Canadian Camera Summer 2011

O F F I C I A L P U B L I C AT I O N O F T H E C A N A D I A N A S S O C I AT I O N F O R P H O T O G R A P H I C A R T

SUMMER 2011 • $7.95

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Vol. 12, No.2 • Summer 2011

Contents

Sheena Wilkie

Editor-in-chief 14220 71 Ave. Surrey BC V3W2L1 E-mail: editor-in-chief@capacanada.ca

Allen Bargen

Publishing Editor

Jozef VanVeenen

Art Director E-mail: info@tikit.ca

Roger Partington

Advertising Manager E-mail: roger@coherentb2b.com

CANADIAN CAMERA (ISSN1206-3401) is published quarterly by the Canadian Association for Photographic Art, Box 357, Logan Lake BC V0K 1W0. No part of this publication may be reproduced in whole or in part without prior written permission of the publisher and author. All photographic rights remain with the photographer. Opinions expressed are those of the individual contributors.

Articles and photographic portfolios are welcomed from all CAPA members. All articles should be submitted to CANADIAN CAMERA, c/o the editor-in-chief. If you wish material to be returned, include a suitably sized envelope with adequate return postage affixed.

CANADIAN CAMERA and the editor assume no responsibility for loss or damage to material, regardless of cause; however, every effort will be made to return material supplied with SASE. CANADIAN CAMERA reserves the unrestricted right to edit, crop and comment editorially on all submitted material.

SUBSCRIPTIONS: CANADIAN CAMERA is distributed automatically to CAPA members.

Individual copies are available for $7.95. Library subscriptions cost $35.00 for four issues.

Allen Bargen

Sheena Wilkie

2 4

Norah Corbet 6

7 8

Wes Terryberry 9

10

Jean Timmermeister 16

Andrea Seraphim 20

Anne Marie Resta 27

Cosimn Badea 30

Ron Thorpe 32

34 36

Jacques S. Mailloux

Message from the President Phototalk Club Focus North Shore Photographic Challenge CAPA 2011 Annual Digital Competition 2010 Bridgestone Photo Contest Confessions of a Newbie Photographer CAPA Competitions Banack, An American Ghost Town Paris In Black And White The Veggie Project Toyville The Colours of Mexico Canadian Camera Conference 2011 CAPA New Members

For further information, contact CAPA National Headquarters, Box 357, Logan Lake BC V0K 1W0.

Tel.: 1-250-523-2378 E-mail: capa@capacanada.ca Canadian Mail Publication Agreement #1665081 Printed in Canada by

THE COVER Francis Dorsemaine, Delta Photo Club "Rainbow Chic"

www.capacanada.ca

CAPA is a FIAP-affiliated organization.

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Message from the president

Allen P. Bargen

CAPA Officers & National Council Members

Founded in 1968, CAPA is a nonprofit organization for photographers, including amateurs, professionals, camera clubs, and anyone interested in photography. The aims of CAPA are to promote good photography as an art form in Canada, and to provide useful information for photographers.

CAPA ac­complishes this through interaction with individuals and member camera clubs and by distributing slide sets, evaluating photographs, running competitions, and publishing the quarterly Canadian Camera. CAPA also sponsors Canadian Camera Conference, an annual summer weekend of field trips and seminars held in a different city each year.

CAPA is a member of the Fédération Internationale de l’Art Photographique (FIAP).

CAPA OFFICERS PRESIDENT Allen P. Bargen, FCAPA VICE PRESIDENT William ( Bill ) Lloyd SECRETARY Michael Breakey, FCAPA TREASURER Len Suchan, FCAPA PAST PRESIDENT Jacques S. Mailloux, FCAPA

CAPA DIRECTORS ATLANTIC ZONE Leo Allain QUEBEC ZONE Volunteer Opportunity ONTARIO ZONE Rod Trider PRAIRIE ZONE Larry Easton, FCAPA PACIFIC ZONE Larry Breitkreutz, MCAPA DIRECTOR OF PHOTOGRAPHIC IMAGING Dr. Bob Ito, FCAPA DIRECTOR OF CCC Volunteer Opportunity DIRECTOR OF COMPETITIONS Judy Higham, MCAPA

CAPA Membership Services Lee Smith Box 357, Logan Lake BC. V0K – 1W0 1-250-523-2378 E-mail: membership@capacanada.ca Web site: www.capacanada.ca 2 - CANADIAN CAMERA

It occurred to me as I began to write my message for the summer issue, that this will be my last message to you as President. By the time the next Canadian Camera Magazine is published, we will have been to Canadian Camera Conference in London Ontario, where every two years, a new board is elected and installed. It hardly seems possible that two years have passed since I became CAPA President. What a busy twenty four months it’s been, with numerous changes to the organization and the way we do things. I’ve enjoyed the challenges presented to us, the brilliant ideas and suggestions from you and the many opportunities to meet with CAPA members and clubs from coast to coast to share in your wonderful photographic vision.

Like any large organization that depends on volunteers to manage and perform the many functions required to ensure we meet the needs and expectations of our members, CAPA relies upon a veritable army of people to keep the association running smoothly.

In this regard we are truly blessed by the people at the club, regional and national levels who work to ensure CAPA is a great Canadian photographic organization. Across the country we have District Representatives who work with their Clubs to implement standards and organize photographic events. Zone Directors harmonize activities in their provinces and we have a truly amazing national executive and board that works very hard to ensure CAPA remains vibrant and relevant to photography.

In the past two years, we have trained over 1,000 people in ne w judging techniques across the country, bringing a consistent judging standard to all clubs and members. Many graduates go on to seek certification as a qualified evaluator and eventually become new judges for us.

Space here won’t let me say thanks to everyone who has in one way or another touched our organization in a beneficial way. I’ve said my thanks to you all many times in the past two years, and hope you know how much you were appreciated.

But some exceptional people need a special mention. Thanks to our hard working Chair of Competitions, Judy Higham, who among other duties also found time to revise and updated our medals, and made significant changes to the annual competitions for both Club

and Individual members. Judy is stepping down at the end of June and we will miss her dedication and hard work on our behalf. She has our thanks.

We began work on a new website that will make our on-line presence relevant to today’s savvy users with many new features you asked for.

We expect the new website will be functional in the next few months.

We negotiated an agreement with Johnson Insurance for our members, offering Home and Car insurance as well as Travel insurance at significant financial benefit to you. I personally took advantage of the new insurance plans and saved several hundred dollars for travel insurance alone.

"My coverage is for unlimited 35 day trips anywhere for one yearly price which is way below the price you pay your agent for a single trip with similar coverage.

"We delivered on some asked for changes to our National magazine, Canadian Camera to reflect more reasonably the expressions of our members who see it as an Art magazine, and others who see it as a wonderful opportunity to express their creative side in the way their images are used. In this issue, you will see some examples of both approaches as we attempt to satisfy all of you. Special thanks go out to Sheena Wilkie our editor, and Joe

VanVeenen our art director who assemble each issue for us. The amount of praise we get for our magazine is truly overwhelming.

Thanks also to each of you who have submitted articles for the magazine on your adventures and travels. Your stories are captivating and exhilarating. I can hardly wait to strap myself into a dog sled in the high arctic, or drive with Larry Easton on his explorations of Saskatchewan as he uncovers the province’s remarkable history and buildings.

Very special thanks go to Bill Lloyd and his hard working team from the London Camera Club, who put together our 2011 CCF. This is no small achievement, and speaks as a testament to the team who will bring us such a great event. You still have time to join us for outstanding speakers and many other activities.

There’s more information in this issue, please join us.

Our annual digital competition is now a huge annual event in terms of entries and prizes. This ‘members only’ competition offers outstanding prizes thanks to our generous sponsors, and all for no entry fee.

For this one event, winners will take home over $10,000.00 in prizes. And there is no entry fee. See full details in this edition of the magazine.

Jacques has put together a winning competition for us all.

Because I strongly believe in what CAPA is and can be I have decided to leave CAPA a bequest in my will to support the organization in the future, and encourage others to do so as well. As a registered not for profit organization, we can issue tax receipts for your generosity. Like any not-for-profit organization, we can only do as much with the association as we can afford to. Your generosity helps us do more.

At the end of the day, what means the most to me is you, our members a n d w h a t y o u re p re s e n t . Yo u r photography inspires, your creativity amazes and your kindness, dedication and generosity are simply amazing.

Hopefully we will have the pleasure of meeting with all of you at CAPA’s 2011 Annual Conference in London on the July long weekend. Thank you once more to all who have helped make my journey over the past two years fun, exciting, and never ever dull! I look forward to an ever growing future for CAPA and our members. g

With warm regards,

Allen P. Bargen, FCAPA President president@capccanada.ca

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CANADIAN CAMERA - 3

phototalk

Sheena Wilkie, Editor-in-chief

I’ve stumbled over the same issue in different contexts the past few weeks — the issue of titling, captioning, or naming photographs.

Someone at my local photo club struck up an interesting conversation about the relative importance of titles with regards to photos submitted for competition.

Not long after that, I stumbled upon an "online photo title generator" that was supposed to be serious but I found it hilarious. (The titles were terrible.)

Then just today I came across a blog post explaining the phenomenon of "title bashing", where members of an online photo community tend to criticise the title of photos more than evaluating the image itself.

So, do you title your photos?

Do most of your photos remain a nondescript combination of letters and numbers dot jpg? How do you decide when to give them a name, and more importantly, how do you come up with one? Most people who do title their photos struggle with the task.

There is one school of thought who eschews titles, preferring an image to stand on its own. They feel that the photographer shouldn't influence the viewer at all, but rather let them come to their own conclusions using only what's there visually.

I think the importance of a title depends on the context in which the image appears.

If it's on display in a gallery or museum, solely for viewing, this is where people tend to feel that the photo should stand on its own. This is very much determined by the artist's intent and goals.

But I would suggest that when the work is for sale, the title takes on a 4 - CANADIAN CAMERA

much more important role and it may make a significant difference in how well the photography sells. If you can choose a title that will help the work resonate with a larger group of people (with money), you can improve your odds that a viewer will be interested enough to purchase it. (One would think; I've never sold photographs in such a setting.)

Besides helping or hurting its saleability, a title can fundamentally alter the way we view a photo. For example, a schooner with beautiful white billowing sails backed by a spectacular sunset may look like something one might hang in a living room. But if it is titled "Slave ship Adelaide", the viewer suddenly has a whole new set of feelings about the exact same image. A title introduces context, and a missing or vague title removes all context. Neither is wrong, but I think we should be aware of the impact of this decision.

Consider your viewers as well. Some need to know what they are looking at, may require guidance to understand the significance of what they're viewing, and some simply prefer to come to a photo on their own without any context.

In photography competitions, the question as to whether titles really matter is asked frequently, and I can tell you as a judge, the answer is absolutely, yes. The title can speak to your intent, provide otherwise unknown context, set the mood, clarify the concept, and a host of other things. Aside from the photo itself, the title is the only communication you have with

the judge, and it's valuable. I would definitely recommend a descriptive, meaningful, title for every image that you enter into a competition.

A portrait with the title "What are YOU lookin’ at?" is just not likely to add anything to the experience. There are a million photos with that same title.

Instead, stick to using the title as an opportunity to set the context or mood of portrait work. Humorous or ironic titles are dangerous in competition, because not everyone has the same background and sense of humour that you do; they may not “get it”.

If you're entering a defocused image of a field of flowers and you want to avoid misguided comments that your photo is out of focus and not sharp, add words to your title that make clear your intent so that the judges won't mistake it for an accident. They may not love the image, but at least they'll know that you meant for it to look that way if the title includes "soft", "dreamy" or "blurred".

In photojournalism, titles can be crucial elements; the photo without context may not have the same significance for people. Often it’s a straightforward caption, a description of what is depicted, and when it was taken. Think of Steve Curry's “Afghan Girl” or Dorothea Lange’s, “Migrant Mother”. Photos may have considerable topical or historical significance that is not readily apparent, and if the photos were simply titled “Girl” and “Mother”, the all-important context would be lost.

This is particularly true of these kinds

of photos in competition without an accompanying story or article.

People who put photos on the Internet may also wish to title them. This is a particularly good idea if you actually want people to find you and your photos for direct purchase or within the confines of a stock agency. A search engine can only find your image if it is accompanied by the keywords the visitor entered. The same is true of stock photography, but more so. In addition to the title, stock sites also attach "tags" and "keywords" to all photos, in order to help purchasers find exactly what they want. You will have to provide this "meta-data" as it is called, and the more relevant it is, the better your images will fare.

There is little doubt that a title makes a difference in all of these contexts, and surely others. The next question I will leave for you to consider. How will you approach choosing the best title you can, and how much effort is worthwhile?

Only you can answer that, but I think one place to start is by looking at your approach and the effort you put into making your photos.

Personally, I’ve decided to invest more thought and endeavour to provide better titles for my photographs. I think my work deserves that. I bet yours does too.g Sheena Wilkie MCAPA www.phototalk.ca

pho togr aphic design

SUBMISSION OF ARTICLES, PORTFOLIOS AND NEWS ITEMS CAPA Members… We need submissions for upcoming issues. Canadian Camera is YOUR magazine! We welcome your articles, news items, portfolios and reviews. We do reserve the right to accept or reject material as we see fit. We will make every effort to achieve a balance of views, subject matter and geographical representation of our members. So please, submit an article about that last photo trip you took or that last nice lens you purchased. You never know, you might just get your name in print.

How to send material • Please write your article in Word format or plain text • You may mail your article and high ­resolution images on a CD/DVD • CD/DVD returns require a SASE suitable for return mail • You may send your article and low res photos by email to ­­editor-in-chief@ capacanada.ca • High resolution photos can also be ­submitted by FTP (instructions available upon request) • Please don’t format the text of your article. No bold, underline, bullets, indenting, or special characters • Photos must be JPG format (No RAW, TIFF, PSD, etc.)

• Do not resize, final photos must be full resolution • If photos are scanned CMYK is ­preferable to RGB • Photos must have simple ­descriptive filenames and include the photographer's name, e.g. Susan_ Brown_barn_swallow.jpg • We may not use all of the photos you submit, therefore:

• Your article should not contain notes about where to place a photo • Your article should not contain wording specific to a photo • You may list your files and suggested captions after your article text • Please include your phone number, ­ e-mail address and CAPA membership number

When to send it • Summer Issue April 20, 2011 • Fall Issue July 20, 2011 • Winter Issue Oct. 23, 2011 • Spring Issue Jan. 19, 2012 These dates are for time-sensitive ­material only. Submitting an article and having it accepted does not mean it will come out in the next issue.

Where to send it Canadian Camera

c/o Sheena Wilkie, Editor-in-Chief 14220, 71st Ave., Surrey, BC V3W 2L1 E-mail: editor-in-chief@capacanada.ca

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Club Focus

North Shore Photographic Challenge Submitted by: Norah Corbet Co-ordinator The North Shore Photographic Society hosted the 27th Annual North Shore Photographic Challenge for digital images on Saturday, March 5, 2011 at the Kay Meek Centre in West Vancouver. The North Shore Photographic Challenge is an annual event. Invitations are sent to all photographic clubs who are members of CAPA in British Columbia and the Yukon.

Each club is asked to submit 10 images from 10 different makers to the Challenge. This year 27 clubs participated for a total of 270 images. The judging was done by three outstanding BC photographers - Robert Ito, Past President of CAPA and currently Director of Photographic Imaging for CAPA, Tony Wood, an active photographer since 1963 and long time member and mentor of the North Shore Photographic Society and Merle Ace, a frequent presenter and judge at Lower Mainland clubs and recipient of many CAPA awards.

The top scoring image, and winner of the NS Challenge Gold Medal and the CAPA Gold medal was Garry Cotter of the North Shore Photographic Society with 24

2011 Club Results for North Shore Photographic Challenge PLACING 1 2 3 3 5

LOCATION West Vancouver West Vancouver Delta Surrey Vancouver

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CLUB NAME North Shore Photographic Society West Vancouver Seniors Photo Club Delta Photo Club Surrey Photography Club Lions Gate Camera Club

SCORE 210 202 200 199 198

points for his image "Take Off." Second place and receiver of the North Shore Challenge Silver Medal and the CAPA Silver Medal went to Lenora Shier of the West Vancouver Seniors Photo Club with 23 points for her image "Marsh Wren Singing". Third place and receiver of the NS Challenge Bronze medal and the CAPA Bronze Medal went to David Mondor of the Whitehorse Photography Club also with 23 points with his image "Going for the Finish." Because five of the images received 23 points, the judges were called upon to reassess these images and choose the second and third place images. Honourable Mention ribbons are given to the top 18 images.

CAPA 2011 C A P A

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A N N U A L

D I G I T A L

C O M P E T I T I O N

Annual Digital Competition www.digitalcapacanada.ca

The 2011 Annual Digital Competition is underway. Have you submitted your entries yet?

For the first time ever in its seven year history, contestants have a choice between two themes, similar in concept, but completely different in rendition. Your assignment is to provide our judges with Shadow Play – or – Silhouette images that are exceptional, awe inspiring, or simply stunning! Look around you, drive around town or through the countryside, and find those shadows that seem to take on a life of their own, or even induce you to daydream! Or turn the familiar form of an object, a plant or a person into an exceptional silhouette, still a photograph and not a graphic design. Play with the light, use it, manipulate it, paint with it. Let your imagination run wild, brush up on your technique, review your camera manual to find out how best to use the controls on your equipment, and go for it, snap that picture!

And what can you expect for your efforts? How about one of three fabulous prize packages! The Sony cameras are true state of the art equipment – and look at what else is included to help you with your next great creation. Plus, ten additional participants will be the recipients of a prestigious CAPA Honour Award!

Legal Terms: With proper credits to the photographer and a reference to the CAPA 2011 Annual Digital Competition Prize, winners give CAPA, Sony of Canada Ltd. and Adobe Systems Canada Inc. the right to publish their winning photograph in Canadian Camera and on the CAPA Website, and use them at any CAPA, Sony and Adobe exhibition, publication, promotional or educational event. Entry into this competition implies acceptance of the above practice, unless refused in writing by notifying the Chair of this competition. CAPA recommends that the photographer obtain a model release for presentation and publication purposes, prior to submitting an entry, and have these available if requested. In case of legal challenge, the photographer agrees to hold CAPA, Sony of Canada Ltd. and Adobe Systems Canada Inc. harmless, and assume all liability or injury that may arise from entry into this competition. Photographers retain all creative rights to their art.

How to Enter: All entries must be submitted electronically no later than midnight (Pacific Standard Time: GMT-8:00) September 30th, 2011, through

our Website at www.digitalcapacanada.ca. If you participated in a previous year, you need not register again; you can use the same login and password. For new participants, all you need to do is register using your CAPA Member Number (i.e. 28999) and a valid e-mail address. Please make note of the password the software will generate for you. All participants will be confirmed as members in good standing and living in Canada against our database, before their entries are accepted and judged at the end of the competition. Your registration will also make it possible for you to change your mind and submit a different entry up to the very last moment! E-mail and regular mail entries will NOT be accepted, and will NOT be returned. The Rules and Guidelines governing this competition are posted on the CAPA Website and can be downloaded and printed for your convenience. E-mail enquiries should be sent to Jacques@CAPACanada.ca. Make sure you include the title of the competition and the word CAPA in the Subject line, or your message may be tagged as spam and not reach its destination.

Contestants may enter one image per theme, or both in the same topic. The themes are Shadow Play and Silhouette, as detailed above. Participation is limited to 2 Entries per member, both on topic. You can submit either

First Prize:

• Sony a500VL 16.7MP Digital SLR Kit w/18-55 Zoom Lens • Lowepro SlingShot 202 AW Camera Bag • Manfrotto 496RC2 Compact Ball Head • $100 Gift Certificate towards your own Blurb Photo Book • Adobe Photoshop CS5 • Adobe Lightroom 3

Second Prize:

• Sony aNEX5 14.2MP Interchangeable Lens Digital Camera w/18-55 Zoom Lens • Lowepro Rezo 180 AW Camera Bag • Photoflex PX229 30” White Ajustable Umbrella • $100 Gift Certificate towards your own Blurb Photo Book • Adobe PhotoShop CS5 • Adobe Lightroom 3

Third Prize:

• Sony Cyber-shot DSCWX7B 16.2MP Digital Camera w/5x Optical Zoom • Lowepro Apex 120 AW Camera Bag • 2 packs of Hahnemühle Bamboo 290 gsm 8-1/2 x 11” Paper • $100 Gift Certificate towards your own Blurb Photo Book • Adobe Photoshop CS5 • Adobe Lightroom 3 colour or B&W images. Manipulation in Adobe Photoshop and other software is permitted.

Keep in mind though that we are looking for digital photographs and illustrations originating from photographs that have been produced with taste and imagination. Remember, CAPA is all about photographic art. And art should be created with care and love. Judging will be carried out in Ottawa in early October, and the results will be announced on the CAPA Website shortly thereafter.

Competition Chair: Jacques S. Mailloux

EVENT SPONSORS

We are deeply indebted to Roy Hooper of the Camera Club of Ottawa for hosting the CAPA Digital Website as well as providing and ­fine-tuning the software that makes it possible for contestants to submit their entries electronically.

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Grand Prize - Karen Borle

Honourable Mention - Jessica Pattison

2010 Bridgestone Photo Contest The Bridgestone Photo Contest, inaugurated in 2002 to celebrate the creativity of Canadians enrolled in photography programs, aims to communicate the company’s everlasting commitment to the community, to the environment and to safety.

The student photographer’s challenge is to use his or her imagination and photographic skills to convey one of the contest themes. There were 471 photos submitted by 285 students representing 11 schools.

This year’s grand prize winner, is Karen Borle. Borle is a photography student at the Alberta College of Art and Design in Calgary. The “Honourable Mention” prize was awarded to Jennifer Pattison from the New Brunswick College of Craft and Design.

In addition, the grand prize and all first place winners received a one-year membership in the Canadian Association for Photographic Art, which has co-sponsored this event for the past four years. g

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CAPA's Theme for 2011-2012 is Architectural Interiors

Confessions of a Newbie Photographer

By Wes Terryberry

I

’ve taken photographs for most of my adult life but, sadly, they have been mostly of the “family gathering/ sightseeing” variety and most of those were taken with whatever convenient camera I had at hand. Then, about 30 years ago I got ambitious and bought a Canon A-1 and three lenses but, sadly, the camera seldom got the exercise it needed and neither did I; the poor thing got left in the automatic mode and for all I know the dial is still rusted in place on that setting. And then, about 10 years ago, something miraculous happened for me, something called digital photography, and my horizons began to open up. The dial was still set on “green” or “auto”, but more importantly, I started taking thousands more pictures for all those obvious digital reasons.

Since we’re talking confessions here, I’ll also have to confess that the extent of my experience with computers amounted to my asking my secretary to e-mail my correspondence after I had hand written it. She tried so hard to drag me into the modern world but her only success was to have me read my own e-mails and reply with a few terse comments; I still felt that typing was her job, not mine.

Then I retired about 15 years ago and found myself with plenty of time on my hands and I began enjoying a number of manual hobbies like woodworking and stained glass and oil painting and travel but still, no interest in photography of the non-snapshot variety, and I felt no gaping void in my life because of it.

Then, two years ago at the age of 67, my long-suffering best friend and wife sensed my boredom as she had done so many times before and talked me into attending a photographic club meeting and a computer club meeting. I had the time to spare so it was hard to say “no”. I reluctantly allowed myself to be dragged to both meetings. One more confession; I didn’t enjoy the first half of the photo club meeting and talked my wife into leaving during the coffee break. A month went by and she told me she was going to the next meeting whether I went or not and once again, facing an empty evening, I sulked a little bit and trundled off to the meeting. At the break one of the members informed me that there would be judging of members’

photos in the second half and this sort of interested me; but more importantly, my wife said she wouldn’t leave early with me this time, and she had the car keys.

The competition is what did it; the light finally went on when I saw these very pleasing photos go up on the big screen. I reached the conclusion that, with some practice, I might be able to do that too. I was hooked.

At the next few meetings I found myself surrounded by very likeable people who spoke a language foreign to me that could be called “photoese”. They used words like “seeess-four” and “lightroom” and “proshogold” and “effstop”; lots of importance was placed on the “effstop” word. And even more disturbing to me was their emphasis on “shooting in the raw”.

There I stood thinking I was nearing state-of-the-art status because of my compact point-and-shoot which was still set mostly on auto, my laptop computer with Photoshop Elements 3 and little A/Vs made with a free download. But my self-image was shattered. I was pretty sure I didn’t fit in with this crowd of superior beings with their foreign language, mysterious ways and awesome equipment. Once again I was ready to quit, especially if I had to shoot “in the raw” in this climate.

But, here’s the best part; I started to enjoy making pleasing photos and I started experimenting with my camera and I even bought a better point-and-shoot. And, yes, I found out what “effstop” meant and was assured that “raw” meant “too much information” but in a different way than I had thought. I also mustered the courage to display my ignorance during the social gatherings and found several other members who empathized with my feelings of inadequacy and sometimes expressed their own. I started entering competitions and even got some marks right in there with the other photos that I thought were good.

But here’s the thing; after taking photography seriously for two years now I still have a point-and-shoot, I still use Elements (I’m up to 9); I still use a free A/V download and I’m still not shooting “in the raw”. And do you know what? I’m OK with that because I’m still enjoying myself.

I’ve concluded that we’re all in a big tent and there’s lots of room for everyone, even a newbie like me. g CANADIAN CAMERA - 9

CAPA Competitions Altered Reality Club Competition 20 January 2011 Host: The London Camera Club, London ON Gold Certificate Toronto Camera Club, Toronto ON Silver Certificate Langley Camera Club, Langley BC Bronze Certificate Crescent Beach Photography Club, Surrey BC Bruce Gunion, Chair Digital Open, Altered Reality, Theme Competitions gunion@sympatico.ca

Gold Medal and Certificate of Merit 1st Philip Sun, Toronto Camera Club "Wild Horses"

Certificate of Merit 2nd Jen Fried, Photographic Guild of Nova Scotia "Nightmare"

Certificate of Merit 3rd Bob Verigin, Central Okanagan Photo Society "Heeyaa!"

Vadja Jericevic, Toronto Camera Club "Bad Dream"

Barbara White, Langley Camera Club "Out of the Box"

Denise Polk, Crescent Beach Photo Club "Jeweled Sword"

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CAPA Competitions Altered Reality Individual Competition 20 January 2011 Host: Trillium Photographic Club, Burlington ON Gold Medal Jim Hatch, Surrey BC Silver Medal Joy Gerow, Langley BC Bronze Medal Ann Alimi, Toronto ON Bruce Gunion, Chair Digital Open, Altered Reality, Theme Competitions gunion@sympatico.ca

Gold Medal and Certificate of Merit 2nd Jim Hatch, Surrey BC "Jack The Ripper"

Shaikh Amin, Islamabad Pakistan "Green Reflection"

Carm Griffin, Etobicoke ON "Flaming Orchid"

Judy Griffin, Etobicoke ON "Shattered"

Bronze Medal Ann Alimi, Toronto ON "My Avatar"

Silver Medal and Certificate of Merit 3rd Joy Gerow, Langley BC "Soul of a Lighthouse"

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CAPA Competitions Theme "Footwear" Club Competition 20 February 2011 Host: Photographic Guild of Nova Scotia, Halifax NS Gold Certificate Delta Photo Club, Tsawwassen BC Silver Certificate Langley Camera Club, Surrey BC Bronze Certificate Photographic Guild of Nova Scotia, Halifax NS Bruce Gunion, Chair Digital Open, Altered Reality, Theme Competitions gunion@sympatico.ca Isabelle Levesque, Focus Camera Club "Footwear"

Certificate of Merit 1st Laurie Laing, Delta Photo Club "Garden Boots"

David Cristofoli, Langley Camera Club "Sole Singing"

Certificate of Merit 2nd Francis Dorsemaine, Delta Photo Club "Rainbow Chic"

Certificate of Merit 3rd Laszlo Podor, Photographic Guild of Nova Scotia "Earth Shoe" Jaime Escaler, Royal City Photo Club "Getting Ready"

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CAPA Competitions Theme "Footwear" Individual Competition 20 February 2011 Host: Photographic Guild of Nova Scotia, Halifax NS Gold Medal Albert Mok, London ON Silver Medal Gayle Reeves, Surrey BC Bronze Medal Joy Gerow, Langley BC Bruce Gunion, Chair Digital Open, Altered Reality, Theme Competitions gunion@sympatico.ca

Certificate of Merit 1st Sharron McKenna, Cowichan Bay BC "Rush Hour"

Silver Medal Gayle Reeves, Surrey BC "Satin and Lace"

Bronze Medal Joy Gerow, Langley BC "Old Dogs Retired"

Sheri Belanger, Toronto ON "Power Shoes"

Certificate of Merit 3rd John Dufton, Duncan BC "Abandoned" Gold Medal and Certificate of Merit 2nd Albert Mok, London ON "Shoe Fantasy"

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CAPA Competitions Digital Open Club Competition 20 March 2011 Host: Kamloops Photo Arts club, Kamloops BC Gold Certificate North Shore Photographic Society, West Vancouver BC Silver Certificate Trillium Photographic Club, Oakville ON Bronze Certificate Welland Camera Club, Welland ON Bruce Gunion, Chair Digital Open, Altered Reality, Theme Competitions gunion@sympatico.ca Certificate of Merit 1st Garry Cotter, North Shore Photographic Society "Take Off"

Certificate of Merit 2nd Eric Bartlett, Camera 35 "Shoreline"

Kevin Pepper, Grand River Imaging and Photographic Society "Morning Glory"

Nick Cannon, Welland Camera Club "Reflections"

Joe Chase, Camera 35 "Katie"

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Certificate of Merit 3rd Janet Kempster, Trillium Photographic Club "Bald Eagle With Grass"

CAPA Competitions Digital Open Individual Competition 20 March 2011 Host: Sarnia Photographic Club, Sarnia ON Gold Medal Peter Ferguson, Fonthill ON Silver Medal Lisa Horvath, Oakville ON Bronze Medal Jessie-ann Sled, North Vancouver BC Bruce Gunion, Chair Digital Open, Altered Reality, Theme Competitions gunion@sympatico.ca Bronze medal and Certificate of Merit 1st Jessie-ann Sled, North Vancouver BC "Rufous Hummingbird"

Certificate of Merit 3rd Toni Wallachy, Toronto ON "Of the Royal Court" Certificate of Merit 2nd Carm Griffin, Etobicoke ON "Barrel Racing"

Silver Medal Lisa Horvath Oakville ON "Grateful Smile"

Gold Medal Peter Ferguson, Fonthill ON "Fly with Prey"

Gold Medal Peter Ferguson, Fonthill ON "Misty Paddler"

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Bannack,

an American Ghost Town Jean Timmermeister, FCAPA, FPSA CAPA District Representative, Western US

A Montana State Park, Bannack calls photographers to its location - a short drive out from the town of Dillon

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Every serious photographer tends to have one or more favorite ­subjects, maybe unconsciously repeating the shooting of some topic, but probably a special search for some single photo theme. Even in times of shooting 35mm slides, my repertoire included images from over a dozen ghost towns. For many years, slide shows of old Western towns were the most popular of all shows I was giving to service clubs, retirement homes, camera clubs, etc. I am drawn to these remnants of towns, occasionally with one lone inhabitant living on the premises, keeping watch over off-hour visitors who may not have in mind the best interests of the historical properties.

A goal in my search for ghost towns of the American West has long been the former Montana capital city known as Bannack. Finally in September of 2009, I found my way to Bannack near Dillon, Montana. Just 10 1/2 hours drive from Calgary (less than 1000 km) and less than 400 miles from my own home in Spokane, Washington; it is considered one of the best preserved ghost towns in

the United States. Because its buildings were occupied for many years rather than abandoned as those in most towns were, the regular maintenance for a longer period has allowed Bannack the reputation of “best preserved.� Virtually every building in the park is unlocked and open to the photographer to shoot the interior although for the most part there is nothing left in the buildings except evidence of how the owner tried desperately to keep the chill of winter out with many layers of old papers and cloth, and how he sometimes had linoleum over the floor boards but often had only worn and uneven boards.

A Montana State Park, residents of that US state are allowed free entry and

Bannack State Park (located 24 miles southwest of the town of Dillon, on 1254 acres; 60 structures)

4200 Bannack Road Dillon, Montana 59725 Website: www.bannack.org Email: bannack@montana.com Phone: (408) 834-3413

for the rest of us, a mere $5 per car is charged to enter. Bannack State Park is a registered historic landmark with the hours open to the public varying by the time of the year. The first day of autumn found me hurrying out of a van at the 9 am opening, with two Illinois visitors joining me. Leaving our hotel at West Yellowstone in the dark, we planned to arrive at opening time and we were right on course and retrieving camera gear from the vehicle as soon as we paid the fee. The Interpreter of the Park greeted us as he drove up- suggested the free use of the park brochure as we were about to enter through the gate into the park. The option to purchase the brochure made sense and I paid $2 for

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the booklet on my way out: helpful information which would allow me to identify buildings later.

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The elevation of Bannack State Park is 5800 feet and at that altitude, often the sky will be a beautiful dark blue. The

morning sun shone on the buildings alongside each side of the road from the west end of town at the entrance -to the east. We bypassed the visitors’ center, feeling when the sun was too high for pictures, we could then check out the books, leaflets and whatever else might be available in the small location. (Just two days later I was back with another group of photographers to share with them this favorite historic location!)

Each building in the park’s brochure is numbered in front of the building on the boardwalk. Following the brochure, it is easy to pick up a few facts about most buildings. A perfect time of year for photographers, September meant little to no waiting for people sauntering in and out of camera range. Volunteers often may be working on maintenance of one

or more buildings and, if so, a special bright orange sign stands in front of any such building advising viewers that work is in progress. No upgrading is done, but rather it is regular maintenance to keep each building in good condition.

A bit of history is in order: it was 1862 when gold was found in the creek and the rush brought 10,000 gold seekers to the Bannack area. Typically the miners become unruly as the possibility of gold draws all manner of individuals: Bannack had its share of violence. The town was known for its sheriff that was in reality a crook leading a group that was robbing men traveling between Bannack and the next town (Virginia City), killing many. The town miners did not sit still for Bannack’s sheriff and his men: they organized a vigilante group and went

after the crooked gang, with considerable success. The result of the group’s actions suggests that Bannack is a ghost town for more than one reason. Ghosts are said to have been seen here. Stories of the activities abound, too lengthy to include.

Suffice to say, the pictures available to the photographer are why we go: the stories about the town are a bonus for those interested.

Buildings line both sides of the main road through the town; smaller buildings sit behind each row of buildings. A hike up a hill will allow the visitor to see the original cemetery (with a great view looking down on the town); a couple of sod-roofed buildings can be found; typical rural fencing is of interest. The town has many examples of life lived in

a mining community. Named the first Territorial Capital of Montana, Bannack could only claim the title for a short time: it lost that designation to nearby Virginia City.

Photographers will have “a field day” shooting old buildings while envisioning the history of a gold miner’s town. A rusty and tired old truck, a school house with an historical Freemason’s lodge on the upper floor (an active membership still meets there!), the Meade Hotel which was once the town courthouse, stores, private homes, church- and much more.

Put Bannack State Park on a list of locations to shoot – it’s too late to pan for gold on Grasshopper Creek but the pictures will be worth the drive into the hills outside Dillon, Montana. g CANADIAN CAMERA - 19

There is no doubt that Paris is more than an ­enchanting city.

It is an uplifting feeling in your heart of being young, energetic, hopeful and fully alive – very much like being in love.

Parisienne 2006 Andrea

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Paris

In Black And White

By Andrea Seraphim

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Rue de Seine 2006

My romance with Paris started when I was 20 and flew directly there to start a 10-month backpacking, youth hostel trip around Europe. But, it was really a 10-day Paris Street Photography Course in 2004 with the world-renowned photojournalist Peter Turnley that got me started on my project to wander the same cobbled streets as the great CartierBresson, Robert Doisneau, Eugene Atget, Andre Kertesz and Turnley himself, and to document the day-today drama of Paris street life.

For 3 Septembers in 2004, 2006 and 2008, I set out to photograph (with my Nikon F80 and Tri-X 400 B&W film) scenes of Paris that held a story. To make a consistent portfolio, I used only a fixed Boulangerie 2004

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Rue Montorgueil 2006

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Stripes Palais Royal 2010 converted from colour

35mm lens and challenged myself to move in close to my subjects and scene.

The Turnley course had introduced me to a Paris photo lab (Atelier Publimod) that would print contact sheets of my film rolls overnight and I couldn’t wait to pick up those contact sheets and get out my loupe to see whether I had really caught a “decisive moment”.

Because I get into an all-encompassing zone of concentration when I am doing street photography, I go out alone and am constantly watching, watching and anticipating those moments. I like to stake out a location that makes a great backdrop and then wait for some action on the scene. I’ll often shoot a sequence of photos as a subject moves into my frame and I’ll also try to get some vertical as well as horizontal shots.

The camera has to be ready to go – turned on, lens cap off, around the neck in a position where it can easily be brought up to the eye and preferably preset at a shutter speed of 1/125 of a second, if there is enough light, so that motion blur is minimized.

To continue my biennial project of Paris photography, I went back in September 2010. I had registered for a second, long-anticipated course with Peter Turnley, this time in Arles, Provence and I had tacked on an extra week in Paris. To my profound dismay, the course was cancelled due to lack of enrollment.

However, I decided to go anyway and create my own photographic opportunities in Arles and of course, have my week in Paris. This time I took my Nikon D200 and a Canon G11 for backup as I thought it would be easier and less expensive than going the film route and I could always convert the RGB files to B&W. I have ended up very pleased with the novelty of my colour shots of Paris and not so pleased with the extra time required behind the computer to do the conversion to B&W to fit that portfolio.

Also, I found the slower capture of the image with digital ruined some of my better-framed shots as someone darted in or out of the frame before the image was caught. Digital photography also seems to require more equipment and Racing 2008

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Paris Window 2008

I felt quite weighed down with a laptop for downloading the cards and battery chargers for cameras and laptop.

In the final analysis, I am not wholly converted to digital for street photography and I must say that I also missed the anticipation of my contact sheets and the purity of feeling of the final film negative to darkroom fibre paper print. (The expert who prints my pictures in his garage darkroom has to my delight nicknamed me “Miss Paris”).

We’ll have to see if I choose B&W film once again for my planned trip in 2012.

Paris, mon amour, I will be back. g Les Bons Amis 2008

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The Veggie Project

By Anne Marie Resta

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It all started years ago, when I saw the movie Smoke for the first time. Harvey Keitel’s character had a ritual that intrigued me.

Every morning, every day of the year, he took a photograph of the same street corner in Brooklyn. He didn’t even look through the viewfinder. He had his camera on a tripod, focused and pointed in the right direction, and as he watched his watch hit exactly 8:00 a.m., he pressed the shutter release.

It f a s c i n a t e d m e , t h a t k i n d o f commitment. I had no idea at the time that photographers everywhere commit themselves to similar rituals.

Courtney Milne shows us how every day with his online Pool of Possibilities project. Freeman Patterson encourages us to do it in Photography and the Art of Seeing. With two Canadian photography icons endorsing the practice, I thought, “Why not?”

But how? What subject matter?

What, in my life, could possibly provide the variety to sustain an ongoing project for an extended period of time?

Vegetables. Our family eats a lot of vegetables. Every weekend, I chop a week’s worth of veggies for salads, snacks and suppers, which means there’s a big colander of colours and textures in the sink every Sunday night. So that solved the question of “what to shoot.”

Next question…when and how long to run this experiment? How about once a week for a year? I figured that would give lots of time to allow the availability of produce to vary according to the seasons, giving me lots of different subjects to photograph.

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And so it began on Sunday, March 8, 2009. Every week, I took out my Canon 50D with my Sigma 18-200 mm lens (and later my Canon 100 mm lens once I added it to my kit) and shot the various textures, colours and contrasts among the carrots and celery, the green onions and asparagus, the peppers and tomatoes. During the summer, when the farmers’ market was open, I had fun photographing the different varieties of cauliflower… purple and orange and green. Even the carrots and potatoes were purple. The fun extended to the cooking; fresh corn on the cob wasn’t just interesting to photograph, it was great to eat. So were the blackberries, the beets with greens attached, and the cinnamon buns (one cannot live by veggies alone).

As I focused on these locally-grown veggies and enjoyed their fresh-grown flavours, I started to think about the produce we consume the rest of the year.

I thought about its comparative lack of taste, the countless miles it travels from around the world, and especially the 28 - CANADIAN CAMERA

massive amounts of gas and oil to fuel the planes and trucks to transport it.

I also realized that, other than the neat varieties of cauliflower at the market, our selection of fresh produce doesn’t really vary that much, regardless of the season. Piles of hot house peppers, juicy strawberries and tropical pineapples are equally abundant any day of the year, even on December 14, 2009, the day Edmonton’s weather dipped to record low of -46.1 C (-58.4 C with the wind chill), making us the coldest location in North America, second only in the world to Siberia. Is it just me, or is that too much abundance?

My growing awareness of the incredible abundance piled in the kitchen sink each week also got me thinking about those for whom such abundance isn’t a possibility. Let’s face it, vegetables are expensive, especially the good stuff from the farmers’ market.

Am I complaining? No. Farmers work hard and deserve to be compensated accordingly. I have a good job, so I can afford it, but not everyone does, or can.

So many thoughts, just from a colander of veggies in the sink. But what to do? After giving it some thought, I made some changes. I ride my bike to the farmers’ market as often as I can. I joined Eat Local First (www.eatlocalfirst. com), a group that helps connect consumers with local food producers, processors and retailers. I give monthly to the food bank.

Do I still drive to the grocery story to buy my veggies? Heck yeah. We live in Edmonton and trudging through the snow with an armload of groceries is something I’d rather avoid if I can. My point is that a person doesn’t have to completely change their life to make a difference. It doesn’t have to be an “all or nothing” proposal. That kind of thinking scares people off from doing anything at all. But if each of us makes little changes, that could add up to a bigger change.

Who knew all of that could come from photographing veggies? g CANADIAN CAMERA - 29

Toyville

By Cosmin Badea

My name is Cosmin Badea.

I am a photographer based in Lethbridge, Alberta.

My passion, like most photographers in Western Canada, is landscape and wildlife photography. However, still life and macro photography allow me to create my own reality.

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The idea for this project came when my wife and I decided that we do not want our little boy to be always surrounded by television cartoon characters. I then proposed to create pictures and posters for his room using his own toys, and in that way make his room more personal.

Most photographers would agree that in this climate, the market is oversaturated in almost all sectors of photography. I feel that this subject and approach could open a new niche that could generate additional revenue as well as attract new clients such as Daycare centers,

kindergartens or children’s activity centers in the city.

My first project of this type was completed in 2009, and at the time, I was using photos from magazines or brochures from different stores as backgrounds. Lately, I use my own photos as backgrounds, mostly from places where I have travelled with my family. The backgrounds presented here are pictures that I took in Lethbridge, Highways 2 and 3, Banff, Castle Mountain, and Edmonton. I think that using backgrounds of places that your child or client’s child knows will give your project a stronger emotional impact and make it more personal.

All these works were created in my small portable studio, as you can see in as you can see in the photo above, using the two provided lights and occasionally two additional lights to light the front of the cars. The setup is quite simple; however the process of making it look real is more timeconsuming and methodical. It helps to have a macro lens, I have the 90 mm f/2.8 Tamron. However, for this project I used the Canon 70 – 200 mm f/2.8 with extension tube more often than the macro lens. Tripod and remote are essential.

I used different apertures to achieve the desired graphic effects and the lights were placed in different positions to make the light more natural for the background used. For example, for the dark backgrounds the lights were positioned so as to suggest that the cars were illuminated by light from the buildings. For the daylight backgrounds, the lights would simulate the light of the sun.

It is very important to know your subject and its capabilities, even when it comes to toys. In my case, cars always fascinated me, as my father was a mechanic. Ever since I can remember, I had countless car magazines around me, I’ve been exposed to many different cars, and I think that it helped me in achieving the angles that you can see in the pictures. However, one can also find inspiration in the brochures that most carmakers offer (especially the European ones). Also, make sure that you do not forget to photograph the little details such as rims, steering wheel, mirrors, head- and tail-lights, especially if you want to create a poster or a triptych.

Some of the pictures are intentionally blurred to some extent, partly because I wanted to give the impression that

they are real. However, another reason is the poor quality of some toys, and in this case, I think that before accepting a project I would explain to the client that the best results could be achieved with good quality replica cars, and I would show him some examples with high- and low-quality toys. This project shows how, with our expertise, we photographers can be creative and are able to create a new world for children to feel a part of and in which they can find safe security. My son was thrilled to see his toys “alive” on the streets of Toyville and helped him to be more creative in his games with the toys.

Thank you very much for the opportunity to show my work and share my ideas with fellow photographers. g CANADIAN CAMERA - 31

Colours Of Mexico

By Ron Thorpe

Friends told my wife Hadrianna and I how they enjoyed their yearly winter getaway to Mexico. In particular, they recommended the small town of Ajijic, whose altitude made it more temperate than popular coastal resorts.

We quickly arranged a month’s stay in a condo. After arriving in Guadalajara, we grabbed a taxi for the forty-minute drive to our destination, which was a few kilometres outside the town of Ajijic. We anticipated a little bit of the old Mexico, whose colour and charm which we hoped to capture with our new digital cameras. But a few minutes 32 - CANADIAN CAMERA

before arriving at the condo, we drove past a Wal-Mart store; not exactly what we were expecting!

The condo itself didn’t do much to lift our spirits, since it was much like what is common in Canada and not at all like some of the charming and colourful homes that are rented to visitors.

However, it was spacious and clean and the owner a charming man who was very helpful, even driving us to a nearby grocery store to stock the kitchen.

The next morning, we decided to see what the town had to offer. We discovered that we had three choices. A

ten-minute, uphill walk to the highway to catch a large comfortable bus, a fiveminute walk to catch a local bus which shook and bounced over very uneven cobblestones, or a forty-five minute walk along a shady avenue. Most days, we chose the walk to town, but after a day of sightseeing and photographing, we were weary and either caught a bus or a taxi, which were both very reasonable.

I had heard about the wonderful colours of Mexican towns, so I was looking forward to honing my compositional skills. I had recently

bought a Nikon D-50 with an 18-200 lens, which I felt would be a do-all optic, and with image stabilization, I figured I could get away with not using a tripod. I wasn’t at all disappointed with the performance of the cameralens combo. I was par ticularly impressed with the battery life and the versatility of the 27 to 350 mm (equivalent) range of the lens.

The use of colour on the buildings was most amazing. Around every corner, one could expect new vistas of tantalizing combinations of colour, very satisfying to the eye. That is what I had

hoped to find, and which I share with you in hopes that you will enjoy it as much as I did.

We found the people of Ajijic very friendly; always willing to help whenever we looked a little lost. The merchants do well for themselves thanks to a large contingent of U.S. and Canadian snowbirds, and also the many who have decided to live there permanently. English is widely used, especially in the many fine restaurants to be found. As one patron said to us as we entered a restaurant, “This is the best place to eat in Canada.”

Street life provided much fun.

Everything imaginable was for sale, including Photoshop ($10), fresh fish, bulk coffee beans, deep fried chicken, even puppies.

I was particularly impressed with the willingness of the kids to be photographed. As soon as they saw the camera they would group together and pose in a very natural way, and they really seemed to enjoy the experience. I certainly did.

All in all, it was a fun vacation, and photographically very satisfying. g

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Canadian Camera

Conference2011 June 29th - July 3rd

“A Celebration of Photography" The Conference includes: Renowned keynote speakers Ellen Anon www.ellenanon.com "Making Your Images Matter" Keynote Presentation “Nice Shot, What Now?”(Lab) “Understanding Visual Intensity; The Key to Making Better Images in Camera and in the Digital Darkroom”(Lab) Nevada Wier (www.nevadawier.com) Keynote Presentation

Notable presenters Colin Smith www.colinsmith.ca “Photoshop CS 5” (Lab) “Adobe Lightroom” (Lab) Joseph Rossbach www.josephrossbach.com "Professional Field Techniques for More Dramatic Pictures” “Techniques for Making Dramatic Landscapes at Night” Deborah Sandidge www.deborahsandidge.com “Creative Expression Through Photography” “Creative Techniques With Infrared Photography”

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Allen Bargen www.allenbargen.com “In Search of a Better Photograph – Part 1 and Part 2”

Ian Plant www.ianplant.com “Chasing the Light” “The Art of Composition”

Michel Roy www.michel-roy-photographe.com “Portraiture – Lights and Shadows, the Modern Way” “Shoot DSLR Videos Like a Pro”

Ethan Meleg www.ethanmeleg.com “Best of the Bruce” “Confessions of a Crazed Photographer”

Rob Stimpson www.robstimpson.com “Photographing in Remote Places” “The Arctic and the Antarctic”

• Computer labs on CS5, Lightroom, Nik software, Proshow Gold and Proshow Producer. Check out our presenters web sites. They are sure to inspire you.

Julie Waterhouse www.juliewaterhouse.ca “Story Telling Using Visual Design”

• Workshop topics include Creative Photography, Portrait Photography, Landscape and Nature Photography, Infrared Photography.

Sheena Wilkie www.sheena.ca “Web Design for Photographers” “Photographic Embellishments – Design Tools for Photographers” (Lab)

• Among the other attractions are a Trade Show, CAPA Exhibition, Field Trips, Barbeque, Awards Banquet and Fireworks to photograph on Canada Day, July 1st

Mark Southard “Photoshop Elements” (Lab) Paul Sparrow http://home.cogeco.ca/~psparrow/ “Proshow GOLD” (Lab) “Proshow PRODUCER” (Lab)

Photo by David Robinson

The London Camera Club, on behalf of the Canadian Association for Photographic Art, is proud to host Canadian Camera Conference 2011

CCC 2011 will be held at Fanshawe College, London, Ontario.

Registration Early Bird On or before May 31, 2011 CAN $300.00 On or after June 1, 2011 CAN $350.00

Attendees will stay at the beautiful, new Fanshawe College Residence and Conference Centre. Single, double and suites are available within the quads To make your reservations contact the Fanshawe College Residence and Conference Centre - Carolyn Mitchell, phone: 519-452-4440 ext. 5002 or fax 519-453-2309.

These fees include all labs, ­presentations and all meals

Schedule • Wed. June 29th Field Trips, Meet and Greet Keynote Speaker: Ellen Anon Sponsored by: Nik Software (www.niksoftware.com) • Thurs. June 30th Workshops and Labs Keynote Speaker: Nevada Wier • Fri. July 1st Workshops and Labs BBQ and Fireworks • Sat. July 2nd Workshops and Labs Awards Banquet, Audio/Visual Extravaganza • Sun. July 3rd Field Trips

For Information Contact Bill Lloyd at: vice-pres@capacanada.ca Watch the London Camera Club website www.londoncameraclub.on.ca and the CAPA website www.capacanada.ca for ongoing information about the presenters, programs, events and registration.

CANADIAN CAMERA - 35

WINTER 2010 CAPA NEW MEMBERS May 02, 2011 Atlantic

Tom Stewart David Sweeney Dan Takahashi Patricia Wallace

Viki Gaul NS

Ontario Michele Baddoo Barbara Ann Boire Anne Bolender Edwards Dan Bryer Nick Cannon Kathy Constantinou Richmond Hill Camera Club Catherine Davey Judith DavidsonPalmer Cheryle Elliott Ali Kheradvar Rafal Kiermacz Laurie Legg Leo Mascarinas Bev McConnell Napanee Photo Club Connie Miller Emil Mzik David Seldon Agnes Shaw Tom Stephens

Prairie Jerry Cordeiro AB Drew May AB Don Mcleod AB Florence Yeung AB Alberta Photo Camera Club AB

Quebec

Natalya Gunde Susan Hatch Lena Jakobsen Michael D. Krochter Chris Krystalowich Miroslaw Kuras Leigh Lennick Martin Lennick Velimir Mitranic Robert Paulley Wendy Rosier Gaby Saliba Lenora Shier James Yip

Dagmara Bojenko Micheal Gallant

Pacific Mike Ambach Carolyn Angus Neil Bacon Bill Briggs John Bron Joan Conklin Norah Corbet Linda Davidson Margo Dornan David Friederich

USA & International Eduardo Atiénzar Martínez Spain Patty Raydo Erie Photography Club PA United States

Donations Joan Conklin Don Brown

capa@capacanada.ca • www.capacanada.ca

(250) 523-2378

CAPA Members

PUT YOUR AD IN THIS SPACE You can reach new ­customers with your ad in Canadian Camera. Your message will be seen by serious photographers across Canada at a reduced ‘Members Only’ price of $50.00 (B&W) per issue.

Contact: capa@capacanada.ca 36 - CANADIAN CAMERA

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