brilliant sandstone provides images with astounding beauty and impact. As you ascend the sandstone and reach the crest of the Cape, you will see fence lines protecting sensitive areas as well as you! The fence protects you from soft cliff edges that can fall away into deep coves at any time. In fact, seven people have died falling into the ocean and onto the rocks since 2009. Once you are on the Cape’s crest above the sand dune, you will see that you are able to negotiate your way down to the land bridge that connects the Cape to a large flat topped stack jutting further west into the ocean. It is very high
and one can readily think it is safe to climb up to the top of the stack. But due to some uniqueness of the shoreline on the west side of the stack that cannot be seen, waves can be vastly magnified in height and volume and actually crest and sweep across the top of the stack and then cascade down the eastern side of the stack. See the accompanying photo to see this wave in action. This only occurs when conditions are right but the afternoon/evening I was there I saw it happen five times. I finally set up my camera and dialed in an exposure to make sure I captured the phenomena the next time it happened. I finally got the shot after a wait of around 20 minutes. One of the highlights of the Oregon coast is one hour south of Cape Kiwanda. The Yaquina Head Lighthouse located on the north edge of the coastal city Newport, is 93 ft tall making it the tallest on the Oregon coast. The lighthouse is located on a narrow strip of basalt emanating from an ancient volcanic flow that juts one mile westward into the Pacific. Made in Paris in 1868 and shipped to Oregon, Yaquina Head Light was first lit August 20, 1873, after a year and 370,000 bricks to build the lighthouse. At that time, the oil burning fixed white light burned from sunset to sunrise. The oil burning wicks have now been replaced with a 1000 watt globe. The lighthouse was automated in 1966 and is still active today. During WWII, 17 servicemen were stationed at Yaquina Head to keep a lookout for enemy ships. The lighthouse still uses its original 1868 French-made Fixed Fresnel lens. It is visible 19 miles out to sea. With the lighthouse being located on this basalt outcropping, there are numerous compositions to be had. I love shooting from down at the ocean’s edge getting very low to the smoothed basalt rocks to include them in the foreground. I have made three trips to Oregon over the last decade and yet I feel I have only scratched the surface. I look forward to returning to the Columbia River Gorge trails once they reopen to capture the rebirth of the ecosystem which have the potential to giving a much different look to the waterfalls there. I want to shoot at Bandon Beach and spend more time at Sparks Lake. And lastly, I haven’t even mentioned the fantastic seafood to be had. Personally, I can’t wait! Who is ready to go? See you at Summerfest!
Doug Bennett lives in Colorado Springs, Colorado, and is a retired Air Force officer. He and his wife, Laura, enjoy travel, landscape photography, and selling their art in art shows and to corporate clients. Doug will present a program, “Landscape Photography: Craft & Technique, Art & Expression,” at Summerfest 2018.
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nlike some other photographers with a background in fine arts, I never had the privilege of studying art history in college. So, whenever I attended a photography program and the speaker said to study art, I was bewildered. Being so overwhelmed at learning how my camera and flashes worked and how to pose and light, the thought of looking at a painting and trying to glean inspiration from it was totally beyond me. But, as I became more comfortable with my gear and how to pose and light my subjects, I found that I can, indeed, look at paintings and be inspired by how the artist used light and color and how he posed subjects to convey his own vision. The audio book “Caravaggio” by Andrew Graham-Dixon speaks of his work and his life. The enduring legacy of this man’s work and the impact it has on so many some four centuries after his death is remarkable. I had to wonder what legacy I will leave to my children and grandchildren. That inspiration and vision led toward my own legacy and that is when participation in a “366 Project” (one image a day for 366 days... since it was a leap year ) began. THE PHOTOGRAPHER
June/July 2018
Have you ever watched some of your friends start on a daily image project at the beginning of the year and think, “That would really be nice. But I could never keep up with it.” Those were my thoughts in 2016 while driving to Imaging USA in Atlanta, Georgia, with my friend, Aileen Harding. She told me how she was doing a daily project and that I should join in. Since I was already so immersed in “all things photography” due to being at the convention, it was pretty easy for me to say “yes.” Once I got started, I was hooked! In a very short time, I could see a considerable difference in my work. Previous to the project, I felt that the progress of my technical abilities was crawling and that I significantly lacked creative vision. Image competition had helped me greatly and I could see the improvements in my images when competing. Creating a daily image had me continually evaluating my backgrounds, considering my light, and using features on my camera that I had not previously used. But I was also looking at everyday objects with fresh eyes and learning new ways to accomplish things in Photoshop and Painter.
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Of course, committing to a 366 Project might not be a reasonable undertaking for everyone in this season of your life, but I would encourage others to find a creativity project that works for your situation. Perhaps a “52 Project” where you set aside one day each week for creativity would work better for you. If one day a week is still too much, you might want to do a “12 Project” and set aside one day a month to explore new possibilities with your camera. I encourage you to do whatever speaks to your heart and to make it your own. If you miss a day, make it up the next day. That’s what worked for me and allowed me to continue my own project. At the end of my own “366 Project,” I came out a better photographer than when I began. When 2016 ended, I wasn’t done with committing to a daily project and felt that I still needed the daily project to continue so I could see more growth in my work, so I continued into 2017. As you witness the improvement in your work and how your mind is open to even more creativity, you will be inspired to do even more and to enjoy the art of photography. Teri Whittaker, M.Photog.Cr, CPP, served as President of the Professional Photographers Guild of Houston in 2016 and is currently their Executive Director. Her path to photography was typical of many photographers today who weren’t “born with a camera in their hands.” As an assistant leader for her daughter’s troop, she began doing scrapbook images. Before long, people began calling on her to photograph various events and this eventually led to family portraiture and more. Teri was IPC Bronze Medalist in 2016, IPC Silver Medalist in 2017, was Texas Top 10 in 2017, and went 4/4 at SWPPA competition with one score of 100. Today, she primarily photographs people and pets plus a few weddings and “a lot of flowers.”
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by NATE PETERSON, CPP, M.Photog
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s a traditional portrait photographer, we do a lot of work “on spec.” Meaning, we usually charge a nominal session fee and then spend hours of effort in hopes that our client will place a large enough order to make our overall time spent worthwhile. But what if we could guarantee a desired outcome before we pick up the camera? Ever gone on a vacation where the price of the food and drink was included? This is a concept I moved my studio toward five years ago. I noticed that all the successful wedding photographers I knew were including an album with their minimum package. As in, “I don’t shoot your wedding without you getting an album.” I admired this business model because they were never going to come to the order session later and have minimal sale after all the work they put into the wedding day. Furthermore, knowing they were going to be printing an album, they were able to take the storytelling detail shots to use as enhancements to the photo album. I figured why not try this all-inclusive approach with my high school Senior portrait clients? And so the Grand Experience was born. In the beginning years of the Grand Experience, my clients had their choice to pay for a traditional session fee and then order whatever they wanted at the order appointment - OR - they could pre-commit to an album and essentially not pay for the session fee. It was an all-inclusive bundle in which they were saving 25% off the a la carte price from the start. And if they committed to this bundle, they would additionally receive 20% off whatever else they ordered during the order appointment. This all-inclusive approach was quickly realized to be a win-win for both the client and myself. They were able to get a nice collection of storytelling images put together in a high quality, custom designed album that would last generations. I, as the artist and sustainable small business owner, was able to have a consistent sale that rewarded my efforts, both financially and creatively. It only took a couple years to make the jump to this Grand Experience being my studio’s exclusive Senior offering... Yes, you heard me right, the only Senior session we offer is our Grand Experience, that includes an album in the base package. Gone are the days of spending 3-4 hours on a session and another couple hours editing, and another couple hours in a viewing/ordering appointment, only to come up with a small order and
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a sad feeling inside. Our clients are all-in from the beginning and it goes without saying that when you find the clients willing to do that from the start, they don’t stop at the album. They finish strong with consistent wall art orders - making the studio successful and everyone happy. I don’t suggest you scrap your current session offering right away today, but rather adjust your mind-set to consider this option as a short-term goal to aim for. Set up an option for the client to choose between an a la carte offer or a pre-commitment bundle. I can tell you it won’t take long for the clients to realize the value in buying something up-front that they’re more than likely going to want in the long run anyway. The bottom line is, this is really just an alternative to having a minimum purchase or a print credit built into your raised session fee. This spin just creates an expected outcome that is simple to understand and allows the client to know what they’ll be getting from you in the end. And best of all, as an artist/creator, it gives your images purpose, knowing the majority of the images created during the session will live on in printed form and will be passed down as a family heirloom for generations to come. If that sounds lofty to you, imagine your parent or grandparents being able to show you a hard-bound album of who they were at that monumental time in their lives. How would it have inspired you? This is what I believe we can do for our clients. And therefore, my clients believe in me to do this for them. It’s an all-inclusive win-win!
Nate owns and operates NP Design & Photography with his wife, Teresa, in New Richmond, WI. He specializes in High School Seniors and their families; along with volume sports and business/ commercial work as well. Nate has been a TCPPA member since 2009. June/July 2018
THE PHOTOGRAPHER
KAREN BUTTS
DOUG BENNETT
RALPH ROMAGUERA
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GARY HUGHES
MANDY CORBELL
MARK MCCALL
NATE PETERSON
KATHY & GARY MEEK
June/July 2018
DIANA WAGUESPACK
TONY CORBELL
JUSTIN MOORE
TERI WHITTAKER
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Summerfest is a Hit Here’s Why! La Torretta Resort and Spa This resort is a family vacation destination on Lake Conroe. It features an 18-hole golf course, 12,000 square foot spa, fitness center and an impressive water park. The Aqua Park is home to La Torretta Lake Resort’s multiple pools featuring an elegant heated upper pool with an infinity edge that cascades down into a 6,400 square foot Mediterranean pool. Other pools include the Breeze Buster pool, Lay-Z River™ Rapids and the Splash Scape pool with an in-water playground, and the Pollywogs pool for the youngest of water lovers. It offers the best way to beat the Texas heat. Dining options include the Coco Cove Poolside Grill, the Yoi Sushi Bar and the Lakeside Restaurant and Bar, just to name a few! There is a piano bar, a coffee shop and the Energie Lounge. Check out the many dining options at the La Torretta website: www.latorrettalakeresort.com. The kids will be thoroughly entertained at the Aqua Park. But when it’s time for some dry fun away from the pool, the activity options read like a novel. There is an arcade, miniature golf, and movie nights by the pool. They will enjoy putt-putt, a teen hang-out with video games, making s’mores and other organized activities and games throughout the day led by the La Torretta staff. Every guest room at La Torretta is a suite! The room rate for TPPA Summerfest attendees is an unbelievable $115 per night. As an added bonus, if you book your room by June 1st, you will get your La Torretta Resort Fee (normally $30) ABSOLUTELY FREE with your stay at La Torretta! Don’t miss out on this huge money-saving offer. Register now and reserve your suite at www.TPPA.org/ summerfest. Just staying in your suite is a vacation in itself.
Family Fun with a FREE PICNIC After a hard day of water slides, golf, hanging out in the lazy river, going to the spa and learning photography, you and your family are going to need to find something fun to do! That is why we brought back TPPA Family Fun Night! Family Fun Night is on Sunday night. You and your family are invited to join us at the TPPA Lakeside Villa for our annual picnic. The fun starts at 6:00 pm. Bring your lawn chairs and blankets and a cooler of your favorite adult beverages and enjoy the picnic.
TPPA Summerfest Fish Fry
Sponsored by White House Custom Colour After the programs on Monday, head over to McDade Park in Conroe for the TPPA Summerfest Fish Fry. There will be games and activities for the kids and tons of fun for all. Bring your lawn chairs and blankets and enjoy an evening of great fish and great fun. (Please, no alcoholic beverages at this event!)
TPPA Annual Photographic Awards Presentation Join us on Tuesday at 6:15 pm for an evening of surprises! We will begin with the children’s awards for the Kids Foto Kontest. Every kid who participates will be recognized and we will announce the winners from each category. The excitement continues as we announce and unveil the winners from the TPPA Annual Photographic Competition. One ticket is included with each paid registration and includes a buffet dinner. Additional tickets are also available. This will be an event to remember. So, bring the entire family!
Golf Anyone?
As you enter the La Torretta Resort property, you get your first glimpse of this beautiful golf course. We know you will delight in the beauty and the challenge of the course at La Torretta. On Tuesday, around 8 am, the 25th Annual TPPA Golf Scramble tees off. If you have never played with this group, come on out and make new friends and see what all the fun is about. Registration for this event is $65. THE PHOTOGRAPHER
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Image Competition Your Chance to Shine
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he purpose of the TPPA Image Competition is to allow photographers to enter photographic images to be judged against a Standard of Excellence and to assist the entrants in preparation for PPA District or International Photographic Competition. Those who enter are eligible for awards and TPPA points that apply toward the Associate Fellowship and Full Fellowship degrees within TPPA. Although the complete rules and entry forms can be found online at www.TPPA.org/Summerfest, here are some of the highlights. Entrants may submit physical prints and/or digital images and multiple album (any event) entries, physical or digital. Each album counts as one entry. Each “case” may contain up to eight entries. All entries must be uploaded/registered at www.printcompetition.com. Click on “Free Registration of a New user” or simply log in if you already have an account. All images/albums must be named before uploading. You will then need to deliver your physical prints and/or album to the print room in the La Torretta Conference Center by 9 am on Sunday, June 24th. Image sizes and other specifications for physical prints and albums will be posted in the official rules on the website. Also be aware that the entrant’s name shall not appear anywhere in or on the face of the entry and no entry will be eligible that has been made under the supervision of an instructor or as a class assignment. In addition, no two entries shall be of the same subject, even if the subject is not a dominant subject in the image. Once an image has scored 80 or above, it cannot be entered again at the TPPA Summer Seminar Image Competition.
Register for Seminar, Your Room, & Print Competition at
www.TPPA.org/summerfest
TPPA is committed to creating excellence for TPPA members and has invested in an IPC caliber station for judging digital entries. This station includes three judging monitors, a dedicated computer and software to run the competition, and the ability to project images being judged onto a big screen for the audience to see. Finally, each year there is a special trophy presented to the maker of an image that best captures the TPPA President’s Theme. This year that theme is “Class of 2018.” The selection is made by the TPPA President from the general exhibit after the judging. The annual image competition is a great learning experience for any photographer who wishes to excel at their craft. Watching the judging itself will provide you with a new insight that will boost your confidence and broaden your knowledge of image making. What you will discover is that others who have participated for years are more than happy to help you throughout the process. But you won’t learn it if you don’t participate and the best way to do that is to JUST DO IT!
For complete rules and eligibility, please log in at www.TPPA.org/summerfest 22
with Mark McCall We want to take away the fear you may have of entering photographic images and get you prepared for competition and to see you earning those trophies and awards. TPPA believes that participating in the image competition process and earning those PPA degrees help improve your chances for success and sets you apart from the crowd. We want to see you succeed! Image Competition Boot Camp runs Sunday, June 24 from 10 AM – Noon, continues from 2:00 PM – 5:00 PM. Image Competition Boot Camp is FREE with your registration to Summerfest. Space is limited, so register early!
June/July 2018
THE PHOTOGRAPHER
Once the “dark studio” room is locked down, the camera was placed on my trusty tripod. First rule: Once you create the first image, you can never move the camera. To avoid “camera shake,” the camera is put on a timer of nine images with a 3 second delay in between. I only used a LumeCube LED light for this painting. The bike was positioned at 90 degrees so that it could be framed easily as if it was created for a magazine layout or advertisement spread. It was then centered in the frame of the garage door for an easy and clean background. The first image (upper right) is always done using no light at all so I can see if I am pulling any ambient light and to test all of my settings. For this image, my settings were as follows: Camera, Nikon D610 with a 35mm f/1.8 prime lens, Aperture f/16, Shutter Speed 8 seconds, ISO 100. Almost all of my lightpaintings are created at ISO 100. The LumeCube is attached to a cheap Walmart extendable selfie stick. Simply unscrew the cell phone adapter and screw the LumeCube in. This is very effective for getting your light up high over the subject and is easy on the back if you need to get low for lighting. Every image I create has completely different settings because there are so many factors in this style including, location, ambient light, effect, color of subject, concept and so much more. There are no real “go to” settings and it is always decided in the moment. After shooting about 18 images, I knew it was time to head to the computer for some editing. Also, by this point, I was covered in sweat and could barely breath. Summer is really hot in Louisiana.
The first image is always done using no light at all so I can see if I am pulling any ambient light and to test all of my settings.
This image was used to pull in all the highlights from the top of the bike, across the handlebars, tank, seat and rear fender.
FIRST IMAGE
LAYER 1
All 18 images were imported even though I would only use 5 to 8 of them. But it is always better to have too much than to not have lit everything and be forced to re-create or go “crazy” in Photoshop to correct the error later. Next, I go through every image, selecting the ones I will use, starting with the background base image. In Lightroom, I then straighten the image by cropping and use “enable profile corrections” in order to correct any problems. Next, I sync all of the images to be used before transferring them to Photoshop. “Command-E” on a Mac automatically exports to Photoshop. In Photoshop, I quickly cloned over the brick on the ground and the kickstand for the bike. Yes, this is not possible in real life but it makes it all look better in my opinion. Layer 1. I used this image to pull in all the highlights from the top of the bike, across the handlebars, tank, seat and rear fender. I created a layer mask and inverted it to black. With the brush tool set to white I painted back in the sections and highlights that I want. These are the steps from now on for every layer. Pick image, export to Photoshop, place as layer on top, create layer mask, invert to black and use a white paint brush and brush back in what is useful. Then REPEAT steps slowly as you progress through as many layers as it takes. Layer 2. Next, I used some of the tank and side of the bike to make the next layer. The engine was lit well and I started to notice that the tank was going to be harder than previously thought. Being the only truly shiny/reflective part on the bike. I would have to slowly correct this over a few different layers while lighting other sections of the bike at the same time.
M
y assignment, besides creating images for every vehicle that crossed the dealership’s lot, was to create a special image for advertising once a week. This week, my client brought in an amazing 2015 Yamaha Star Bolt motorcycle that I knew right away would be perfect for lightpainting because it had very little chrome, lots of bright colors and nothing ridiculous done to it. It was just perfect for my style. For the location, I had access to a huge wash bay garage in the back and, while it would be extremely hot, it would make the perfect dark studio. After closing all the doors, it was time to go to work.
The LubeCube was used at waist level in this image and allowed the light to fall off even lower on the bike.
LAYER 2
LAYER 3
Layer 3. I used the LubeCube at waist level in this image and allowed the light to fall off even lower on the bike but tried to keep it off the ground. The more you are able to control the light while photographing your subject, editing is easier. Yes, get it right in camera and you will have a lot fewer headaches on the back end.
Lightpainting came to me out of necessity. At the time, I had a lack of funds and had only one AlienBee Strobe and one LumeCube LED light. This forced me to be creative in my thinking and, with a background in Photoshop, it did not take long to come up with a solution. Before long, I fell in love with the unique style, options and the creative look. With only one light source, it is possible to create layers to light any subject from multiple angles, giving the look of using several lights. Although watching a few tutorials was helpful, my technique was the result of trial and error.
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Some of the tank and side of the bike were used to make this layer.
Layer 4. Now I continue to work on the tank to remove the unwanted highlights while leveling off the tank and balancing the color, while correcting the lighting on the seat, rear seat and rear fender. Some layers may be very minor but mean a ton to the final result. June/July 2018
THE PHOTOGRAPHER
THE PHOTOGRAPHER
June/July 2018
Work was done on the tank to remove the unwanted highlights.
LAYER 4
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Layer 5 was simply to finish correcting the tank and adding back some shadows that naturally will fall under the tank.
LAYER 5
LAYER 6
Layer 5 was simply to finish correcting the tank and adding back some shadows.
The light was used at knee level pointing directly at the bike to fill all the gaps, details and to get sharp even highlights across the face of the engine, etc.
Layer 6. I used the light at knee level pointing directly at the bike in this image in order to fill all the gaps, details and to get sharp even highlights across the face of the engine while adding lighting to the tires, brakes and suspension of the bike. In the end, you still need the lighting to be balanced. Also, while lighting, walk at a steady pace holding the light in straight flowing motions in order to get these clean highlights. If you move the light source up and down or in circles, you will see these motions in the highlights and final images and they are very hard to recover from. Layer 7. While it may look minor here, I brought in a whole new floor. I cloned, dodged and burned and worked on the perfect tone. This helped to form the perfect shadow under the bike and to remove any unwanted parts of the floor. I wanted it to be seen but not really noticed. From there I painted it in just like every layer above. Layer 8. I added a few more reflections and highlights to the front wheel fender and removed a few in other areas. Then I painted in some of the darker places on the handle bars to lighten them up. Not much in this one. Layer 9 (title image). Finally, I took a picture of a sticker at the dealership and brought it into Adobe Illustrator, cut it out and created a PNG. That file was then brought into Photoshop and layered onto the garage door. I want the look of a magazine advertisement and I think I accomplished just that. Everything was saved as a PSD and sent back to lightroom for some final adjustments. My final pass consists of clarity, opening some shadows and some contrast before calling it a day.
LAYER 7
LAYER 8
LAYER 9 (final)
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A new floor was brought in. This helped to form the perfect shadow under the bike.
A few more reflections and highlights were added to the front wheel fender and removed in other areas.
A picture of a sticker at the dealership was brought it into Photoshop and layered onto the garage door for the final image.
Lightpainting is nothing new. Photographers have been doing it for a very long time. Your light source can be as simple as a flashlight. Although it is a technique that can give a new look to your imagery and can set you apart from your competition, it does take a little practice to develop your own technique and style. My suggestion is to begin with something small in order to get the hang of it. The more you work at it, the easier it becomes.
Jeffrey Eatley was born and raised in Cajun County, Louisiana, and has spent the last ten years learning and challenging himself as a creator. He loves to create the impossible, tell stories and chase the dream, and completely relies on his passion and drive which has brought him clients like, RatRod Magazine, GoRving. com and many other magazines. Jeffrey’s largest accomplishment was working for Shell/Pennzoil at SEMA, the largest automotive trade show in the world and then as the Pennzoil 400. His current project includes documenting everything he does on his new YOUTUBE Channel, AutoFocus 247. June/July 2018
THE PHOTOGRAPHER
U
nderwater photography can be fun and challenging and it can take a lot of work to create a fabulous work of art. Although the basic technique may be similar, no two sessions are the same. But that’s why I love it! Whether it be sports, artists, beauty queens, mermaids, designer gowns, families, children in costumes, maternity, or even wedding dresses, each underwater session has its own unique set of circumstances.
Many of my clients have seen underwater images before they come in and I will tell them that we can create the look and feel they want but I’m careful to not tell them that we can create an exact image of one they’ve seen. One reason is the unpredictability of photographing in the water and the other reason is that I prefer to create a vision of my own. To achieve results that please the client as well as my own artistic vision, I’ll make a list of thoughts and ideas ahead of time and will often draw a thumbnail sketch of the concept I’m trying to achieve. Still, there will be events that are planned as well as others that are unplanned. Again, that is what makes it fun and challenging. There is something about photographing underwater that makes me feel free, whether I’m on the bottom of the pool or floating on top of the water. My artistic vision is clear and I see images fly through my mind. But it is not all relaxing and one must pay close attention to the subject and must be aware of changing lighting conditions. The sun will be out one minute and then a THE PHOTOGRAPHER
June/July 2018
cloud appears and everything changes but the unpredictable elements of an underwater session often allows for some amazingly creative images. One interesting underwater session involved Mrs. Texas United States 2017, Ann Marie Reigrut. Although we had never met prior to the session, we had communicated ahead of time about ideas and what to bring. We had decided to photograph her with a beautiful gown and her crown and possibly her sash from the pageant when she was crowned in May of 2017. She was advised to wear her regular make-up but definitely use waterproof mascara and eye liner. Even underwater, makeup does alright as long as they do not rub their face. Next, I advised Ann Marie to bring undergarments that match her skin tone and also her dress. The reason for both was that you often don’t know until you are in the water which one is best. She was also told to bring shoes and that we would be doing some images with shoes and others without them. Special hair is not necessary unless they need some kind of wig or hair extensions and this depends on the person and the look they desire.
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Almost everything I’ve put into the water has come out just fine by washing it off with water and/or in the washing machine and dryer. But I was a little concerned about Ann Marie’s crown and sash. Efforts to find out what material the crown was made of were unsuccessful and we discovered that if something happened to the crown itself, it could not be replaced. So, a decision was made to take several images in the studio of the crown on her head, moving around to get every conceivable angle, because we had no idea how her head would be positioned once we were underwater. We did the same with the sash. There was no sense in taking any chances with either item since they could not be replaced. Once the studio images were complete, we headed to the pool. The plan was to create beauty and elegance that would portray a queen. We began taking pictures in the shallower water to get comfortable before moving into the deeper water. This is something I do, especially if they’ve never done an underwater session before. The clothing worn by the subject is another important consideration. If they are in a big gown or heavy clothing, it is more difficult than if they are wearing something lighter weight. Having an assistant with you is also a good idea because safety is a top priority. When photographing underwater, there are many things to look for, but the direction of the sun is quite important. I prefer to photograph in bright sunlight, in the middle of the day... something that is traditionally not done for other types of photography. One special item I use often is a floating scrim with a white fabric across the top to filter the sun light, much like a giant soft box. My camera of choice is a LUMIX GH4 in an Underwater Naticam Housing, used with two Sea and Sea Underwater Strobes. Sometimes I will use the strobes and sometimes just natural light. Different lighting conditions call for different techniques and lighting underwater is quite challenging. In a typical session we might use a variety of props, fabrics, and backdrops in the water. Everything that goes into the water then goes into the washer and dryer afterwards. To obtain more of a professional studio image, I’ve used backdrops made of the Freedom type cloth but, although it does well underwater, it is not quite wide enough for me. To solve this problem, I purchased four cheap king-size sheets (two black and two grey) and sewed them together. They work very well and provide a large covered area of the pool. Also, because everything in the water floats, it is necessary to weight them down. To solve this issue, I purchased ankle weights that are typically used for working out and use them to keep things in place underwater. In addition, I also purchased several colors of chiffon fabrics about five yards each in length and had the edges sewn so they would not unravel. Chiffon is perfect in the water. It flows nice, is easy to handle, and goes in the washer and dryer after use. Other more traditional equipment used includes a scuba mask and weight belt for myself as well as my assistant. Sometimes even the subject needs some weight and I have a couple of extra scuba mesh weights for them to use. For the session with Ann Marie, I found a small crown at the house and had her wear it under the water. There was no intention of using this crown in the final images but I wanted to see how the position, lighting, and look would be underwater. As it turned out, this was a big help and we took a variety of images using it. When the session was over, everything was picked up, washed, and dried. My pool is a salt water pool and is easier on things than chlorine pools, but it is always best to wash everything to keep it in good working order. The next step is to bring all the RAW images into Lightroom and do a quick color correction and some other adjustments to help with backscatter. The images will be blue initially and after the color correction it is easier to select the favorites. Next, the images are transferred to Photoshop where distracting objects such as drains, pool tile line, backscatter spots, and other items can be removed. Of course, Photoshop offers an endless number of tools to achieve practically any desired result. (continued on page 33)
Top image: Image right out of the camera with no color correction. Bottom image: Color corrections made as necessary.
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June/July 2018
THE PHOTOGRAPHER
After color corrections in Lightroom, unwanted objects are removed in Photoshop and corrections are made to the face and other parts of the image before obtaining the final result (right).
Because we could not use her original crown, it was necessary to replace the temporary crown used in the underwater shots with the “studio” crown. After color correcting the “studio” to match the underwater version, I used the temporary crown as a guide to make the studio version look as if it had been taken underwater. It was a lot of work, but the crown turned out really nice in the final image. It can take many hours of work to create just one piece, but I truly love using my artist vision. To be underwater photographing and creating images is exactly where I love to be and where the magic begins!
Diana has a Bachelor of Science Degree Art all level from the University of Houston. She taught Junior High Art and then High School Photography. She was chair of the Visual Arts Department at Cypress Falls High School and retired from teaching in 2000. She began her photography business, Diana’s Photography, and began photographing portraits. Diana loves art and photography and a dream was to do her photography as Fine Art, so this past year she created her Diana Marie Fine Art and began showing and selling her work in Galleries. Diana is represented at Perimeter Gallery and Disegno Studio both in Houston Texas, at this time. You can view her Fine Art work on DianaMarieFineArt.com and her studio work on Dianasphotography.smugmug.com. THE PHOTOGRAPHER
June/July 2018
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“Their Journey Together Must End” was created by Tammy Novak of Dallas, Texas. This image is a composite of five of her images all shot on location in North Texas and then digitally painted in Photoshop. Tammy wanted to create something using the techniques learned from Sandra Pearce’s one-day workshop hosted by Dallas PPA. She decided to do something for her friend whose oldest daughter, Grayson, was graduating high school. Grayson and her horse, Oakey, had been a successful competitive equestrian team for years but they would not have time to train while she was in college. “I decided to place them at the water’s edge, no where else to ride, as the sun is rising behind her signifying a new day. She looks west across the lake at Ft.Worth where she will be attending TCU. It is fall and she is prepared to leave. Oakey is grazing, relaxed and prepared for retirement. The ducks flying overhead also indicate it’s fall and time for migration, moving on or a passage of time. This was my first time to enter TPPA’s Summerfest print competition and I received great feedback, critiques and wonderful support of my artistic work.” The image won a Distinguished Print Ribbon at Summerfest 2016.
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June/July 2018
THE PHOTOGRAPHER