THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
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PAGE 1 Cover photo by Suzy Roberts-‐Fulton
THE PROFESSIONAL PHOTOGRAPHERS PHOTOGRAPHERS GUILD OF HOUSTON HOUSTON THE PROFESSIONAL GUILD OF
EDITOR’S NOTE The PPGH kicked off the year with a fabulous first meet-‐ ing with Francie Baltazar Kim Christensen Stonestreet presen-‐ taEon on how to ace the CPP exam. Thank you for your dedicaEon to helping others to understand the confusing puzzle to get the desired CPP disEncEon. The meeEng was held in conjunc-‐ Eon with the PPGH Meet The New President, Greta Jacobs-‐Mee of Lakewood Photography. Our February meeEng will host Suzy Roberts-‐Fulton of TriCoast Pho-‐ tography. The program Etled “Senior Sessions” will talk about shooEng to selling. Sign up early to learn the ins and outs of how Suzy uses lights, to posing and selling an average of over $1500.00 per client. Plus she will talk about effecEve markeEng through social media, delivering great product and using technology to streamline the photographic experience. The meeEng will be packed with a vast amount of informaEon and knowledge. See everyone at The Black Labra-‐ dor in Houston.
FEBRUARY 1, FEBRUARY 1, 2013 2013
PPGH February Meeting Logon to www.ppgh.org and make your reservations NOW. The Black Labrador 1400 Montrose Blvd. #8 Houston, Tx 77006 Members Birthdays Linda Sims, CPP
Feb. 4th
Janice Jones, CPP
Feb. 5th
Amanda Beard
Feb. 6th
Donna Cox
Feb. 6th
Robert Brayton, CPP
Feb. 10th
Michelle Butler
Feb. 12th
Sylvie Collier
Feb. 13th
John Tyson
Feb. 15th
Wendy Miller
Feb. 21st
Nora Bullock
Feb. 22nd
Joe Cogliandro
Feb. 22nd
Alyssa Holub
Feb. 27th
Tabitha Spence
Feb. 27th
Rhonda Floyd
Feb. 28th
QUESTIONS ABOUT PROPER ATTIRE Some members and guests have ask about proper attire for general PPGH meeting. For the general meeting Business to Business Casual, Mini-Programs Business Casual to Casual. Depending on the theme of the PPGH Gala that attire is announced in October.
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INSIDE
THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
FEBRUARY 1, 2013
Features 4-5
February’s Program Seniors sessions - From Shooting to Se"ing Presented by Suzy-Roberts Fulton
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PPGH Scholarship Awards by Curley Marsha",CPP
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F-Stops and ISL by Robert Brayton,CPP
10-11 Senior Composite Composite photos of High School Seniors by Melinda Reddehase
12 Contest Winners by Kim Christensen
14-16 Member Profile Read about PPGH member Sandy Buller by Kim Christensen
18-19 January’s Meeting Photos Photos by: Orpha Labohm
20-21 Members Images !
Photos by: Wendy Larson,CPP and Cesar Vargas,CPP
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Photo by:Kelly Will"
THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
The first thing any-‐ one who meets Suzy Roberts-‐ Fulton no-‐ Eces is her spark. She is filled with a passion for life that carries over into her art. She ap-‐ proaches every pro-‐ ject with the same zeal that fla-‐ vors her everyday life, and she has an uncanny knack for bringing out that same enthusiasm in all her sub-‐ jects. Her journey in the photographic world began years ago in a small, cramped darkroom as she worked with black & white film. As the digital revoluEon shook up the industry, Suzy adapted and learned, ahead of the curve every step of the way. Her proficiency with Photoshop and her confident knowledge in digital equipment have taken her crab to a whole new level; one that she hopes to share with other photographers on a similar path. Whether she is teaching, demon-‐ !
FEBRUARY 1, 2013
straEng, or working, her joy and love she has for her art is contagious. Though she admidedly misses the comforEng smell of fixer, Suzy has embraced the digi-‐ tal age and strives to help others do the same. Program -‐ Senior Sessions: With this program, you can learn the ins and outs of the TriCoast senior busi-‐ ness from lighEng to posing to selling. Find out what techniques we've discovered are the most successful in securing the session and winning client loyalty so they keep returning year aber year. Suzy has effecEvely taken the TriCoast senior business from virtually non-‐existant to a thriving enterprise in only a few short years. If you've ever thought, "I can't do that, my town is too small" Suzy has proven it can be done. In a populaEon of a mere 25,000, she is pulling in averages of over $1500.00 per client. Through a variety of business pracEces including effecEve markeEng through social media, consistently delivering an outstanding product, and uElizing inno-‐ vaEve technology, TriCoast has streamlined the photo-‐ graphic experience. PAGE 4
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THE PROFESSIONAL PHOTOGRAPHERS PHOTOGRAPHERS GUILD OF HOUSTON HOUSTON THE PROFESSIONAL GUILD OF
FEBRUARY 1, FEBRUARY 1, 2013 2013
Chairman of the Board
Executive Director
Curley Marshall, CPP
Tom Hathcock
cmfloio@yahoo.com
tommy@tomhathcock.com
President Greta Jacobs-Mee, CPP
Membership Director
greta@lakewoodphotography.com
Karen Butts naturalimages@att.net
Vice-President Kelly Willis
Director at Large
kpwillis@swbell.net
Teri Whittaker, CPP teriw@teriwhittaker.com
Secretary Robert Brayton, CPP
Director at Large
ppgh@photovideosound.com
Michael Martinez michael@martinezphoto.com
Kim Christensen kchristensen1@me.com
Director at Large Christie Herrington clhphotography11@yahoo.com
Did you read The Viewfinder? Be the first person to say this phrase to Kim Christensen, The Viewfinder editor at the meeEng and get your February MeeEng and Dinner for Free. “PPGH was established in 1950” Officers, Directors, Commidee Members are exempt.
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Support YOUR Guild
Volunteer PAGE 6
THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
FEBRUARY 1, 2013
PPGH SCHOLARSHIP AWARDS Each year, the PPGH awards some of it’s members with a scholarship to adend classes at TPPA’s Texas School, Summer Roundup or PPA’s Imaging USA. The scholarship nominaEng commidee consisted of Chairman Curley Marshall, Second Chair Kim Christensen and Third Chair Robert Brayton. We are pleased to announce this year’s winners of the PPGH Scholarship Awards:”
This years winners of the PPGH Scholarship Awards are:
Expectations: “We all have them. The David Barron
PPGH exceeds those Aileen Har#ng expectations. PPGH gives every assignment 110% effort in maintaining the highest quality expertise available through our members.”
Booker Shelton, $
Vickie Longo%a Congratulations to each and every one. We are looking forward to hearing about the classes you’ve chosen.
Kelly Will" !
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THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON is halved (1/2x), the light intensity is quadrupled (4x). As a professional photographer, Conversely, as the distance we are familiar with f/stops and is doubled (2x), the light the Inverse Square Law. But did intensity decrease to a you ever “stop” to think about quarter (1/4x). Another f/stops in relaEon to the Inverse way to look at it is that as Square Law? the distance is doubled, the intensity decreases by two F/stops f/stops, and as the distance Technically, an f/stop is the raEo of the lens opening and the focal length of the lens. Most professional photographers use the concept of the f/stop to refer to light raEos in general-‐-‐not just in relaEon to an aperture seqng. The most common f/stops in daily use are f/1, f/1.4, f/2, f/2.8, is halved (1/2x), the intensity increases by two stops (4x). f/4, f/5.6, f/8, f/11, f/16, etc. The key to understanding the f/stop is that each “stop” of this Figure 2 -‐ Inverse Square Law raEo signifies a doubling (2x) or halving (1/2x) of the intensity of Inverse Square in f/stops Doubling or halving the distance light. For example, the light helps us when we need a two intensity from f/2 to f/2.8 (one stop) is halved (1/2x). Likewise, stop difference. But, what is the distance for just one stop two stops from f/8 to f/16, the difference? The answer is -‐ the light is one quarter (1/4x) the square root of two. In English, intensity. The light intensity from one stop from f/8 to f/5.6 please? The square root of two is doubled (2x). Lastly, the light is approximately 1.4. Where have we seen that number? Oh intensity is quadrupled (4x) in yes, the f/stops -‐ f/1, f/1.4, etc. two stops from f/5.6 to f/2.8. Indeed, the f/stops are based on the square root of two (1.4x). Figure 1 -‐ f/stops NoEce the progression of f/stops -‐ 1, 1.4, 2, 2.8, 4, 5.6, 8, Inverse Square Law etc. Each successive f/stop The Inverse Square Law (ISL) is increases by the square root of the law that light intensity for given distances is the square of two: 1.4 x 1.4 = 2, 1.4 x 2 = 2.8, 1.4 x 2.8 = 4, 1.4 x 4 = 5.6, 1.4 x the raEo of those distances for 5.6 = 8, etc. So, if we have a light an unfocused light source. As the distance from a light source at 10 feet and we need to
F-STOPS AND ISL
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FEBRUARY 1, 2013
decrease the intensity by two stops, move it to 20 feet. We
knew that. But if we need to decrease the intensity by one stop, move it from 10 feet to 14 feet (1.4x). To increase the intensity by one stop, use the inverse of 1.4 = 0.7. In the above example, if we need to increase the intensity by one stop, we move the light from 10 feet to 7 feet (0.7x) Figure 3 -‐ Inverse Square in f/stops Light Modifiers The Inverse Square Law describes the light intensity falloff of an unfocused light source. This is where it gets complicated. A bare light bulb is an unfocused light source. Of the dozens of light modifiers, only a few are totally unfocused. Thus, as the saying goes, your mileage may vary. Some modifiers, such as the 6 or 8 inch reflector that came with your strobe, most sob boxes, white umbrella, or white reflector panel are largely unfocused, and therefore mostly follow the ISL. Other modifiers such as fresnels, ellipsoidal, silver beauty dish, or silver parabolic umbrella are mostly focused and basically PAGE 8
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F-STOPS AND ISL CONT.
do not follow the ISL as it is presented here. Other distance makes a difference. In fact, a flat white modifiers fall somewhere in between. The rule is, panel follows the ISL very well. if light passes through a translucent fabric, or reflected off a made surface, it PracEcal ApplicaEons is mostly unfocused and should Now that we have laid the follow the ISL. groundwork for understanding f/stops and Reflectors ISL, next installment we will Think of a scenario where we explore some pracEcal real need a reflector to add fill light world scenarios that you can in shooEng a portrait. Our use every Eme you open your subject is in the direct sun and shuder. By the way, I think I very contrasty. We need to add a light to fill in the remember shadows. Let’s say we use a 2’x4’ mirror to reflect seeing a q uesEon o r two along more sunlight into our subject’s face. It does not these lines in the CPP exam. mader whether the mirror is two feet or 20 feet away from the subject, the light intensity from the I’d love to hear your feedback at isl@photovideosound.com. mirror is going to be virtually the same. The mirror does not follow the ISL. Now, if we replace the mirror with a 2’x4’ flat white panel, the By Robert Brayton, CPP
Walking On Sun&ine by: E%c Hoffland LocaEon : Bentwater on Lake Conroe Sunny back lit photograph, evening sunset F7.1, ISO 100, 1/125sec, Lens 70-‐200 Nikon, off camera strobe full power. Eric’s studio is located at 300 East Main in Humble, Tx
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All Photos by:
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Melinda Reddenhase
THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
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Earn Fellowship points by writing articles for “The Viewfinder” Share your knowledge with fellow photographers and everyone will prosper. All arEcles are due by the 25th of each month. “Don’t be shy. Send your arEcle in today.” Members who author an arEcle that is accepted and pub-‐ lished in “The Viewfinder” may claim points Fellowship points. The arEcle must be of a learning or “how to” nature or of an upcoming PPGH funcEon. The text must be at least one third page long published. Monthly columns may be con-‐ sidered for (1) point, a non-‐illustrated arEcle earns (1) point and a illustrated arEcle earns (2) points.Maximum points allowed each year for wriEng arEcles is four (4). All arEcles subject to the editor’s approval.
January’s Imaging contest winners Leb to right: Greta Jacobs-‐Mee, Francie Baltazar-‐Stonestreet, Vickie Longoria and Karen Buds !
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THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON a moment of Eme with moving Sandy Buller and sEll images. (And with my musical talents, I can even add original composiEons as the (VF) Tell a li+le about you personally?(where born, raised, underscore of films that I produce.) All those special college, kids etc) I'm a fibh-‐generaEon Texan and moments become priceless was raised on our family ranch in family heirlooms. It wasn't unEl my parents passed away back in Paqson, Texas. Graduated in 2002 that I got a sense of how 1985 from the University of St. Thomas in Houston with a BA in important photographs and video/film footage is of loved CommunicaEons. I'm married to Janet, the "love of my life," and we have a 9-‐year-‐old daughter Zoë. Janet works alongside me in our photography and video/film producEon company and is also a graphic designer and editor. We are both professional musicians, too. Janet plays guitar and is a singer/songwriter. I ones. compose and perform music on I have several editorial piano, guitar and mandocello, commissions for an industrial but my soul is freed through the magazine that I shoot each year. upright bass. Music is a big part I'm also a fine art photographer of our lives in addiEon to our and had my images showcased photography and filmmaking in Fotofest 2012. businesses . (VF). Where are you located? (VF) What do you do? (children, We are located in Paqson, Texas pets, families etc.) which is about 10 miles west of I photograph Katy, Texas. I returned back weddings, mitzvahs, seniors, home to our family ranch aber families, and corporate being gone on a twenty-‐year events, although I don't limit adventure through college and myself to any one area or genre. working for a French industrial I find the art of photography to equipment manufacturer, to be be a process that is never boring. with my parents in their final I am a visual storyteller, retelling years. Now I'm raising my own
FEBRUARY 1, 2013
family in the house that I was raised. It is paradise. (VF) When do you work? I don't "work"-‐-‐ I'm passionate about that policy. The moment I sense that I might be working, I redirect either the acEvity or my mind. CreaEvity cannot share the same space as work. It doesn't mean that creaEvity is all just fun and laughter. It is intense with blood, sweat, and tears, but the blissful euphoria that follows is also a by-‐product of the creaEve process. So when do I create? All the Eme, just as farmers are planEng, growing, and harvesEng their product and then repeaEng that process over again. I am always in one of the stages -‐-‐ preparing the creaEve landscape to be planted with possibility, ferElizing with word-‐of-‐mouth interacEon with people (networking and markeEng), or harvesEng the results of what's possible within my art of photography. (VF) Why do you do this? Madness, total madness. Just kidding. But truthfully, I am just being who I am, an arEst. I am driven to express the images and music that swirl around in my head. (VF) What is your favorite thing Continued on P15
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THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON to photograph?
(VF) Why do you like being a member of PPGH? I like photographing the subtle Well, I am relaEvely new to the details in shadows that are oben guild. I believe that this is the overlooked, but are actually third year that I've paid to be a where the definiEon and member. What I like is having a mystery of the photo are local resource of photographers contained. who I can call for assistance and As the sun goes down in the learn from the wonderful evening, I enjoy capturing the renowned photographers who shadows from the trees dancing share their talents and life across the open pastures. stories at the monthly meeEngs. (VF) What is you favorite color? (VF) Are you working on any Fuchsia. Mostly because I like to special projects? say fuchsia, but it is a predy I take on at least one special color. project each month that I do for myself. Right now I have (VF) What is your favorite been commissioned to do two camera? documentary-‐type projects. One My favorite camera is the one is photographing a weekend that's in my hand at the right retreat and filming tesEmonies Eme and place and captures of people who have worked for a what I want recorded. In college, presEgious oil exploraEon I was very fond of using the company that has just been sold. medium format cameras like the We'll record the history of the 500CM Hasselblad or twin-‐flex company and document their cameras like the Mamiya C220 last gathering together. The because I could get casual candid other special project is a short shots, shooEng from waist level. film about the planning and And then I also had (and sEll making of a commissioned piece own) a large format 4x5 Omega of art that has been created by a View 45C camera that I used for collaboraEon of 6 high school commercial jobs. arEsts. This project began in November 2012 and will be (VF) How did you get involved in debuted in March 2013. PPGH ? Mitch Daniel was the person (VF) What are your goals for the who recruited me to be involved year? with PPGH. He was persistent for To do more than I did last year. years, so I joined and have never Speak out more than I did last regreded it. Thanks, Mitch, for year. And ulEmately stop doing sharing your resources with me. the things that I did last year that didn't work. (VF) Are you a member of any other professional organizaHon?
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I am a member of the PPA, TPPA, and ASMP. (VF) How did you get involved in photography? I got hurt playing football very early in my junior year of high school, and my journalism teacher, Marie Paqson, who was also a good friend of my mothers, encouraged me to take photos of the football games for the school's newspaper and yearbook. Actually the story is more like this-‐-‐I got home from school one day and there was a Canon AE-‐1 on the kitchen table where my mother and Marie were siqng smoking cigaredes. My mother said, since you can't play football this season, you are going to take photographs at the game. If you are going to be at the football game, you are going to be doing something instead of goofing off. And I needed a new class to replace my athleEcs class. That's my story. So from there I learned how to operate a 35mm camera, roll my own film, develop negaEves and print B&W photographs. I conEnued through college and was the head photographer at University of St. Thomas my junior and senior years. (VF) How long have been in business? I started my own business in 2004 as a full-‐Eme photographer/filmmaker. (VF) Where do you see the industry going? Continued on P16
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THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
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Dec xx gala
LOOKING FORWARD February 19, The Black Lab February, xx, Past Presidents Meeting
Monthly meeting 3rd Tuesday of each month
March 15-17 TPPA Regional
Mini-Workshops 4th Thursday of each month
Conference, Arlington March 19 PPGH General Meeting
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The Viewfinder Newsletter deadline date 25th of each month.
April 16th, PPGH General Meeting April 28-May 3. Texas School, Arlington May 21, PPGH General Meeting June 18, PPGH General Meeting June 29-13 TPPA Summer RoundUp, Kerrville July 16, PPGH General Meeting July xx, Nomination Committee Meets Aug 20, PPGH General Meeting Sept 17, PPGH Annual Business Meeting Oct. 15th... CPP exam PPGH General Meeting Nov 19, PPGH General Meeting/Fellowship Points due Continued from P15
I like that there are more people doing photography today. That's a good thing. But people will always sEll recognize and disEnguish between a photograph that was taken by someone's nice DSLR camera that was set on AE/AF and an image that was created by a true professional who understands lighEng and the technical aspects of photography, but also bring a fresh perspecEve to their work. It is sEll all about creaEng an image that no one else sees and making it come to life in a photograph. (VF) Are you cerHfied with !
PPA? No, not yet.
is that I resisted going into photography (when Marie Paqson suggested it) and (VF) If not, are you or do now am very grateful that I you plan to achieve understand the importance cerHficaHon? and responsibility of Yes, I do plan to achieve documenEng people cerEficaEon. Let's add this through photography and answer to the quesEon for films. That resistance my goals in 2013. turned into one of my biggest passions. At Marie's (VF) Who is your hero? funeral, I saw a lot of her I admire people who are students who she had authenEc communicators personally made a stand and are pursuing their for. She made a difference passions. Like Greg in their lives and influenced Gorman, he has made a big who they became as impact as being a living adults. photog-‐hero to me. I love his black-‐and-‐white photos. Marie Paqson helped me find my passion. The irony PAGE 16
THE PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON
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photo by: Cesar Vargas CPP !
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photo by: Wendy Larsen, CPP !
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