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2015

PHOTOGRAPHIC SOCIETY of AMERICA

BOARD OF DIRECTORS Executive Committee

President: John Davis, FPSA, [email protected]

Executive Vice President:Charles Burke, FPSA, EPSA • [email protected]

Secretary: Elena McTighe, FPSA, [email protected]

Treasurer: Dana Cohoon, [email protected]

Vice PresidentsChapters, Clubs & Councils: Nan Carder, EPSA

[email protected]

Conferences: Stan Bormann, APSA, [email protected]

Divisions: Dana Vannoy, FPSA, [email protected]

Exhibition Services: Daniel Charbonnet, FPSA, [email protected]

Image Collections: Janet Bigalke, [email protected]

Information Technology: Jaci Finch, [email protected]

International Relationships: Jill [email protected]

Membership: Donald Brown, [email protected]

Public Relations: Gerald Hug, [email protected]

Publications: Margaret Sprott, [email protected]

PSA Headquarters8241 S. Walker Ave., Suite 104,

Oklahoma City, OK 73139Phone: (405) 843-1437 • Fax: ( 405) 843-1438

Toll Free: 855-772-4636 (855-PSA-INFO)Email: [email protected]

Membership Questions: [email protected]: www.psa-photo.org

Webmaster: [email protected]

PSA Journal published monthly

Editor: Donna Brennan • [email protected]

Design/Production: Lyn McDonald

Managing Editor: Margaret Sprott, [email protected]

Assistant Managing Editor: Sue Marrugi [email protected]

Software Review Editor: Brad [email protected]

Book Review Editor: Marie Altenburg, [email protected]

PSA At Your Service: Dick [email protected]

Hardware Review Editor: Alex [email protected]

Just for Beginners: Carole Kropscot, [email protected]

Q&A Equipment: Erik Kissa, APSA, [email protected]

That's My Take: John Martin: www.landscapeandstreet.com

Tips & Techniques: Bill Brown: [email protected]

Tips & Techniques: Bob Benson, APSA: [email protected]

Tips & Techniques: Mark Southhard, FPSA: [email protected]

Video Editor: Bill Buchanan, FPSA: [email protected]

Copyright 2015

ADVERTISING: Richard Wartell, Judi Block Associates,

P.O. Box 1830, Willits, CA 95490;(707) 456-9200 • [email protected]

Journal circulation is handled at PSA Headquarters. Contact Headquarters for address changes.

PSA Journal

2 • PSA Journal • March 2015 • www.psa-photo.org

Volume 81, No. 3 • March 2015

On the Cover:The cover image is

Coco with Sweeping Cloth by Susan Cowles,

APSA, EPSA, from California. Susan is the

featured artist for the Distinctive Image article,

which begins on page 26.

Contents18 365 Day Challenge by Dennis Hirning, APSA, MPSA

20 Judging is Easy, Part 3 by Jon Fishback

22 Seasons in the Grand Tetons by Don Mercer

26 Distinctive Image Featuring Susan Cowles, APSA, EPSA

30 Timeless Rajasthan by Linda Hollinger

34 Single RAW Files—HDR Comes to the Rescue

by Michael Anderson

39 A First Look at Yellowstone by Ralph Durham

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PSA Journal • March 2015 • www.psa-photo.org • 3

DepartmentsMessages & Opinions4 On My Mind...5 Chapter, Clubs & Council Contests5 Changes in the BOD6 On the PSA Website7 That’s My Take

Reviews8 Software Review10 Hardware Review

Technical Information11 Just For Beginners12 Tips & Techniques14 Video and PSA16 Questions & Answers

Member Benefits & Services17 PSA at Your Service

Division News, Announcements & Activities42 Division News and Activities44 PPD Print of the Month45 Calendar of Events46 Exhibitions50 Ad Index50 Classified Advertising51 New Member Gallery

PSA Journal (U.S. ISSN 0030-8277) is published monthly by the Photographic Society of America, Inc. (PSA), 8241 S. Walker Ave., Suite 104, Oklahoma City, OK 73139. Subscriptions are included in membership dues. See Application for Membership form on page 50. Founded in 1934, the society is for casual shutterbugs, serious amateurs, and professional photographers. As a member of PSA, you are eligible to participate in a multitude of services to help you improve your photography and increase your enjoyment of it. To join PSA, write to PSA Headquarters or send in the application provided in this issue.Submissions: PSA Journal welcomes editorial submissions on all aspects of photography. Most of the feature articles published are between 800 and 1,200 words. All material must be original. Note if previously published. Manuscripts must be submitted electronically. While all possible care will be taken, we cannot assume responsibility for lost or damaged submissions. Payment is in copies plus points toward PSA Bronze, Silver, and Gold Star Medallions.Back Issues: Send $5.00 for each copy to PSA Headquarters. PSA Bylaws: Please go to http://www.psa-photo.org/index.php?about-bylaws-and-mission for a copy of the bylaws.

Postmaster: Send address changes to PSA Journal, 8241 S. Walker Ave., Suite 104, Oklahoma City, OK 73139. Periodicals postage is paid at Oklahoma City, OK.Permissions: Contents copyright 2015 by the Photographic Society of America. Material may not be reproduced in any form without permission. For a copy of the PSA Journal’s reproduction policy, write to PSA Headquarters.

The Official Journal of the Photographic Society of America Camera Clubs

Join the Photographic Society of America on Facebook at www.facebook.com/Photographic.Society.of.America

Easy Guide to Your PSA ActivitiesOn the PSA website, find them under Education and Competitions tabs!

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Messages & Opinions

On My MindCouncils and Clubs (Part II)Nan Carder, EPSAChapters, Clubs, & Councils Vice President

Changes in PSAContinuing the discussion of changes taking place in the Photographic Society of America (PSA) and PSA member organizations that began in the December issue of the PSA Journal, I will now discuss councils and clubs.

CouncilsThe PSA Council Services has a new Council Services Chairman, Jeff Klug. Jeff has had experience with councils, having served in most of his council’s positions (Wisconsin Area Camera Club Organization-WACCO). Councils or federations are groups made up of clubs. Unlike Chapters, which are found only in the United States, councils and federations can be found all over the world.

Jeff Klug will also assume the position of Councils’ Challenge Director this year. He is in the process of making changes for the 2015 Challenge. Councils and federations can submit digital images this year in one or all three sections: Digital Color Images, Digital Monochrome Images, and Digital Nature Images. The Councils’ Challenge program and awards are presented at the PSA Annual Conference. Any PSA-member council or federation may participate.

PSA-member club representatives should check if there are any councils or federations in their area so their clubs can get involved with one of these organizations. Information may be found in the Clubs/Councils area on the PSA web site. (http://www.psa-photo.org/index.php?council-s-challenge-overview)

ClubsClub Services has recruited additional consultants to provide more services to clubs and councils. PSA’s Director of Education, Jon Fishback, has added an on-site PSA Image Analysis Course for clubs, councils, and federations. There is also a consultant to help organizations host a PSA-recognized exhibition, and Lynn Troy Maniscalco, HonPSA, EPSA, has agreed to be this consultant.

The most active service for clubs is the series of Interclub Competitions offered by all Divisions. Listed are the directors in each division for these competitions. They all do an excellent job and should be commended for their service.Projected Image Division Bob Benson, APSAProjected Image Division Creative Nancy Sams, FPSA, EPSANature Division Mike McNeill, EPSAPhotojournalism Division Joseph Kubala, PPSATravel Division Greg Duncan, EPSAPictorial Print Division Louis Duncan, PPSA3D Division Suzanne Hughes

By getting involved with a PSA-member club, chapter, or council an individual PSA member has access to many photographic activities.

Membership and BenefitsDonald Brown, APSA Membership Vice President

WHAT IF?What if every member asked another

photographer to join PSA?What caused you to join PSA? Did a PSA

member speak to you about membership?I, Donald Brown, Membership Vice President,

am enlisting the total membership to help the growth of our great organization, recognizing that satisfied members like you are the key to the “membership door,” which is open to everyone. Each member ought to play his/her part and spread the word about the benefits of becoming part of the PSA family.

BenefitsWhat drew you to PSA? Have you used PSA

services? Have you met other photographers? Have you attended a PSA conference? Do you read the PSA Journal? Whatever caused you to join and satisfies you about PSA, please consider sharing your experiences with your photography friends and shooting companions. You are the key to membership growth and I encourage you to tell your friends and companions about PSA so they can reap the same benefits.

The last few issues of the Journal have emphasized the services offered by PSA.

By Nan Carder, EPSA, and Donald Brown, APSA

Nan Carder, EPSAChapters, Clubs, & Councils

Vice President

Donald Brown, APSA Membership Vice President


Photographic Society of America (PSA)

Chapters, Clubs, and Councils Contests for 2015

Nan Carder, EPSA, Chapters, Clubs, and Councils Vice President

PSA Council Challenge:Open to all PSA Councils Entries open March 1st and close June 15thMore information can be found at this website: http://www.psa-photo.org/index.php?council-s-challenge-overview Council Services Chairman: Jeff Klug, [email protected]

PSA Newsletter Contest:Open to all PSA Chapters, Clubs, and CouncilsEntries open March 1st and close June 1stMore information can be found at this website:http://www.psa-photo.org/index.php?clubs-councils/newsletter-contestPSA Chapters, Clubs, and Councils Newsletter Director:Joan Field, APSA, [email protected]

PSA Website Contest:Open to all PSA Chapters, Clubs, and CouncilsEntries open January 15th and close March 15thMore information can be found at this website:http://www.psa-photo.org/index.php?clubs-councils/web-site-contestPSA Chapters, Clubs, and Councils Website Directors: Dick Sprott: [email protected] Roberts: [email protected]

PSA Youth Photography Showcase:Open to all PSA Chapters, Clubs, and CouncilsPrint and digital photography contest for high school youthEntries are open now and close April 30thMore information can be found at this website:http://www.psa-photo.org/index.php?psa-youth-photography-showcaseYouth Photography Showcase Director: Kathy Braun, FPSA, PPSA, [email protected]

PSA Chapter ShowcaseOpen to all PSA ChaptersDigital photography contest for PSA Chapter membersEntries open January 15th and close April 1stMore information can be found at this website: http://www.psa-photo.org/index.php?chapters-showcaseChapter Showcase Director:Bill [email protected]

Contact: Nan Carder, EPSA, [email protected]

Whatever level you have reached in your own photographic journey, PSA offers services to help you grow and reach your next target level. You only have to enroll and partake of them. Your membership entitles you to all services available. Are you enjoying the benefits of your membership? If so, share your experiences with your friends.

Become InvolvedInvolvement and participation will significantly

affect the overall “customer satisfaction” of our members. You are invited to be vocal and make suggestions to guide the development of desired services and benefits. Growth in PSA membership will result in more services and activities benefiting the total membership.

During the Portland Conference I was shooting the Portland Head Light one foggy morning when the guy next to me struck up a conversation. Turns out he was a recently retired executive who had turned to photography upon retiring. He had taken two courses in Chicago and this was his first photography vacation. I asked him if he knew about PSA and told him about several ways PSA could benefit him and then provided him with some club contacts in the Chicago area. A month later I received an email from him telling about his new activities with PSA and his Chicago area club and thanking me for the contacts I had provided. This made an impression on me and demonstrates the power of members spreading the word and recruiting new members! n

Changes in PSA Board of Directors

By Elena McTighe, FPSA, EPSA, SecretaryDue to the resignation of Jan Lee, APSA,

EPSA, who served from August, 2012 to January 31, 2015 as PSA’s Treasurer, Dana Cohoon, APSA, <[email protected]> has been appointed to fill the vacant position. Dana assumed the Treasurer’s duties as of February 1, 2015. Dana was elected an Associate (APSA) of the Photographic Society of America in 2013, after serving on the Conference committee, and she has previously served as Investments Vice President and a member of the Board of Directors.

The Society is grateful to Jan Lee for her service as Treasurer and a member of the Executive Committee.

The PSA Secretary, Elena McTighe, FPSA, EPSA, [email protected] will take over as supervisor of the PSA Headquarter’s staff as of February 1, 2015.


On the PSA WebsiteBy Sharon Powers • PSA Webmaster • [email protected]

Albuquerque Revisitedinvites YOU…

to participate in a Digital Presentation at the 2015 West Yellowstone Conference

Yes! You are invited to participate, by submitting your digital images for the “Albuquerque Revisited” Multi-Media Presentation at the 2015 PSA West Yellowstone Conference.

All PSA members are invited to participate, even if they did not attend the 2014 PSA Albuquerque Conference, but have suitable pictures of the Albuquerque area, which may help to enhance the presentation. Yes, you are all invited!

Anyone who has previously participated or attended one of the “Revisited” presentations at a conference, will agree that this is one of the Conferences’ most fun-filled sharing experience, keeping our memories alive through photography.

As you select your images, please consider images of interest, from field trips, workshops, presentations, scenic or any other experience taking place during and around the conference. You may submit any number of digital images on a CD or DVD, but no internet submissions please. We can use only images of good quality and please consider a variety of pictorial subject matter. There is no need to resize. However, if you must resize, consider a minimum of 1600 x 1200 pixels. You must do your own digital enhancements and tweaking. Send only JPEG or TIFF files, along with your photo release (email Joe for a copy of the release), to: Joseph J. Zaia, FPSA, at: PO Box 462, Flagler Beach, FL 32136-0462, no later than May 1, 2015. If you are late with your entry, please email or call us to let us know the entry is on the way. Those wishing to have their pictures returned promptly must provide a suitable self-addressed and stamped envelope; otherwise, pictures will be returned at the 2015 West Yellowstone Conference.

Please fill out the photo release and return it with your CD. Let us know if you do or do not need your pictures back and if you plan to join us in West Yellowstone.

If you should have any questions or need additional information, please contact me at: [email protected] or call 386-439-6787.

Thank you and I look forward to hearing from you soon and seeing you at the debut presentation in West Yellowstone.

Joseph J. Zaia, FPSA

PSA GalleriesOne of the great benefits of PSA membership is to be able to share your

photographic talents on the website. PSA offers its members five different types of galleries in which they can participate. Some are group galleries and others are for individuals. Some only remain on the site for months while others remain as long as the member is in good standing. All galleries are available only to PSA members.

First Year Galleries for new members are only for PSA members in their first year of membership. Grouped by the month in which the member submits the image, the monthly New Member Galleries remain on the PSA website for one year. New members may only submit one image to the First Year Gallery in total. Note: Once the new member participates in any month’s First Year Gallery that is it for the year. To submit to the First Year Gallery, go to http://psa-photo.org/index.php?galleries-new-member-gallery.

Show Your Stuff Galleries are for PSA members in their second year of membership. This gallery is not grouped by month. Members submit one image, which appears on the top row of the gallery. This gallery is a constantly rotating gallery. As soon as a new top row is added, the bottom row is removed. We generally keep 10 rows of images on display at all times. For information on how to submit to the Show Your Stuff Gallery, see http://psa-photo.org/index.php?galleries-show-your-stuff

PSA Member Galleries are available to all PSA members. Grouped by state, province, or country, these galleries are accessed also from larger area pages such as “North American Galleries” or “Asia Galleries.” Members may submit up to six images plus a short biography and a portrait. PSA Member Galleries may also be linked from PSA chapter pages. Member galleries remain on the website as long as the photographer is a PSA member in good standing. To submit to a Member Gallery, go to: http://psa-photo.org/index.php?galleries-member-galleries and use the link to the Gallery Upload Form.

ROPA Galleries are for PSA members who have earned at least a PPSA distinction. Grouped by distinction (i.e. PPSA, EPSA, MPSA, GMPSA), the galleries are similar to the PSA Member Galleries, but are filled with images from members who have earned multiple exhibition acceptances. ROPA galleries are also accessible from the Member Gallery area and contain “ROPA” after each name. When a member earns a new distinction, the gallery is graduated to the appropriate distinction and the biography updated to reflect the change. ROPA galleries remain on the website as long as the photographer is a PSA member in good standing. To create a ROPA gallery, go to http://psa-photo.org/index.php?ropa-galleries-overview and click the link that says “Use our online form.”

The newest PSA gallery area is the 365-day Galleries. These are one-theme-a-day galleries with one image per theme submitted from any pre-registered member. Images remain on the site for up to three months and then are replaced with the next month’s themes. To register for the 365-day gallery and view the current themes, go to http://psa-photo.org/index.php?365-day-gallery and use the 365-day-upload form that is linked from that page.

For a good overview of all the PSA galleries, go to: http://psa-photo.org/index.php?galleries.

A PSA gallery is a great way to share your favorite images with other PSA members. Be aware, however, that the galleries are popular and may take 3-5 business days before they appear on the site.

Note: PSA no longer displays links to SmugMug galleries. If you have images in a PSA SmugMug gallery and are still a PSA member in good standing, you can request to have up to 6 of those images transferred over to a PSA Member Gallery.


John Martin

Any mention of products or services in this article or anywhere else in the PSA Journal does not constitute an endorsement or approval of those items.

That’s My TakeBy John Martin • www.landscapeandstreet.com

But is it fine art? I’ve got an acquaintance who claims to

be a “fine art photographer.” He’s no better photographer than I am so I say (quietly) to myself: “There is no way that I would advertise myself as the producer of fine art photography. Who does he think he is?”

Fine art has always meant to me “…art that is better than normal” or “…better than good.” It is FINE, after all. It is a word that implies excellence or superiority.

So, if you say that you produce fine art photography, people might think you are bragging. For example if you say “I write fine books,” you would be saying that you’re a very good author. Braggart.

One would look at a very good painting and say that it is fine art. But one would look at a very good photograph and say that it is…well…a very good photograph.

OK, so I did a little research.Turns out that “fine art” is a left-over from the

days (seventeenth century) when the five fine arts were painting, sculpture, architecture, music, and

Greek Orthodox Church on the Isle of Naxos, Greece.

poetry. The two-dimensional, visual portion— painting—has evolved to include photography. And here is where it gets interesting: Photography can be either objective (photojournalism), commercial (to sell something), or subjective. It is the subjective branch that fits into the “fine art” category.

Now pay attention here: A photograph becomes subjective (thus fine art) when something of the photographer is put into it. Emotion, for example. This would apply even to modifications made after the shutter is released. (Post processing in Lightroom, Photoshop, etc.)

I modified the simple image of the little church. The sky wasn’t really black but I felt (as I was setting up the photograph) that the startling shapes against the sky spoke to me. When I processed the image, I converted to black and white and darkened the sky to put my feelings into it. Bottom line: If I produce an image that has some of me in it, I am injecting subjectivity and it is fine art. If I modify an image in post production, I have shaded the image toward fine art.

So...go out and produce fine art!That’s my take...


Reviews

Software ReviewsPhotoshop® Elements® 13Available from Adobe® Systemswww.adobe.com

Photoshop Elements 13: Windows 7 and 8 (32-bit and 64-bit), Mac OS X v10.8 or higherPrice: $79.00 New, Upgrades Available

Adobe Elements has been around since 2001 and has been the entry level offering from Adobe for image editing and cataloging. The last version reviewed in the PSA Journal was version 10 in July of 2012. The new version was released in 2014 and now will work with 64-bit operating systems and Apple Retina displays. This review will highlight several improvements which have been implemented the last couple of years.

The program is still divided into two parts, an Organizer and an Editor. The Organizer imports multiple formats of photos and videos into a very easy to use interface. The program utilizes tags, ratings, face detection, GPS coordinates and full metadata information. The Organizer has added the ability to access files from mobile devices such as smartphones and tablets. The sharing option has added Vimeo, PDF Slideshow and Private Web Album. A handy addition to the Create tab within Organizer is the creation of a Facebook® cover with either single or multiple photographs.

This will automatically load the photos and create a correctly sized image to be loaded directly into Facebook.

A large majority of the improvements have been incorporated into the Editor. All RAW files will automatically open in the RAW editor, which is the same version as Adobe Photoshop CC. One of the big differences is the Elements version of the RAW editor only includes the Basic & Detail tabs. It also only includes a couple of the additional tools: White Balance, Crop, Align and Red Eye Reduction. After opening in the Elements Editor, there are four options along the top of the interface: eLive, Quick, Guided and Expert. The new eLive option opens a web portal from Elements to a bunch of text and video tutorials to teach and inspire. The Quick section has been expanded and offers the basic tools and a lot of simple single click effects. This section is designed to do all the work and would be very useful to users of Instagram and similar applications.

Adobe Elements has enhanced the guidance with every step during the edit and enhancement of a photograph. The Guided section attempts to walk the user through the necessary steps it takes to improve a photograph. Some of the Guided steps are: Correct Skin Tones, Levels, Remove a Color Cast, Scratches, Blemishes and Sharpen. This section also includes a multitude of Photo,

Elements Organizer

By Brad Ashbrook • [email protected]

Brad Ashbrook



Camera and Play Effects such as selective color in a B&W photograph. There are four options to start with after an effect is chosen: Light, Lighter, Dark and Darker. Depending on the effect, other options are available. For B&W, a Diffuse Glow can be added and then the Contrast modified. For B&W Color Pop, the user can start with Red, Yellow, Blue, Green or select a custom color. Then there is a modifier to increase or decrease the number of tones being affected.

Expert is kind of similar to CC in that it is a more manual approach; however, there is still a lot of help offered along the way. The interface can be modified with floating useful toolbars such as Navigator and Histogram. The enhancement toolbar still resides along the left side and the options are displayed along the bottom. There are still a number of tools for View, Selection, Enhance, Draw, Modify and Color. The first noticeable addition is with the Crop tool in the Modify section. Composition is a key component of every great photograph so Elements now offers four Crop layout suggestions. Selections have always been a staple of the Photoshop editing process. Elements offers the Rectangular Marquee, Lasso and Quick Selection tool. Another tool, which has been inherited, is the Refine Selection Brush. This will definitely assist the new user with more complicated selections. Under the Enhance pull down menu there is an adjustment called Photomerge. There are six different choices: Compose, Exposure, Faces, Group Shot, Panorama and Scene Cleaner. Compose arrives in the new version and can combine parts of two different photos and blend the color and lighting. Exposure is similar to HDR and creates a natural blend of multiple images. The other choices are very useful with people and family photographs. Content Aware Fill, a very popular feature since Photoshop CS5, has been added to Elements. The previous

version added Content Aware Move to the Modify section of the toolbar.

Elements is certainly geared towards the beginner. The program is easy to use, utilizes Photoshop compatible plugins and is based on a layer workflow. n

Elements Guided Step-By-Step

Elements Raw Editor

Elements Facebook Cover Creator


Olympus OM-D E-M1In previous issues I have covered several

cameras but, so far, I have not looked at the Olympus 4/3rd system. This CSC (Compact System Camera) has gained a lot of interest by those photographers who want a camera that will give them “professional” results without having to haul around a lot of heavy equipment. The “4/3” (four–thirds) system has a magnification of 2X. That means that all the “4/3” system cameras (Olympus, Pentax and Panasonic) bodies will all take the same mount lenses and, in comparison to a ‘full frame’ 35mm body, a 25mm lens will be the same as looking through a 50mm lens due to the 2X factor. This means that all the lenses can be smaller

and lighter than ‘full frame’ lenses. For example, when shooting birds, a 300mm lens on a “4/3” body would be the same as using a 600mm lens on a 35mm body. A 300mm lens can be made a lot smaller, lighter and less expensive than a 600mm lens. Currently a Nikon or Canon 600mm f4 lens is about $10,000 while an Olympus 300mm f4 is about one-half the cost!

The Olympus OM-D E-M1 is the latest four thirds offering from Olympus. It has a 16.3MP sensor and a 3 inch tilting LCD touch screen. It has an internal 5 axis stabilization system built in. This means that, with this Olympus body, the lenses do not have to be stabilized (which makes them a bit more compact and less costly) because the body takes care of that function. It is also weather sealed. Being a “mirror-less” body, it can shoot up to 10 frames per second and has a top shutter speed of 1/8000 second. It will take one SD card and will shoot RAW and JPEG files. The maximum flash sync is 1/320 second and it will take video (NTSC/PAL). It has 100% viewfinder coverage. The weight is 1.09 pounds and the cost is about $1,399 for the body only.

If there are any questions about equipment or any equipment you want reviewed, please email me at: [email protected] or directly at [email protected]. n

Planning a Trip?Seek the Help of a PSA Travel Aide!

Contact Travel Aide Director, Shirley Ward, FPSA, EPSA, with your personal PSA membership number and information about your travel plans. Shirley will provide you with the name(s), addresses, telephone numbers, and email addresses of the volunteer(s) who are knowledgeable regarding your destination area. Please

remember that these members are volunteers; therefore, you will need to allow ample time for the contacts, and you will also

need to provide self-addressed stamped envelopes if the Aide is going to send you

any material by U.S. mail.

Contact Shirley Ward at: [email protected]

Hardware ReviewBy Alex Lane • [email protected]

Alex Lane


Just for BeginnersBy Carole Kropscot, APSA • [email protected]

Technical Information

Your Own Photographic Style“I like to take photos of everything!” exclaims

the beginning photographer! Now what? Do you keep taking photos just because you enjoy it, or do you want to pinpoint what you are trying to express? Then you could improve and reach your goals more successfully. Here are some techniques for finding and developing your own photographic style.

What do you like the best? Choose five favorite images by other people and ten of your own. If you find similarities in their looks, then you have already started to find your own style, consciously or unconsciously. Repeat every year!

If the images do not appear to be similar, analyze more deeply. Consider the kind of subject matter, the look (real, abstract), the difficulty of finding that subject and photographing it, the camera techniques used to capture it, the visual mood it evokes (mysterious, foggy, crisp, cold), how it makes you feel (happy, sad, intrigued, amazed), the overall look such as busy or plain, and the editing techniques used (creative, HDR, dramatic, contrasty, or real life).

You could have a different photographic style for different subject matter. For example, for landscapes you may prefer wide angle shots rather than zooming into a detail from afar. For portraits you might desire an extremely long telephoto rather than a wide angle up close.

It is helpful to identify the various categories of photography and to try your hand at them:

landscape scenic, close-up, portrait, sports, travel, architecture, photo-journalism, candids, groups, clouds, still life, low key, high key, food, soft focus, street photography, night, fireworks, fashion, model, and whatever else appeals to you. Each one will contribute to your developing photographic style as you use different cameras, lenses, camera settings, angles, editing processes, and choices for time of day, season, weather, etc.

Images can look real or abstract. A reflection distorts reality. A super close-up can be unrecognizable for its reality but a beautiful vision. What do you want to convey?

Beginning photographers often shoot everything. They learn the visual difference between a wide angle and long telephoto shot. They see what can be captured using a fast or slow shutter speed. They discover depth of field in a way that cannot be seen with the naked eye. That moment in time can look real or surreal. Then they realize that they can control the look of the image with their camera. And that is when the process of developing a photographic style becomes a conscious effort and a real joy. n

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Travel in Cars,Not a Bus.Travel in Cars,Not a Bus.Travel in Cars,Not a Bus.

Carole Kropscot, APSA



Tips & TechniquesBy Bob Benson, APSA • [email protected]

Lightroom—Using the Adjustment Brushes

Lightoom offers you several tools to apply more localized adjustments to your images. In this article, I am going to explore a few examples and considerations in the effective use of these. These special tools are located in the Development module above the Basic panel. Of the six showing, I am only discussing the Graduated Filter, Radial Filter, and Adjustment Brush. (see fig. 1) Once activated, all of these tools share common adjustments that can be applied: Exposure, Contrast, Highlights, Shadows, Clarity, Saturation, Sharpness, Noise, and Color.

Graduated Filter (shortcut is m)The obvious and most used method for the

graduated filter is to darken the sky, just as we did with a neutral graduated filter on our camera lens. To use, drag down in the sky in the area to apply the change. (Holding down the shift key while dragging will constrain the gradient, and prevent unintended wobble.) Everything between the start point and end point is where the adjustment goes from full to nothing. After applying, you can change your mind by grabbing the top or bottom bar showing and drag up or down to expand or constrain the area affected, or the middle bar to move the entire area up or down. The direction of the gradient can be inverted by using the Apostrophe key (’).

Adjustment Brushes (shortcut is k)This tool allows you to target very specific

areas in your photograph. The brush looks for contrast areas with defined edges to use as an aid in restricting the adjustment. Dragging the brush across your designated area will cause the changes that you set up in the adjustments.

At the bottom of the newly opened pane, you can see there are a Brush (A or B will be active) and an Erase button. Any time that you need to undo an errant brush stroke, click on the Erase button, or just hold down the Option (PC: Alt) key while brushing. (Releasing the Option key returns to the normal brush.) Of course, you can see the results in real time as you brush, but if you are not sure about the accuracy of the brush area, you can click on the “Show Selected Mask Overlay” on the bottom left of the image, or simply tap the letter O. Repeating the process turns the feature off. To temporarily see the red mask, hover the brush over the active button, and it will show up as long as the brush remains in that position. (see fig. 2 to see the red mask of the very dark foreground area that I decided to lighten. You can see the active pin in the red area and another pin for a different set of adjustments. Both pins are circled in yellow.)

The adjustment controls for the brush are similar to the brush controls in Elements and Photoshop: Pressing the left bracket key makes the brush smaller, the right makes it bigger, but holding the Shift key simultaneously with the left bracket reduces the feathering (increases hardness), and the shift and right bracket increases feathering. (Why cannot software by the same company use the same controls?) In figure 2, you can see the adjustment brush cursor. The two

Bob Benson, APSA

Figure 1—Brushes

Figure 2—Overlay


circles represent the hardness of the brush. The farther apart they are, the softer the painting effect, and the closer the circles, the harder the edge. I mentioned the A and B Brushes in the above paragraph; the great feature here is you can create a hard brush for close work around the edges, a bigger soft brush for in between, and switch back and forth while painting in the adjustment.

A very powerful feature of the brush tool is the Auto Mask. Clicking on the Auto Mask check box will turn on this feature. What this does is use the brush to help define the mask edges. It is very important that the center cross of the brush never goes over the defined edge while painting along the intended edge. However, the brush’s edge can certainly lapse over the defined area without any issues (usually). Once you have used the Auto Mask feature to define the outer edge area to be adjusted, you can turn off this feature to finish the brushing. (Auto Mask uses more computer horsepower, and the brush will react more quickly with it off.) See figure 3 for a close-up of this process in action.

Radial Filter (shortcut is Shift-M)By default, the adjustments with this filter are

applied to the outside of the radial shape you create. This is logical for one of the purposes of this filter, which is to create vignettes off center. For my purposes it is counter intuitive, so I invert this behavior permanently by choosing the Invert Mask check box at the bottom of the open pane. The shortcut is the same as the graduated filter, the Apostrophe key (’). I call this my Sunshine Filter, as I tend to use it to draw attention to an area, or give an impression of more light hitting one area of a landscape. An example of this is shown in the images of the old house with and without the filter, slightly emphasized for effect (fig. 4 & 5). As with the adjustment brush, the amount of feathering can be varied to soften the effect. After drawing, the shape can be edited by shift-dragging on a handle, moving, changing the feather amount, and even rotating the oval.

All three filters will show a pin(s) when active, and an adjustment has been applied. Clicking on it activates that particular adjustment for further edits. Pressing the Delete or Backspace key when the pin

is active will delete the adjustment entirely. When you are done using these tools, you can stop the process by clicking the tool again, clicking the Done button at the bottom right of the image, or clicking the Close button on the bottom right of the open tool panel. (So many ways to do the same thing!) The nondestructive processes discussed here allow you to change your mind as much as you want.

My tip for using these tools is to apply a much larger adjustment than initially intended, so that it is easier to see what is happening with your edits. Once you have the area properly defined, than dial down the numbers to get the desired effect. The Brush and Graduated Filter can be very effective and fast, and in many cases all that are needed to finish the results. But software such as Photoshop or Elements allows one to apply these types of adjustments in a more precise method, using layer masks. Just keep this in mind when deciding how to proceed. n

Figure 3—Mask

Figure 4—Original

Figure 5—Modified

My tip for using these tools is to apply a much larger adjustment than initially intended, so that it is easier to see what is happening with your edits. Once you have the area properly defined, than dial down the numbers to get the desired effect.


One of the reasons I shoot video is so I can add video elements to my slide shows. I’ve spoken with several other PSA members on this subject, and we share the same opinion. I have been an avid user of Photodex ProShow Gold for several years. Their software has come a long way in recent years with the addition of graphics acceleration technology. This has enabled many new features which includes the addition of video. Therefore, my needs for video editing are very basic and Photoshop CS6 and CC can provide that. And, one benefit of using Photoshop is the ability to use Layers for adjustments such as converting to Black and White, controlling exposure, color balance, vibrance or virtually any Photoshop feature and assorted plug-ins.

The following is a brief description of using Photoshop for video editing. Please note this description is based upon a Windows PC platform and will be similar for MAC users:1. The very first thing you must do is to organize

your video clips in one folder on your computer. I create a new folder for the specific video clips. If I shot video clips with my iPhone, GoPro and DSLR at the Albuquerque Balloon Fiesta, all clips would be downloaded and stored in that file for easy retrieval and use.

2. Open Photoshop and go to Window > Workspace > and select Motion. This opens up the video editing features and provides a Video Timeline at the bottom of the Photoshop Desktop. (fig. 1)

3. Select video clips from your video folder. a. Select and load your video clips in

the same manner you would still images in Photoshop.

b. The individual video clips will be arranged in the order selected and will appear as Video Group 1 in the right side panel. (fig. 2)

4. Trim your video clips as they appear in the Timeline.

Video and PSA

Bill Buchanan, FPSA

By Bill Buchanan, FPSA • [email protected]

Figure 1 Figure 2

Editing Your Video in Photoshop As I was preparing for our video workshop

for the PSA Conference in Albuquerque, NM, I was watching an online episode of the Grid. This is a weekly production of Kelby TV. If you have not watched it, I would encourage you to watch it. There are many fine interviews with noted photographers and tips on shooting and techniques. This particular episode discussed video editing in Photoshop, something I was aware of and had seen demonstrated at a Kelby One Seminar several months earlier. This feature, by the way, is included in Photoshop CS6 and subsequent issues of Photoshop CC.

If you wish to view this Grid presentation, here is a link to that episode: http://kelbytv.com/thegrid/2014/07/24/the-grid-why-you-arent-using-hd-video-on-dslr-episode-153/.

The one issue Scott Kelby spoke of that made me think was if the majority of DSLR users have the ability to HD shoot video, why don’t they shoot more of it? And, I ask you, the members of PSA, why don’t you shoot more video? I welcome your comments.

The main reason still photographers do not shoot more video is probably because they fear learning a new editing program in addition to their Photoshop, Photoshop Elements, or Lightroom. The majority of video editing programs, which may have a steep learning curve, will require a lot of time and dedication to learn. I have tried a few of the basic video editing programs; I can attest that the general editing workflow may be similar but each one has its unique traits.

One of the hidden secrets in Photoshop CS6 and Photoshop CC is its ability to edit video. Yes, Photoshop can edit video. Granted, Photoshop may not have all the bells and whistles you may find in iMovie, Adobe Premier, Final Cut Pro or any other pro grade level video editor. But, we don’t really need all those features for our use.


a. To trim your video clips place your cursor over the beginning or end of the clip. When you left click at that point, a bracket symbol with a double arrow will appear; also a thumbnail window will appear showing where the video can be cut.

b. It is also possible to Cut the video segment to add additional video to the intended clip.

5. Once your video clips are arranged in your preferred order it is possible to add fades, if desired, to the selected clip along with all clips.

a. At the left window you will see a small half shaded square with a diagonal line. When you click on this you will find four basic Fades. Select one and drag it to the beginning or end of your video clip if desired. (fig. 3)

6. If you have a separate audio track that you wish to add, you may do so by clicking on the little triangle at the end of the window, Audio Track. (fig. 4)

a. Audio tracks can be shortened the same way video tracks are trimmed. It is also possible to add fades to the beginning and ends of audio tracks.

7. One of the final steps in creating your video is the addition of Titles and text.

a. You may have several video clips in Video Group 1. Click on the Triangle in the Video Group Layer to collapse all Layers into video Group. (fig. 5 & 6)

b. Once you have created a Text of Title Layer you can place it anywhere along the Timeline by simply dragging it to the preferred location.

c. You can also control the length of the title in the same fashion you control the length of the video clip. You can also control Fade in and Fade out in a likewise manner.

d. Once everything is organized in your Video Timeline you will have Titles, Video Clips, and Audio Track neatly organized at the bottom of your workspace. See figure 6 for a general view.

8. The final step in the process is quite easy because Photoshop and the nice folks at Adobe have taken the guess work out of the process.

a. Click on the Triangle at the right side of the Timeline Window. (fig. 7) to open the Render Video window. (fig. 8)

b. All you need to do is select the folder where you want to store your completed video and the Format which you wish to save it as. There are many options available from Android Phone, Apple iPhone, HD 1080p TV, Vemo and YouTube Video. Make sure that “Adobe Media Encoder” is selected rather than “Photoshop Image Sequence,” or you will end up with a series of still JPEG images rather than a video.I would encourage you to search the internet

and find various how-to videos to learn more about editing your video in Photoshop CS6 and CC. One good video is provided by Adobe. See: http://tv.adobe.com/watch/creative-suite-podcast-photographers/how-to-edit-video-in-photoshop-cc/

I would encourage you to begin with a couple of video clips just to get the feel for video editing in Photoshop. Learn the basics of trimming your video clips; work with fades and get a feel for what can be done in Photoshop. You too may realize that this software is all you need to edit your video. n

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7Figure 8



Questions and Answers

Erik Kissa, APSA, MPSA


By Erik Kissa, APSA, MPSA • [email protected]: What is a constant aperture zoom lens?A: Zoom lenses with a constant aperture do not exist. Aperture is the opening in the lens letting light fall on the sensor. Some lenses, like the f/2.8 70-200mm zoom lens, have a constant f-number, also called the speed of the lens. However, their aperture is not constant. When the lens is zoomed to longer focal lengths, the apertures must increase to maintain the constant f-number, the ratio of the aperture and the focal length.

Some lenses, called a variable aperture zoom lens, have indeed a variable aperture but should be called a variable f-number or variable speed lens.

The size of aperture is important because the depth-of-field increases with the decreasing size of the aperture, the distance being constant.

Q: What is your opinion of the “new” Nikon 80-400mm f4.5-5.6 VRII? I have the original version of the 80-400, and it is less than satisfactory.A: The new 80-400mm Nikon is a vast optical improvement of the old mediocre 80-400mm lens. The new VRII stabilizer is a large improvement as well.

However, the 80-400mm f/4.5-5.6 VRII lens has two important disadvantages. It is very heavy (3.5 lb) and expensive ($2700). The Nikon 70-300mm f/4.5-5.6 zoom lens (105-450mm in DX format) is an attractive alternative because the weight difference (3.5 lb vs. 1.64 lb) and the price difference ($2700 vs. $587) of the two lenses are enormous. The higher price of the 80-400mm lens is not worth a 1.3x larger image, easily available in Photoshop. The 70-300mm lens has a slightly larger close up magnification as well (1:4 vs. 1:5 of the 80-400mm lens).

At the long end the edges of the 70-300mm lens are soft at f/5.6 but stopping down to f/11 restores sharpness. The 80-400mm VRII lens is slightly sharper at 300mm but neither of the two zoom lenses has the large aperture and high sharpness of prime lenses.

Q: I have a Canon 7D. Should I upgrade it to the Canon 7D MKII?A: The Canon 7D MKII is a better camera than its predecessor. The main improvement is autofocus, 65 AF points vs. a meager 19 points. In live view the autofocus uses on-sensor phase detection which is much faster than the contrast detection in the previous model. Also, video shooters may like the improved video of the MKII.

High ISO has increased from 6400 to 16000, useful for low light photography. The buffer depth, 1090 JPEG or 31 RAW, is an improvement over 130 JPEG or 21 RAW. However, the slight increase

of the pixel count of the sensor from 18MP to 20MP is insignificant. The faster continuous drive, 10 fps vs. 8 fps, is not a great improvement either.

If your camera does everything very well for you, you do not need an upgrade. If the new model can improve your photography, you may consider the upgrade.

Q: I have been using Nikon D90 for a few years and feel like upgrading. With so much talk of the FX format I have been thinking of a Nikon D610 or D750. I have noted that, apart from the 51 focal points and the tilting LCD, the D750 has hardly any other advantages over the D610 which is cheaper by $500. In your viewpoint will that be a better option to consider?A: You are right; there is not much else to get excited about. The maximum ISO is higher by one stop, from 6400 to 12800. Other improvements are a better metering sensor, improved video, and a built-in WiFi. The faster burst rate (6.5 vs 6 fps.) is not worth mentioning. The Nikon D750 is a better camera than the D610 but not a greater value.

Q: I’m having a little bit of trouble understanding the exposure compensation dial. In aperture priority mode the only thing that will change is shutter speed. Is the shutter speed decreasing to let more light hit the sensor and vice-a-versa when increasing? A: The exposure compensation dial changes either the aperture or the shutter speed. When the camera is in the aperture priority mode, turning the dial towards the “+” side increases exposure by reducing the shutter speed. Turning the dial towards the “-” side reduces exposure by increasing shutter speed.

When the camera is in the shutter speed priority mode, turning the dial towards the “+” side increases exposure by increasing the aperture (smaller f-number). Turning the dial towards “-” decreases aperture (larger f-number).

In the Program mode, the exposure compensation makes changes in accord with the characteristics of the program installed in the camera. The photographer has less control in the Program mode than in the aperture or shutter speed mode.

Q: Is black a color?A: Yes, black is a color. Various colors are created by selective absorption of transmitted or reflected light. White is not considered a color because it reflects or transmits all light. Black is a color because it absorbs or blocks all light. Every textile or paper dye line has a black color. n

The size of aperture is important because the depth-of-field increases with the decreasing size of the aperture, the distance being constant.


Member Benefits & Services

PSA at Your ServiceBy Dick Sprott • [email protected]

Spring is not far off. Have you done all the post-processing you intended this winter? If not, and the problem is lack of energy, we can’t help much. BUT, if the problem is a lack of software and knowledge, then PSA‘s Mark Southard, FPSA, can help. If you have attended any of his PSA Conference sessions you know how good he is at making post-processing accessible. He offers to help individually as the PSA Photoshop Elements Mentor.

Have you always wanted to get involved in photojournalism, but not been sure what qualifies? Lynn Troy Maniscalco, HonPSA, EPSA, an experienced photojournalist, wants to help. If you want help, see Lynn’s note below.

Meet the Photoshop Elements Mentor Mark Southard, FPSA

This little piece of software (by Adobe) is the best value in all of image editing. Regularly priced at $99, you can often find it for $ 79 at Costco and sometimes as low as $49! Although it is the ‘little brother’ of the full blown Photoshop, the learning curve is much shorter. And it offers great features not even available in the ‘big brother’ version as it has a ’Guided Edit’ that does most of the work for you automatically and a ‘Quick Edit’ that gives you great hints on how to and when to improve your images by color, by lighting, by composition and many other options.

And you can get it FREE for a 30 day trial! How can you beat that!!? “If you would like, send me an image. You might want to give me a hint

as to what you want to accomplish or, if not, just email the image to [email protected] and I will work on it, and send it back to you AND tell you exactly what I did.

Meet the Photojournalism MentorLynn Troy Maniscalco, HonPSA, EPSA

Are you unsure about appropriate subject matter for Photojournalism (PJ) Human Interest competition? If so, log into “My PSA,” go to “Mentor Services” under the heading of “PSA Education,” and click on “Storytelling.”

PJ tells stories with photographs, and a strong picture can tell the story quickly and completely. Human Interest is a great PJ subject, consisting of images that show a person or persons in an interactive, emotional, or unusual situation. This competition category excludes recreational and sports action, set up situations and manipulation—in other words, it captures real moments depicting humans in situations that can evoke an emotional response from a viewer.

After you have had a chance to review the image examples and the five references provided, if you are looking for additional guidance, email the PSA

mentor at [email protected].

Dick Sprott

Take Advantage of the Mentors Services Today!Visit http://www.psa-photo.org/index.php?member-education-mentor-services

for a list of topics and mentors. Each mentor webpage has the mentor’s portrait and email address, a

description of the topic, a list of references and/or resources, and photographs by the mentor that illustrate the topic. The topic description, the references, and the mentor’s illustrative photos should be carefully reviewed before contacting the mentor.


by Dennis Hirning, APSA, MPSA

365 Day ChallengeMarch 2015 Day 1 Camera(s)Day 2 Phone(s)Day 3 DessertDay 4 Letter(s)Day 5 Barrel(s)Day 6 Glass(es)Day 7 Package(s)Day 8 Key(s)Day 9 Steeple(s)Day 10 Bridge(s)Day 11 SmokeDay 12 Bell(s)Day 13 Card(s)Day 14 JewelryDay 15 Hat(s)Day 16 Piano(s)Day 17 Bottle(s)Day 18 Face(s)Day 19 TimeDay 20 TrumpetDay 21 HappyDay 22 Dancer(s)Day 23 MusicDay 24 Sandwich(es)Day 25 Orange Drink(s)Day 26 TwinsDay 27 SoupDay 28 Wall(s)Day 29 GraffitiDay 30 Hand(s)Day 31 Shoe(s)

April 2015 Day 1 Striped CandyDay 2 A Favorite FoodDay 3 At last!Day 4 A Street ViewDay 5 InspireDay 6 MessDay 7 Grateful For…Day 8 Before/AfterDay 9 Be PositiveDay 10 ArrowDay 11 Sweet ToothDay 12 ScaleDay 13 CompositionDay 14 ExploreDay 15 Listening ToDay 16 Around TownDay 17 EatDay 18 Looking BackDay 19 LetterDay 20 Watching…Day 21 LovingDay 22 MorningDay 23 DropDay 24 DrinkDay 25 MotionDay 26 CerealDay 27 CommunicationDay 28 My Drink Of ChoiceDay 29 LostDay 30 Old Photo

It has been a couple months since the 365 Day Project began in January. You may have found some subjects that are very difficult to interpret. Even simple ones could be presented in several ways. If you just can’t seem to come up with a subject, check out the gallery at the top of http://www.psa-photo.org/index.php?365-day-gallery. You may find some inspiration by seeing how others handled a particular day.

In the subject of Repetition, Andrea Maina’s image, Repetition shows the baroque detail of the Palazzo Carignano in Turin, Italy. To some this might seem to be a fairly common interpretation.

Diane Fonger was discussing the assignment with her husband and trying to envision repeating lines or shapes when she received the audio inspiration from her clock. The result, Coo-Coo Clock, was her entry for Repetition.

Sometimes you may be unable to come up with some other variation and you may have to create an image in post processing, like Sam Shaw, FPSA, MPSA, did. He started out with a

single playing card and continued to duplicate, rotate and resize it to make Queen of Hearts Repetition.

If all else fails, don’t be afraid to come up with your own assignment and submit it to the gallery. There are no rules for this Project so no one is going to criticize you for doing something that doesn’t seem to fit. This is supposed to be fun. The main thing is to do something. n

Queen of Hearts Repetition © Sam Shaw, FPSA, MPSA

Repetition © Andrea Maina

Coo-Coo Clock © Diane Fonger

Letters to the EditorWe value your input

Submissions of questions, comments or suggestions relating to anything involving PSA are welcome and may be sent to [email protected] or [email protected]. Submissions must include the writer’s name.

Letters will be forwarded to the appropriate board member or service director for response and/or action. Those that may be of interest to other PSA members will be published as space permits and may be edited. Letters should be concise, use appropriate language, and contain no personal attacks or put-downs.


For over seventy years, members have been writing articles for the PSA Journal. Tremendous changes have taken place in both the photographic industry and in the printing industry. While many of the key elements of preparing a manuscript for publication are the same, new technology has brought some new requirements.

The current method for submission of material for the Journal is via email. Simply attach your Microsoft® Word file to the email and send it to the PSA Journal Editor at [email protected]. If you have a problem sending attachments, copy the text from your word processing program directly into the body of the email. Providing a digital file for your article allows immediate review of your document because it does not have to be re-typed and is a very efficient way to ensure that your submission is exactly as you want it (with the exception of any editorial changes deemed necessary).

Don’t use all capital letters. When you type your article, use regular type, not script, upper and lower case letters and do not double-space the text or leave wide margins. Please do not justify the right-hand margin. When sending accompanying photos, digital submissions are preferred. The digital files should be prepared for offset printing: uncompressed TIFF files are preferred; in the file names, do not use punctuation or symbols, use files names that help identify the image and do not duplicate the name. Resolution should be at the offset-printing standard of 300 dpi. All files submitted for publication in the PSA Journal must be 300 dpi. Do not over-sharpen your image at any stage.

You may also send prints or slides which will be scanned according to the size at which they will be printed and at the brightness and color levels based on the settings our commercial printer uses. Send more images than can be used and send both horizontals and verticals. Do not refer to specific images in the body of your article, as the Editor will select the images. Also, we will know at the time of scanning whether an image needs to be scanned as a grayscale or color image, as that affects the output too.

Please meet our deadlines. We have a two-month lead-time for all scheduled material. All non-scheduled submissions are used when the Editor can work them into issues. If you are submitting an article for a particular issue, your finished article needs to be into the Journal editor sixty days before the first day of the issue month. We do not write articles from your notes; we use your prepared document, subject to editing.

If you have had an article on file at the PSA Journal office for a long time, it is possible we have just not had the space, or we needed to use other articles first to meet PSA guidelines, emphasize a theme, or balance the content. We will, however, return it upon your request. Occasionally some material never works into the magazine and has to be returned.

We appreciate all of the PSA authors. Thank you for making your mark for the advancement of photography and helping others learn from your experience and expertise.

Writing for the PSA JournalAttention all Contributors:

Members change email addresses frequently, but sometimes they forget to tell the Photographic Society of America!

Please advise PSA Headquarters, all Divisions in which you work as a volunteer, and all individual PSA contacts.

[email protected]

Change of Email Address

Many members of the Society wish to help the Photographic Society of America (PSA) fulfill its important purposes through donations. Donations are greatly appreciated. It is preferred that donations be made to any of the following: the General Operating Fund, the Scholarship Fund, the PSA Endowment Fund, or the PSA Endowment Fund II.

n General Operating Fund. Donations made to the General Operating Fund are used to fund the many and varied operations of PSA. Contributions have been used to support the PSA Journal, purchase equipment for headquarters, maintain the permanent print collection, support scholarships, and provide funding for youth programs. Future donations will be used to support similar projects.

n Scholarship Fund. PSA has a scholarship and grants fund to support photography students and programs. The fund is under the administration of an active PSA Scholarship and Grants committee.

n PSA Endowment Fund. Donations to the PSA Endowment Fund are used to provide for the needs of the Society in their day-to-day operations as well as to provide funding for special projects as needed. The principal may be made available in times of special need.

n PSA Endowment Fund II. This fund is similar to the PSA Endowment Fund but the principal is not available for distribution. The interest and dividends generated by this fund are used to support the Society in its many and diverse activities.

Giving to PSA

Only YOU Can Sponsor a Hard-working Person

for a PSA Service Award!PSA Service Awards are presented to PSA members in recognition of outstanding service to the Society. These awards are not based on photographic performance, but are given for exceptional service to the Society via local, regional, national, or international efforts that advance the Society’s Mission or contribute to the accomplishments of the Society.

A PDF application is available at http://www.psa-photo.org/index.php?awards/

recognition-of-service/service-awards


Part 3Judging is Easy

By Jon FishbackWashington

FEATURES

The Human EyeThe Human Eye—Tracking

Years ago a man named Alfred Yarbus began studying how we view images. This was the precursor to the studies carried out today to determine how the public views the television screen. The modern day reason is obvious; advertisers want you to look at the screen and see what is important to them, not to you.

Mr. Yarbus’ reasoning may have been a bit more obscure, but his research may have given us a look into the mind of a modern day photographic judge.

Yarbus used a painting called Coming Home, an image of a man coming into a room, being let in by the scullery maid, with his family in the room reacting to his return.

Participants were given specific tasks to apply when viewing the image. The participant’s eyes were tracked over the image based on the

task given, and charted. When the task was to determine the wealth of the family, they looked from person to person checking out their clothes. When tasked to guess the ages of the family, the participants moved their eye from face to face fixating on each long enough to make the age determination.

Yarbus, unwittingly, may have given us a clue as to the judging process. It seems each time a person is given a viewing task they will attempt to fulfill the task. Judges are given a tacit task of finding something proper or improper within an image. How the judge approaches the task pro or con may not matter. The fact is that the task, for the judge, is not to enjoy the image, but to analyze it based on his or her experience.

Given the task to judge the image of the windmill, a judge may move around the image looking for something perceived to be proper or improper, as indicated by the white lines.

Many times you will hear a judge say, “My eye wanders all over the image and I find that distracting,” or “I am disturbed by my eyes searching all over the image for the center of interest,” or “There are just too many things to see and I find that confusing.”

The thing is, if research says that viewing an image is task oriented and one is given the task to find something either proper or improper, how can this be accomplished without the eye movement?

It may be entirely possible that eye movement is a natural phenomenon based on the task at hand. What you may perceive about the image may not have anything to do with eye movement.

The Human Eye—FocusThe healthy human eye can only focus sharply

in a 1 (one) degree spot exactly in the center of the eye. The healthy human eye never sees anything out of focus. These two statements may seem to be in conflict without further explanation.

The healthy human eye changes focus so fast the mind may not be aware of it. The fact is the eyes are moving at all times. The movement can only be seen by a very high speed device, but the movement is there. This rapid change in



focus of the one degree spot, called the foveal pit, makes everything appear to be in focus, even backgrounds.

If you want to test this, you need to understand the term fixation. When the eye stops its meandering and you concentrate hard on one small object, you are fixating.

Fixate on the colored circles in the center of can #1 in the image above. Do not move your eye at all. Be aware of everything else in the image but do not move your eyes. Are all the other cans out of focus? It can’t be, as it is a single plane image on a flat piece of paper. Cans

#1, #3 and #4 are all at the same distance from the camera. What you are seeing is what is out of your point of regard (POR).

Since you are not able to see anything sharp unless you move your eye, there may be nothing wrong with moving your eye. Much like in eye tracking, if you see something wrong with the image, it may not be due to the movement of your eye. You just may be trying to find something sharp. n

Judges are given a tacit task of finding something proper or improper within an image. How the judge approaches the task pro or con may not matter. The fact is that the task, for the judge, is not to enjoy the image, but to analyze it based on his or her experience.

Make Plans to Attend the2015 PSA Annual Conference at Yellowstone National Park

Sunday, September 27 through Saturday, October 3, 2015

Holiday Inn West Yellowstone, 315 Yellowstone Ave., West Yellowstone, MT 59758

The 77th PSA Conference has an exciting lineup of photo tours,

workshops, programs, featured speakers, and social activities.

CONFERENCE REGISTRATION WILL BEGIN ON APRIL 1, 2015Look for registration forms in the April Journal


Seasons in the

Grand Tetons

While the concept of national parks has now taken hold in many nations, those in our own backyard provide some of the greatest photographic opportunities available. Today, there are fifty-nine administered by our National Park Service, together with numerous other photogenic sites at national monuments, battlefields, military parks, and areas maintained by the Bureau of Land Management and U. S. Forest Service.

Thus, the possibilities abound for excellent results in a multitude of photographic environments. However, Grand Teton National Park in Wyoming has proven to be like a magnet.

To be sure, there are iconic images that have been taken over the years by Ansel Adams and other noted photographers. But there remains no substitute for the personal enjoyment of visiting the Tetons and taking images from sites where great photographers once stood, along with other off-the-beaten-path sites.

A visit in the fall with all the brilliance of aspens and other foliage changing colors is like visiting one park; while a trip in March, with deep snow pack on the ground, is like visiting an

altogether different park. The resulting spectrum of scenes and imagery is wonderful.

An early October workshop organized by noted photographer Jim Stamates (www.stamates.com) through Nikonians (www.nikonians.org), proved to be a grand learning experience. Arriving a day early provided an opportunity to take the tram to the peak of Mount Rendezvous with a fellow photographer, Larry Jordan (larryjordan.smugmug.com), who has superb talent and technical skills.

Once the workshop began, our group of ten traveled each day in several vehicles to predetermined meeting points for viewing awe-inspiring landscapes, together with abundant wildlife. There was something for everyone, whether taking in the grandeur of the majestic Tetons from Snake River Overlook and the iconic sunrise shot at Oxbow Bend, or viewing eagles in a distant nest, to hiking down a river bank to watch a herd of more than thirty elk cross it just before sunrise.

While getting ready for the hike that morning, coffee in hand at a trailhead in the chill and darkness, the bugling of elk was a spectacular

By Don MercerVirginia

Walking Horns


sound to hear as it traveled across the woods and fields. Pronghorn antelope appeared frequently, with some in range for good images.

When traveling off the main road that traverses the park, a herd of bison was seen one afternoon that presented numerous photo opportunities as they moved from one area to another and our group followed. Moose were seen on a number of occasions. Also, landscape images were taken with the historic barns on Mormon Row in the foreground.

A black bear was viewed behind some bushes off Moose Wilson Road, while a grizzly mother and two cubs were seen eating a recent kill off a side road south of Jenny Lake. The grizzly sighting occurred during the first snowfall of the season near the end of our workshop. Unfortunately, none of the bears presented photo opportunities but they were nonetheless exciting to see.

The use of two camera bodies is recommended, one with a telephoto and one with a wide-angle lens, to minimize the need to change lenses. A circular polarizing filter is a must for the clear blue skies, at times interspersed with some white puffy or high cirrus clouds, especially in March. The use of a sturdy tripod and remote release are critical for sharp landscape images, as with wildlife when feasible.

Nearby Jackson has become a resort town, having one ski area in town and Teton Village nearby. Never having been to the Tetons, other than in summer and fall, prompted a family vacation the winter following the excellent autumn

Atop Mount Rendezvous

Autumn Splendor—Schwabacher’s Landing


workshop. The plan was to spend a couple of days on the slopes with at least three days dedicated to photography. That worked well and proved most rewarding.

While the main roads in the park were plowed for the most part, some of the back roads required inspection, as they varied from passable with a rented four-wheel drive SUV to impassable at some points, with others being closed. A check with the National Park Service by calling, or checking online, can save time in determining what areas are open on any given day.

As with all cold weather activities, outdoor photography in below freezing temperatures requires some different considerations. Aside from important personal safety issues (appropriate clothing, water, food, leaving word as to where you are going, etc.), a primary concern is taking sufficiently charged batteries, along with a spare for each camera, because the cold takes a toll on any battery charge. A good idea to prevent condensation when moving from the cold outdoors into the car is that of placing your camera in a sealed bag until it acclimates to the warmer temperature and humidity.

Most landscape shots required hiking through up to a three-foot snow pack so good waterproof

boots were a necessity. Shooting snow scenes poses unique challenges. Many images, taken in snow, benefit from the use of a circular polarizing filter that may minimize glare.

Optimizing such images incorporates a balancing act with light conditions, ISO, white balance selections, and EV (exposure valuation). When in soft or harsh light, ISO 100 or 200 may be used more often than not. However, when in low light, ISO 400 or even greater may be required in order to obtain the optimum aperture and/or shutter speeds desired. The use of a tripod is of substantial help in this effort.

White balance is the next order of business and it is best to shoot using at least two different settings: daylight or cloudy/shade, depending on lighting conditions. Comparing these different results will better assist in selecting optimum white balance. While usually utilizing aperture priority mode, shooting in the snow may benefit from the use of “snow/beach” scene selection, if available in your camera. That option is well worth checking out.

Selecting the optimum white balance when in snow is much akin to seeking that perfect exposure valuation (EV) with other images to obtain the best contrast, color saturation, highlights, etc. You may also want to vary the Kelvin temperature grid, if

Autumn Reflections


available, as in moving to the right and lower when seeking to warm the image. Snow scenes provide a great opportunity in which to experiment with different settings.

With images taken in the snow, it is usually best to have the horizon in the lower third or upper third of the image, not across the middle of the picture. Incorporating items of interest in the foreground may bring life to the picture, as scale and achieving reasonable dimensionality in snow often proves difficult.

After obtaining good images using the above points, consider bracketing any image with at least two additional EV steps, both above and below 0 EV. The use of a loupe to minimize glare and to better assess image results when viewing the LCD is of great benefit when shooting in snow.

And when what you get in the field is not the desired result, some magic is achievable at times in post-processing. That is especially the case when shooting in RAW format, as opposed to using only JPEG, when shooting in snow.

The groups of photographers that were in abundance during the preceding October visit were nowhere to be seen. But, that was part of the serenity to be enjoyed on crisp days at the overlooks and while viewing wildlife. When planning a sunrise shot at Oxbow Bend in October, it is prudent to scout your desired place from which to shoot on an earlier day and get there an hour before sunrise when shooting. In doing so, you are assured of a parking place and then you can walk down the trails with a flashlight—a headlamp works well—to set up at your pre-selected location. In the winter, all the trails were deep in snow. Setting up and waiting for the sunrise with no one in sight provided solitude in the most beautiful of settings, in spite of experiencing temperatures in the low twenties. Later that morning, there were some breathtaking scenes with fog lifting around Jackson Lake and along the Snake River.

The bison herd viewed in the winter was in close proximity to the location where it had been found in the fall. Bison jumping through the snow

was a beautiful sight. Moose were far fewer, but could still be found. Bear were then in their dens, although two foxes were encountered.

While hiking was required to get within any reasonable proximity to elk in the fall, a visit in March to the National Elk Refuge, just north of Jackson, was spectacular with a large herd of elk present. After driving to the northeast outside of Jackson on a dirt and gravel road toward Millers Butte and into the refuge, quite a number of bighorn sheep, as well as elk, were photographed.

Along with the enjoyment of photographing landscapes and wildlife, an opportunity was provided by one daughter for some action shots when she took the tandem paragliding “jump” down from the mountain’s summit above Teton Village. Switching from one camera to another with telephoto to wide-angle just outside the landing zone, as she descended, provided excellent challenges of photographing that activity against the beautiful backdrop of a mountain village.

Equipment used included Nikon® D300, D7000, and D5000 cameras, together with Nikkormat® 18-105mm, 70-300mm, and Tokina® 11-16mm lenses. nView from Snake River Overlook

Bull Elk—National Elk Refuge

Photos © Don Mercer



featuring...Susan Cowles, APSA, EPSA

California

By Sue Marrugi

istinctive Image

Susan Cowles, APSA, EPSA, is a wonderful choice for the Distinguished Image Artist feature in this issue. Susan lives in Corona, California with her husband, Larry Cowles, FPSA, GMPSA. Susan’s portraits have been in competitions world-wide, earning her over 250 awards, which include approximately 100 Gold Medals. She has created a distinctive portrait style that is easily recognizable. Her portraits go beyond the usual. Susan strives for

perfection and views her work as fine art, utilizing a combination of studio lighting, makeup, costuming and post-processing to create strikingly beautiful portraits. She has been professionally trained in applying makeup and has a large inventory of costumes and jewelry that she uses for her shoots. Susan draws from pools of models in her area for her subjects. They are eager to receive finished prints from the shoot as their compensation.

Latrice—Curly Hair, Black Hat


Susan joined PSA in January of 2007 as a brand new, enthusiastic photographer. Along with taking courses at the Tri-Community Photo School to develop her skills, she became very active in both PSA volunteer positions and competitions, earning the Early Achievement Award in 2009. Her Honors and Distinctions include APSA, which was granted in 2014, PPSA, earned in 2009 and EPSA, earned in 2014. In addition she has Star Ratings of a Galaxy 6 in the Projected Image Division (PID), one star in the Nature Division (ND) and two stars in Small Color Prints in the Pictorial Print Division (PPD). She is a member of PSA’s Roundup Chapter and the Exploring Light Camera Club for which she has served as President since the club’s founding about five years ago. Her club is part of the Southern California Council of Camera Clubs (S4C) where she has earned a DFS4C.

Susan has an Associate Degree of Applied Science and is a retired Registered Nurse. Portraiture, pets and hummingbirds are her favorite subjects to photograph. Her versatility and excellence have been recognized by her being listed among the top exhibitors in PID, PPD, PTD (Photo Travel Division) and ND in PSA’s Who’s Who in Photography for several years.

She has held many positions in PSA, including Chairman of the Color Projected Image Division (CPID), 2011-2012. She started the Individual Portrait Competition and still assists the Director with it. Susan got involved with PPD in 2009 and is currently PPD’s 1st Vice Chairman. She also designed the 75th Anniversary gift (a lens cloth in a decorated self-contained bag) that was given to PSA members at the Yellowstone Conference.

Susan passed the PSA judging course and is on the official judges’ list. She is always willing to judge and has performed this function for clubs, councils, and many international exhibitions. She is the instructor for the PSA available light course offered free to members. Those of you who attended the recent conference in Albuquerque may have had the opportunity to attend Susan’s excellent program on post-processing portraits.

Jasmeet with Golden Jewelry, B+W

Taylor Noel Perky in Red

Kacie—Flowers in Her Hair



Ashley T. Saying Her Prayers

Nyaa in Flapper Hat

Artist’s StatementMy love for photography started at the Baltimore PSA Conference where my husband, Larry, loaned me one of his old digital cameras. I attended the model shoot and at that moment I fell in love with portraiture. Before that, I had no idea I could take portraits as part of photography. After attending two years of adult education at Tri-Community photo school

and much practice, I am now able to teach portrait classes to camera clubs and at PSA conferences and to teach PSA’s Portraits in Available Light online course. Doing this gives me great satisfaction and allows me to share my love of portraiture.

My goal in photography is to create a beautiful image totally from scratch. I enjoy the ability to have complete control over the process. Working in a studio is very comfortable for me. I know every inch of it and know where to place the subject to get the golden light. A goal for me is to create an image that the viewer can relate to and can enjoy the beauty of and feel that they know something about the subject. One of my greatest joys is when I can create an image that the subject is thrilled with. I just love taking an average looking girl and turning her into an amazingly beautiful model.

Photos © Susan Cowles, APSA, EPSA


Technique StatementPortraits are made, not just taken. There is a lot of planning that goes into creating portraits. Before the

model arrives, the lighting must be set-up and tested. My studio is relatively small, so I am not able to put a hair light above the model. Instead, there are two strobes against the background pointing toward the model at a 45 degree angle. These are set to approximately F4. To the right (or left) of the model, depending on which side our main light is that day, is a six-foot tall reflector. The light off the reflector should read about F5.6 and is put on the side opposite the main light. The main light is set to F8 or F9. I always use a light meter to make sure the lighting is correct.

When the model arrives, she signs a simple model release. A before picture and test target image is taken to verify that the lighting is correct. Next, I have the model try on clothes, check the fit, and select accessories and hats. Makeup application follows and is one of the most important steps in creating a top-notch portrait. Unless you have taken a makeup class, I suggest you hire a makeup artist unless you know that the model has the skills to do good looking makeup. The last step is to take one last image to see if there are any areas that have a shine and if there is enough blush, etc.

I generally start with my least favorite of the selected outfits as it takes one round for the model to relax and get used to the shooting and to learn what I am looking for. Don’t forget the jewelry. Pick out jewelry that is large and bold so it can be easily seen and adds to the outfit rather than detracts from it. This pre-shoot preparation takes up to 1½ hours before the model is ready to have her pictures taken.

After the shoot, the next step is final adjusting through post-processing with photo editing software. My main tool is Photoshop® CS6 but I also use Color Efex Pro 4® filters from Nik® and Imagenomic Portraiture®. First, I remove specular highlights out of the corner of the eyes by using the patch tool. Next, remove pimples, uneven skin tones and loose hairs using the patch tool. These initial steps are an important part of the process. The spot healing, healing brushes and clone tool can also be used for achieving similar effects.

Changing the color of eyes or eye shadow and adding blush or adjusting hue and saturation can enhance an image and can be done in post-processing. These days, skin softening is important to any portrait. While this can be accomplished in Photoshop or other photo editors, one of the many skin-softening programs available that makes the job much easier, and is my favorite, is Portraiture from Imaginomics.

Since I am a PSA Mentor for Portrait Enhancement, you can ask me for help in this area by going to: http://www.psa-photo.org/index.php?mypsa-login-member-education-mentor-services-computer-portrait-enhancement.

Ashley—Red Tam on RedBelen Golden Necklace


Timeless Rajasthan, located in the western region of India, is called “The Land of Kings.” The magic of Rajasthan, its rich heritage, colorful culture, glistening sand dunes, amazing lush forests and varied wildlife, makes it an incredible destination for the outdoor photographer. Cameras will go “trigger happy” with such a wide range of subject matter to photograph: from stunning palaces and forts, fabulous landscapes, tribal men with brightly colored turbans to the woman

adorned in beautifully crafted jewelry and saris that explode with color.

Two Nikon cameras were used to photograph this area: a Nikon D300 with an 18-270 image stabilizer telephoto lens and a Nikon D300 with an 11-18mm wide-angle lens as a backup camera. A Nikon SB 900 external flash was used for fill light when taking portraits in the bright sunlight. Several compact flash cards of 4-8 Gigabyte capacities were used to capture the images.

By originating in Delhi with a driver and a guide, it was possible to photograph several areas each day. From Delhi to the Shekhawati region of Rajasthan, which is situated along the old camel caravan trade routes, a telephoto lens was useful in capturing people in their everyday activities: old men herding sheep and goats, women carrying large baskets and water pots, camels pulling carts filled with fruits and vegetables, and farmers tending to their fields.

Perched on the edge of the Thar Desert, in the heart of rural India, lays unique Khimsar. The Royal Castle of Khimsar offers a wide range of photographic opportunities. A wide-angle lens was used to capture the stunning architecture of the castle and a telephoto lens was used to photograph the castle’s colorfully dressed attendants.

Early morning light offers outstanding photo opportunities at Gadi Sagar Lake. Women in

Timeless Rajasthan

by Linda HollingerPennsylvania

Making clay pottery

Curbside shoe repair, Agra

Photos © Linda Hollinger


colorful saris can be photographed against a background of temples and pavilions filling up large elaborately decorated water pots. In the village of Jaisalmer, a wide angle lens was useful in capturing the mud-walled desert homes, whose walls are covered with very intricate colorful designs. The people of the village specialize in the making of puppets and are happy to stop and pose for a photograph. During early evening on the sand dunes a telephoto lens is needed to capture colorfully attired camel drivers as they pose for photographs silhouetted against the beautiful golden desert sunset.

Jaisalmar has plenty to offer the photographer. When Maharaji Jai Singh ordered the city of Jaisalmar to be painted pink to welcome the Prince of Wales, he probably never imagined that the city would remain pink even after 150 years. Jaisalmar, home to the most beautiful lands and sand dunes of the Thar Desert, offers a wide range of photographic opportunities. Many Hollywood movies have been filmed there. Jaisalmar has the feel of an oasis in the middle of the desert.

An early morning drive to one of the holiest sites in India, Pushkar, offers many photo opportunities. This small desert town clings to the side of a beautiful lake with many temples. Pilgrims are constantly visiting Pushkar to bathe in the lake’s holy water. An excellent photo opportunity is to visit the Pushkar Camel Fair.

The Pushkar Camel Fair is an annual five-day

Street dentist, Jaisalmar

Camel herder, Pushkar Camel Fair

Young girl at Pushkar Camel Fair


camel and livestock fair held in November. It is one of the world’s largest fairs. Men buy and sell their livestock: camels, sheep, goats and horses. The women sell jewelry, clothes, textiles and fabrics. A camel race starts off the festival with music, song and exhibitions to follow.

A ride on a beautifully bedecked elephant leads to the Amber Fort. Behind high walls are magnificent pavilions and palaces. Early morning is the best time to photograph. A wide-angle lens should be used to capture early morning activities as the sun casts a golden glow on the pavilions of the fort.

A visit to India would not be complete without a visit to one of the most beautiful buildings in the world, the Taj Mahal. It was built in 1631 by Mughal Emperor Shah Jahan to enshrine the remains of his queen Mumtaz Mahal. The white marble memorial of an emperor’s undying love

for his queen took twenty-two years and twenty thousand workers to complete.

The Taj Mahal is located in the city of Agra. A rewarding experience is to stroll through the narrow streets of Agra and photograph people absorbed in their everyday activities. The people are very friendly and are delighted to stop and pose for a photograph.

The best time to visit Rajasthan is from September to April when the climate is pleasantly warm. The days spent in Rajasthan photographing the forts and palaces, the rustic and traditional lives of its people, rich colors, ancient temples, cultural performances, vast desert and sand dunes will leave you with great images from every location and forever preserve the memories of your amazing journey photographing timeless Rajasthan. n

Camel herder

Grinding corn meal

Indian girl in traditional costume



Attendant, Royal Castle of Khimsar

Pottery painter

Woman with water pot, Gadi Sagar Lake


The letters, HDR, stand for High Dynamic Range and some associate those letters with over-saturation. Lets face it—with some folks HDR photography has a bad name. It is true that HDR software can produce surrealistic and highly saturated images but it can also be used to enhance traditional photos. Enhancement of traditional photos using HDR software is the primary topic of this article and it deals specifically with the HDR processing of single RAW image files. Many of us have collected RAW image files of subjects that are “special” but they need a little help. Fortunately, HDR software can come to the rescue to reduce blown highlights and increase detail in shadows. In many cases it can help turn a borderline image into an award winner.

Why do we need HDR Software?Camera technology lags behind the marvel of

the human eye. When we see a beautiful outdoor river scene our eyes automatically ignore the bright reflections on the water and they automatically pull detail out of the dark shadows under logs and in the rocky crevices. Our brains work with both eyes to rapidly focus near and far. They adjust for bright spots and dark shadows and we say to ourselves—“WOW! This is a picture I have to take.” Unfortunately, we can be disappointed when our camera records a different scene.

The wonders of the human eye can be taken for granted. I find it to be amazing that our eyes can automatically deal with a scene that contains extreme brightness and dark shadows. This range from light to dark in a scene is called Dynamic Range and in the extreme it is called High Dynamic Range (HDR). Such scenes usually occur on a clear day when the sun is high in the sky. Our eyes don’t skip a beat but our cameras have trouble dealing with these scenes. Shooting in the “Golden Hour” can avoid the problem but many times we are required to shoot photographs in bright sunlight, e.g. sporting events, weddings, parties, travel tours, etc. But, if you understand the limitations of your camera, HDR post-processing can make a significant difference. Sometimes the high dynamic range gap can be filled with just a

Single RAW Files—HDR Comes to the Rescue

IntroductionThis article is about using HDR software to enhance, and in some cases save, digital photos that were

stored as RAW image files. The article was written by Michael R. Anderson who is a professional fine art photographer; he is an HDR Mentor in the PSA Mentor Services Division and his focus is on processing single files in this article. Another article dealing with processing bracketed shots will follow.

single RAW digital file image. At other times, as many as 9 shots may be required to recreate the scene we remember. Lets stick with single RAW file images for now.

Food for Thought:• Thehuman eye has a dynamic range of about 1

million to 1 which translates to approximately 20 EV (stops) on a camera.

• Film (negative and positive) has a dynamic range of approximately 2,000 to one 1 which equates to approximately 11 EV (stops) on a camera.

• State-of-the-artdigital cameras only have a dynamic range of approximately 100-300 to 1 which equates to just 6 to 8 EV (stops).

When is HDR Post-processing Helpful?Digital camera technology still lags behind film

technology and they both lag behind the human eye. For this reason, there are some situations where the HDR software and techniques become vital for success. Action shots taken in bright sunlight are good examples because sporting events can be held in bright sunlight.

Outdoor sports photography can be problematic and the problems are compounded at high noon and when the uniforms are bright white and dark black. Motion adds to the problem because we typically use single, high speed, images to capture the action. In this photo of my grandson, Brock, HDR processing was required using one RAW digital file. The inherent four stop range of the raw file was just enough to

By Michael AndersonOregon

Photos © Michael Anderson

Brock—Soccer


remove highlights from the white jersey and to show detail in the dark shorts. Oh, and yes…he did score.

In-Camera HDRIn recent years

manufacturers began releasing new digital cameras and cell phones with “Automatic HDR”

features. Some day cameras will automatically deal with high dynamic range scenes but, in my opinion, the technology isn’t quite there yet. Given all the marketing hype, one is led to believe that this feature will render a perfect HDR image automatically. In truth, these “HDR cameras” create a compressed JPG file. Although some of the results may border on being acceptable, the camera makes all of the decisions for the photographer. Im my mind, this is similar to using the AUTO Mode for camera settings. The photographer is out of the decision loop leaving the results up to the camera and ultimately to chance. True computer-based HDR post-processing affords the photographer the benefit of making all of the decisions to choose from literally hundreds of possible combinations of noise reduction, color, contrast, and brightness adjustments in the edit process.

Histograms Can HelpAs mentioned, camera film technology is still

a bit better than digital technology. But, digital photography does have its advantages. Back in the film days, post-processing options were limited. Today, digital cameras and photo editing software provide us with tools that we only dreamed of back in the film days. The histogram is one of those special tools, but many photographers don’t fully understand the benefits of using them.

A histogram is nothing more than a graph that represents the data captured by the sensor or stored in a digital file and what it represents. In digital photography there are two types of histograms

that we care about. The first is the luminance histogram (brightness) which maps all of the pixels in an image and displays the range of dark to light areas. The pixels containing the dark areas are displayed on the left side of the graph and the pixels containing the light areas are displayed on the right side. The complete graph represents all of the data and it documents every pixel in the image as it relates to luminance. The second type of histogram is the RGB histogram which charts where the colors fall in the image. This is less helpful when it comes to determining settings for single HDR shots.

This luminance histogram represents the number of pixels dedicated to the dark and light areas of this picture of three antelope. It also covers most of the range of what the digital camera was capable of seeing, e.g. 5-6 F-Stops.

Most digital cameras provide the capability to display histograms on the display screen so you can quickly make decisions on location about whether an image is correct or not from a luminance standpoint. If the data leans one way or the other, exposure adjustments can be made and quickly measured with a second shot. If the luminance histogram leans heavily to the right, highlights will likely be present. If it leans heavily to the left, the image will likely have dark areas that lack detail. HDR post-processing of a single image file basically moves the boundaries of the histogram to the left and right and allows more data to be displayed in the light and dark areas. It is helpful that RAW files give us two extra F stops in each direction

White Balance Settings and IssuesNormally white balance settings aren’t of much

concern with RAW files because the settings can be changed during post-processing. This isn’t possible when you save your images as JPG files. Be aware though that it saves time if you have the white balance set correctly from the beginning. This is particularly true when it comes to HDR post-processing because adjusting the white balance is a bit of a hassle. The good news is that AUTO White Balance settings usually work fine. We just get into trouble when mixed light sources or reflections of different colors of light are involved.

Digital Camera SensorsDigital camera sensors are not all created

equal because they come in different sizes and the pixels in the sensors come in different sizes as well. Sensors are the equivalent of electronic film and the technology is quite complicated. We don’t need to drill into the details in this article but it is helpful to understand a bit about sensor differences as it relates to noise.

It stands to reason that a four-thirds, 12

Example of Luminance Histogram


megapixel (12 million pixels) camera has smaller pixels than a 12 megapixel full frame camera because the full frame sensor is so much larger in physical size. Why do we care, you might ask? Larger pixels generate less noise and noise is our enemy when it comes to HDR photography in particular. Don’t be misled into thinking that one camera is the same as another just because the pixel count is the same. Usually you get what you pay for and the more expensive cameras usually have better sensors.

Expose For the Right To Avoid Blown Highlights

You have likely heard references to 8-bit and 16-bit digital images.Without getting too technical, let’s use an 8-bit image to illustrate a technique that may help you avoid blown highlights in your pictures.

When the shutter opens on a digital camera the sensor is exposed to light reflected from the scene and the pixels on the sensor fill with photons that correspond to the levels of light that they are sensitive to. When the shutter closes, the camera’s computer counts the values of the photons stored in each pixel and the values are stored as bytes (8-bits). With an 8-bit image the range per pixel can be from 0 to 255. Zero counts as a number in computing and it means that no light (photons) activated the pixel. Thus, zero equates to the color black. If the value is 255 it means that the pixel was flooded with photons and it overflowed. In this case, 255 represents pure white which translates into blown highlights with no data. In a perfect world the zero would translate into a pure black color. Alas, we don’t live in a perfect world and there is a twist because the sensor may also pick up random electronic signals (static) and a value may mistakenly be assigned to pixels. This static is much like radio static or “noise.” (That is where the term came from in digital photography). This process randomly creates tiny black and colored spots in the resulting output which we see as digital noise.

Other than this noise problem, dark areas in an image have an advantage over the bright areas because the pixels tend to store more accurate data than the pixels representing the light areas. Also, our eyes aren’t drawn to dark shadows as much as bright white spots in images. For this reason, we want to place more priority on the light areas of the histogram when we set our camera exposures for HDR shooting. There is a saying in HDR photography, “Expose For The Right.” Doing so increases the accuracy of the data in the light areas of the image thus eliminating the potentials for blown highlights. If you see the data in your histogram touching the right side of the graph, decrease your exposure and try again.

If you keep the data away from that right side, you won’t have blown highlights and dark shadows aren’t as much of a concern.

This is what your in-camera luminance histogram would look like if you were to set your camera to a near ideal setting for an HDR single shot.

Advantages of Single File HDR Processing

Some HDR photographers shoot and merge more bracketed images than are really necessary. It may be that they figure one is good so more are better. Actually, this isn’t necessarily the case and there are benefits to capturing and saving just one “perfect” shot. Consider the following:

Reduced Loss of Edge Detail (sharpness)The automatic alignment of the edges and

details in the scene is an imperfect process in HDR processing when multiple files of the same scene are involved. For this reason, you may see a decrease in edge detail and sharpness if you needlessly combine bracketed shots of the same scene into one file. Before you process your images, take a look at the histograms of each separate file. One file may be all that is needed for successful HDR processing.

Reduced Digital NoiseNoise likes to live in the dark areas of the

digital image. With bracketed images, as multiple image files are merged into a single file, it is likely that the noise will increase in the dark areas. Most of the HDR software programs have noise filtering features built into their processes, but the results are imperfect at best and you pay a price with a loss of resolution and edge detail in the final product. Noise isn’t as much of a problem when single files are used in the HDR process.

Memory and Hard Drive Storage Needs are Reduced

Shooting bracketed shots for HDR processing naturally increases the number of shots

Ideal Setting for HDR Single Shot


taken. This translates into more files to process, store on cards, process and backup. The storage problems are compounded because the camera manufacturers continue to improve the resolution and files sizes with each new product release. Be aware of this when you plan your HDR shooting strategies and related processing. Fewer images translate into fewer and smaller storage cards and hard disk drives. In this regard, strive to shoot single shots and you will save money too.

Shooting Modes Aren’t LimitedWith multiple bracketed shots we have to avoid

depth of field changing between shots. For that reason, the aperture setting needs to be constant and we typically set the camera for Aperture Preferred Mode with Nikon and AV Mode with Canon. With single shots, we can use any shooting mode as long as it is compatible with RAW file output.

When are Multiple Shots NecessaryIdeally, you will be able to capture the image

with just one carefully crafted shot. At least that should be your goal. If the scene has a low dynamic range, e.g. cloudy day, then one file will usually work. However, you can quickly determine if a single shot will work by examining the histogram of a test shot on the camera display.

Look for a histogram that stays within the bounds of the graph. If the luminance histogram looks something like the one above and it is captured as a RAW file, you should be good to go. Remember, RAW digital files have an inherent EV adjustment range of four F Stops (-2 and +2) and HDR software can take advantage of this.

When the histogram camera display significantly exceeds the boundary of the histogram on the left and right side, then multiple bracketed shots will likely be required. As mentioned previously, a histogram touching the left side of the graph isn’t as much of a concern. Blown highlights is another story.

Camera SettingsShooting Mode—When single RAW files are

involved, the camera settings aren’t important for HDR post-processing. Your camera just needs to be able to save RAW files in the shooting mode you select. This changes when bracketed multiple shots are involved and the particulars will be covered in another article.

HDR SoftwareThere are several good HDR software programs

including PhotoMatix Pro®, HDR Efex Pro®, FDR®, PhotoShop® and others. Arguably the most popular and easiest to use program is PhotoMatix Pro. It has robust options that include batch processing, noise reduction, numerous presets, fusion, compression and tone mapping. The price is under $100 for the stand-alone version and a plug-in version is available for a bit more money.

HDR Processing TipsBecause of its popularity and ease of use,

I will focus on PhotoMatix Pro regarding software settings. Be aware that most of the other HDR software products have similar features and frankly the use of HDR software is pretty simple once you know what you want from the program. The real post-processing heavy lifting is done with the editing software that you normally use, e.g. LightRoom®, PhotoShop, Elements®, Nikon Capture NX®, OnOne Perfect Photo Suite®, Aperture®, etc. Regarding Photomatix Pro software, I have permission from HDRsoft to share a discount code in my fine art training classes and in articles I write. If you would like a 15% discount, please use the code MAnderson2015.

Batch HDR ProcessingI find that batch processing is helpful in culling

through all of my files after a shoot. It is easy to use a basic preset to process all of your RAW image files. I target the source file and route the output to 16-bit TIFF files in another folder that I call 4Review. Typically I let the process run over night and in the morning all of the images from the shoot are ready for review. At this stage the images aren’t competition or gallery ready but I am able to quickly identify and flag the “keepers.” With my method, I focus the majority of my attention on the keepers (and the RAW source file that created them). The other output files are deleted along with the RAW source files that created them. Here are some suggestions for presets you might want to try using with the latest version of PhotoMatix Pro which is 5.0.5:

Landscape and Travel photography might work best with the Natural or Photographic Presets.

Creative and Fine Art photography might work best with the Default or Balanced Presets.

Stays in Bounds


Single File HDR—Details Enhancer

These are just ideas to get you started and the final determination of what you like and use will depend on your taste and what it is that you are

trying to accomplish with your photography.

For me, the HDR batch processing is helpful because it automatically converts RAW files into easy to review TIF image files. It also automatically identifies and combines multiple files from bracketed shots into a single file for review. By way of illustration, I shoot approximately 2,000 to 3,000 images on a typical photo trip. Based on the shoot, I usually end up with a mixture of single and bracketed RAW files. I run the batch process over night and in the morning I am ready to evaluate the output. Batch processing helps to identify your best images from the shoot and helps you focus your post-processing efforts on fewer images.

HDR Processing In The Edit Workflow

HDR processing is a preliminary, simple step in the post-processing process. Rarely will you use the HDR output file as your finished product. Think of the HDR software as a tool to eliminate or reduce highlights and to increase detail in dark areas of your photograph. It can also be used to make artistic adjustments to an image. With this in mind, you have two options. You can process the output from the HDR batch process mentioned above or you can start over and reprocess the source RAW files. I do

the latter because it allows me to fine tune the HDR software settings for the specific photograph. As I mentioned, the major edits are performed with your favorite flavor of photo editing software using the HDR output file. In my case, the HDR output is always in the form of 16-bit TIFF files.

HDR Software SettingsThere are two separate processes available in

PhotoMatix Pro:Tone Mapping: This process option preserves

details in shadows and highlights even when the dynamic range is particularly high. However, it can increase the noise level in images that already contain noise. Methods for use with this option include Details Enhancer, Contrast Optimizer and Tone Compression. My favorite method to use for fine art photography is Contrast Optimizer.

Exposure Fusion: This process option creates images that have a natural look and appear close to the original image. It also has the effect of reducing noise; however, images that contain a very high dynamic range may appear flat. Methods for use with this option include, Natural, Real Estate, Intensive, Auto and Average.

There are literally hundreds of possible combinations of settings and options when using these processes and methods. For that reason, it is beyond the scope of this article for me to cover those. However, thirty-four different presets are provided with the program. These are very helpful in determining which process and method works best for a specific image. With that in mind, I suggest you load your image and see which presets you like the best. Once you settle on something that works, you can easily tweak the individual settings to get the look you want. It is really all about what you like and want for a particular image.

As food for thought, I provided before and after examples of a single image processed using the Details Enhancer method within the Tone Mapping method using PhotoMatix Pro. The examples include an image that was edited without HDR processing and another that was edited using single file HDR processing.

I sincerely hope that this article provides some helpful information for processing RAW files that you saved but may need some help before they are ready for competition or gallery presentation. Additional and more technical HDR issues will be covered in a follow-up article. In the meantime and if you have burning questions, PSA members are welcome to contact me with HDR questions.

Contact Info: [email protected] and www.artisticphotoexpression.com n

No HDR involved



Gearing Up for the 2015 PSA International Conference

September 27th thru October 3rd 2015

A First Look at YellowstoneAs we finish going through our images from

2014’s International Conference in Albuquerque, New Mexico, it seems like it was such a long time ago. In a few short months we’ll be getting together again. This year’s Conference is in West Yellowstone, Montana. It will be our second visit to the park for the Conference. Last time was in 2009 and it was the largest attendance we’d had in twenty years. For those of you who have been to previous PSA Conferences, this will be dramatically different from what you’ve experienced in the past. Those of you, however, who were at the last Yellowstone Conference will have a good idea of what’s in store.

Where will we stay? Like last time, we’ll be staying at the Holiday Inn, West Yellowstone. Several other hotel locations will be lined up to help serve our group since the Holiday Inn is not a large facility. Reservations were opened February 1st. All hotels are within a few-block range of the Holiday Inn. West Yellowstone is a small town

of less than one square mile, with a population of about 1500. Several restaurants will provide a variety of dining choices during your stay. Our final night banquet will be held at the Union Pacific Dining Hall, just down the street from our hotel.

Getting to West Yellowstone will be a little different than most Conferences as well. The two closest airports are in Bozeman, Montana (90 miles), and Idaho Falls, Idaho (110 miles), with average driving times being ninety minutes from either. The other option would, of course, be driving.

The ParkYellowstone Park was established on March

1st, 1872 and is located primarily in the state of Wyoming. A very small percentage of the park resides in Idaho and Montana. Average elevation for the 2.2 million acre [3467 sq. mi] park is around 8,000 feet as it sits on top of the

By Ralph DurhamIllinois

Photo Above: Early Light on Mammoth Springs © Joe Rakoczy


Yellowstone Plateau. It is almost completely surrounded by mountains, ranging from between 9,000 and 11,000 feet (2743 to 3353 meters). The park sits on the largest volcano system in North America. The Yellowstone Caldera makes for one of the most varied geological and geothermal areas on earth. There are over 300 geysers, 290 waterfalls, thousands of petrified trees and 1,000-3,000 earthquakes annually. The most recent earthquake of note was in March of 2014. In addition, there are many hot springs and mud pits that are also a photographer’s dream.

Yellowstone hosts a number of wildlife species including bison, bear, moose, elk, deer and a variety of birds. Wolves were introduced back into the park several years ago and now there are over a dozen wolf packs in the park. Elk

populations are estimated to be over 25,000 and over half of the nearly 600 grizzly bears in the Yellowstone ecosystem live in the park. It is one of the few areas anywhere that grizzly and black bears coexist. Three hundred species of birds alone have been spotted in Yellowstone. More than half of them nest there. Bald eagles are frequently seen along the road into the park from West Yellowstone.

The ConferenceThis Conference is different than the typical

PSA Conference. Because of the abundance of photo opportunities, the Conference has been designed to maximize your ability to take pictures. There will be daytime photo excursions and keynote speakers in the evening. Thirty-three tours have been designed to give the members maximum accessibility to the features of the park and surrounding areas. The outings are divided into full and half-day trips. Full-day trips will include lunch. These full-day photo trips feature Oxbow Bend, Yellowstone Canyon, Mammoth Hot Springs, and West Thumb/Hayden Valley, just to name a few. Half-day trips will include Old Faithful, Midway Geyser Basin, and a special chance to photograph with one of our keynote speakers, Roman Kurywaczek, who will be leading field photo workshops for just the cost of the bus tour. Back at the ranch, so to speak, for those who do not schedule an outing on any particular day, there will be educational programs, division and guest speakers, presentations of the PSA International Exhibition and the traditional Print Gallery. Each division’s speakers and programs

Pronghorn up close © Shirley Bormann, PPSA

Grand Prismatic at eye level © Diane Bodkin


will be concentrated in one day to accommodate taking field outings on a day that will not have any of your favorite division’s programs.

We have a great lineup of keynote speakers on board. Sigma’s Roman Kurywaczek, Canon’s Art Wolfe, and Tamron’s Mike Moats will give programs during the evening slots. Tim Grey will be back by popular demand on Saturday afternoon.

We also will have a number of exciting Divisional speakers as well.

Conference Registration and Other Information

In addition to the Journal articles, please follow the Conference on the PSA web page. This will be the most complete and timely information. The web page will allow you to register for the Conference as well as register for any of our three conference hotels. We will also be providing information in the form of periodic emails to the PSA membership. Registration for the Conference itself will start on April 1st. The preferred way to register will be from the web page.

Weather during the Conference is typically mid 50s to mid 60s F (10 to 15.5 C) for the daytime highs and mid to lower 30s F (1.1 C) for the night time lows. But bring plenty of fall clothing with a couple of extra layers just in case Old Man Winter makes an early appearance. n

Grand Teton NP at String Lake © Gerald Emmerich, HonPSA, GMPSA

Upper Geyser Basin—Old Faithful © Gerald Emmerich, HonPSA, GMPSA Winter Coyote, Hayden Valley, Yellowstone © Joe Rakoczy


Division News, Announcements and ActivitiesIf you have an item of national or international interest concerning a PSA activity that you wish to appear in the news, please email a brief article to the appro priate News Editor. General News/Calendar of Events items can be emailed to Journal Editor at [email protected].

Abbreviations used in these columns (no periods after letters):CC = Camera ClubPA = Photographic AssociationPS = Photo SocietyPC = Photo ClubPG = Photo GuildPGr=Photo Group(All others spelled out)

Information about divisions can be found on the PSA Website http://www.psa-photo.org/

Carole Kropscot, APSA, Editor [email protected]

Projected Image (PID)

2015 Projected Image Division Photo Essay Contest Updated

The PID Photo Essay Contest is utilizing modern technology and has become user-friendly! The entry form is online, and once it is submitted online, the entrant can upload his/her essay online. This saves an entrant from downloading and printing an entry form, burning a DVD, and packaging and mailing the form and DVD. The entrant will also know immediately that the entry has arrived.

Additionally, the deadline for entry has been moved from the previous June 1

to August 1 which provides more time for entrants to complete their essay(s).

The Photo Essay Contest webpage includes a six-minute video of Guidelines for Creating a Good Photo Essay titled Storytelling through Photographs. Essays can be no longer than five minutes. There are no restrictions to the number of images, subject matter, content, or special effects. There are two sections, Color and Monochrome, and entrants can enter one essay in each section. For more information, visit http://psa-photo.org/index.php?pid-photo-essay-contest.

March 15 Deadline for PID Individual Creative Competition

It’s time to meet the first 2015 deadline for the PID Individual Creative Competition! The schedule is March 15, April 15, and May 15, 2015. Each session is conducted as a separate event. So any individual PSA member may participate in one, two, or three sessions. Digital entries are submitted at the Competition site. More information is at http://www.psa-photo.org/index.php?pid-individual-creative-competition.

The competition is exclusively for Creative Photography. The PSA definition of Creative is “Altered Reality.” The image must obviously display a change in natural color, form, shape, or any combination of these three. Creative images are often montages (a blending or composite of multiple images). High Dynamic Range (HDR) images without

further changes are not considered “altered reality.”

The original image must be made by the entrant on photographic emulsion or captured digitally.

All images must be original and may not incorporate elements produced by anyone else. Original images must be altered by the maker; artwork or computer graphics generated by the entrant may be incorporated, if the original photographic content predominates. Images may not be constructed entirely within a computer. It is necessary that the image’s core content be identifiable. Non-creative images are not eligible for this competition. Any subject matter is acceptable so long as the Altered Reality guidelines are followed.

Each participant is allowed to enter a maximum of four images for each of the three separate sessions for a maximum of twelve images per competition year. Awards are Best of Show and Honorable Mentions in each session. The Best of Show and Honorable Mentions are displayed on the competition web site following each session. A special award for the entrant with the most accumulated points for all three sessions is presented after the final session is judged.

Mutual Assistance and Interaction

Interested in improving your photographic techniques and reviewing what others are doing? Get these benefits by participating in an online study group. Digital Study Groups Director Les Milligan describes it as mutual assistance and interaction among PSA members.

Benefit from your PSA membership by interacting with your fellow PSA members. All levels of photographic skills are acceptable. For advanced photographers willing to share their expertise, there are opportunities to serve as a Commentator who provides an even more thorough critique and perspective to the group in addition to the regular comments by all participants. See more information at http://www.psa-photo.org/index.php?divisions-study-groups.

Benefits of PSA MembershipCarol Kropscot, APSA

The Photographic Society of America (PSA) is a worldwide, non-profit organization for photographers of all skill levels to learn, share, compete, and enjoy photography more.

Many of the PSA photo opportunities are found on www.psa-photo.org on the web pages for My PSA and Divisions.

The services and activities include: website; photography courses; study groups; photo galleries; image evaluation; juried competitions; photo contests; discounts on photography products and services; new member assistance; camera club management help; a monthly PSA Journal; an annual conference; opportunities for PSA Honors and Distinctions, and a network of camera clubs, chapters and councils.

PSA Journal • March 2015 • www.psa-photo.org • B

Mary Ann Rhoda, FPSA, [email protected]

3D (3DD)

11th Annual LA 3D Movie Festival Winners The festival is to showcase the best independent stereoscopic 3D filmmaking from around the world. This year’s fest took place on December 12th-14th, 2014, at the Downtown Independent Theater in Los Angeles.

Group AClub Location Round 1 Round 2 Round 3 Round 4 TOTAL Lancaster PA CA 65 69 49 72 255 Huntington CC NY 63 71 62 58 254Garden PS IL 62 68 54 61 245PG Nova Scotia Canada 68 66 49 60 243Atlantic Lighthouse PG Canada 64 65 51 63 243Ridgewood CC NJ 62 63 56 59 240Lincoln CC NE 57 44 56 59 216Wasatch CC UT 60 43 52 57 212Vienna PS VA 0 69 63 47 179Naples CC FL 0 57 41 55 153Shutterbug CC IA 59 0 0 0 59Delaware PS DE 0 0 0 0 0

GROUP BClub Location Round 1 Round 2 Round 3 Round 4 TOTAL St. Louis CC MO 61 67 67 69 264Duluth-Superior CC MN/WI 66 60 61 75 262Saguaro CC AZ 73 56 57 74 260Nevada CC NV 71 47 59 69 246Lake County CC IL 66 61 55 61 243West Cumbria PG ENG 60 55 63 65 243Lone Tree PC CO 56 59 59 59 233Kitsap PG WA 62 44 56 64 226Charlotte CC NC 58 48 55 61 222Hoylake PS ENG 56 46 59 58 219Schenectady PS NY 55 38 55 67 215Myrtle Beach CC SC 36 0 24 0 60

Meanwhile, a New Year has dawned on us, merry and bright. So let us gird our loins, sling our cameras and hit the streets or any other venue where we might capture those decisive moments. And here’s wishing success for all.

Sammy Somekh, APSA, PPSA, Editor, [email protected]

Photojournalism (PJD)

Lynn Troy Maniscalco,HonPSA, EPSA, Editor

[email protected]

Photo Travel (PTD)

Photo Travel Book Review If you’re contemplating a trip to the part of the world known as the Silk Road trade routes, Maria Drumm, EPSA, has written a book that will guide you through that area both photographically and educationally. Filled with an assortment of inspiring photographs, her photo essay covers thousands of miles and remarkable adventures. Published as a soft cover edition, its 118 pages, and 8"x9" size will provide a pleasant read. Silk Road Journeys: A photo essay of three remarkable adventures covering thousands of miles can be ordered at http://www.blurb.com/b/5688274-silk-road-journeys. It is priced at $49.49 for soft cover, but is also available for

PJD Interclub Competition Tallies for 2013-2014The year 2014 bid us goodbye three months ago. Time to review the totals of the Interclub Competitions for 2013-2014 as forwarded by Joe Kubala, PPSA.

New Once a MonthCan you create one new image per

month? Would you like feedback on it during that month? Then you would benefit from belonging to a Digital Dialogue. The seven participants in each Digital Dialogue online group submit one image each month, with a description of content and technique. And each participant writes a Comment with feedback.

Choose from a huge variety of subject matter offered by the sixty-seven Digital Dialogues. Look at the websites at http://psadigital.org/all-groups. See the new monthly “showcase” of selected images at http://psadigital.org/. Then, while you are still inspired, contact Digital Dialogue Director, Barbara Miller, FPSA, MPSA, to ask about joining!

For information go to: www.la3DClub.com or call 818-636-1311 or email: Eric Kurland at [email protected] Remember to donate to Indiegogo Campaign and help make the 3D Museum a reality 3D space. The Center for Stereoscopic Photography, Art, Cinema and Education: www.3-DSPACE.org The Cascade Stereoscopic Club...has a list of Upcoming Events. Their new meeting location is at Image 3D, 4211 SE International Way, Suite D, Milwaukie, Oregon 97222. If you have any questions, go to http://www.3dpdx.org. You are always welcome.

$54.49 for hardcover with a dust jacket, and $56.49 for hardcover, image wrap.

Reviewed by Marie Altenburg, PPSA


Pictorial Print of the Month

The winner for November is Coco Black Floppy Hat, by Larry Cowles, FPSA, GMPSA. It is the Star Color first place winner. I believe that this is the first time in my tenure that one person has won POM five times in a year, and I know it is the first time that someone has won five times in a row. Darrell Gulin, the judge, said “Coco Black Floppy Hat was just an outstanding print. It stood out to me and even when I had my wife, my best critiquer, review the images, it stood out to her also. Impact was another thing that I look for in print competition and this had it in Aces. Also in doing a lot of wildlife photography I always look for simple backgrounds so you concentrate on the subject itself and this was the same with this wonderful portrait. Printing was top notch and the paper selection was ideal for the print itself. Black held up really well and the print had a richness about it. Overall the competition was really good, but this image did stand out in this month’s competition.”

Larry Cowles, FPSA, GMPSA, [email protected]

Pictorial Print (PPD)

Like to Make Books?Enter the PPD Book ContestThe PPD Photo Book Essay Contest is up and running. Entry form and rules are in the PPD section of the PSA website. The deadline for entries is August 10th, 2015. Winning entries will be shown at the Yellowstone PSA Conference.

This contest will be open to any subject matter. Books can be photos only or with text, hardbound or softbound

with no restrictions on type of paper. Size will be limited to 5x7 to 9x12 rectangular or square formats. Pages will be limited to sixty (thirty pieces of paper; page on each side). Entries must be a printed book. The contest will be judged by three qualified judges. Awards will be given for 1st, 2nd and 3rd place and Judges’ Choice awards. HM’s will be awarded up to 10% of total entries. Awards can be added at judge’s discretion. Each entrant may enter only one book. The contest is open to PSA members only. While there is no charge for the competition, each entrant must supply return postage if they want the book returned.

All entries should be sent to Larry Cowles, FPSA GMPSA, 6459 Lavender St. Corona, CA 92880. Deadline for entries is August 10, 2015. Questions can be directed to Larry at [email protected].

Questions about the PPD Book ContestI have received a couple of questions about the book contest that were not addressed in the original set of rules. Can images from other sources be used in the case of a historical or instructional type book? Yes, I will allow up to 10% of the

To view the POM gallery, go to http://www.psa-photo.org/index.php?2014-15-nov-pom

To participate in future Pictorial Print of the Month contests go to http://www.psa-photo.org/index.php?divisions-pictorial-prints-print-of-the-month


ChapterJudy Frieders, APSA, Editor

[email protected]

images to be from other sources such as historical images that help tell a story, or graphs, maps and drawings that are not copyrighted by another individual.What is the largest size for a square book that can be entered? 9x12 is the largest size in rectangular format. For square books it would be 9x9 but the standard is 8x8.

Second Round Standings for the PPD Interclub Contest (ICPC)Top 3 clubs in each group.Large Color PrintsSt. Louis CC 192Merrimack Valley CC 189Photographic Guild Nova Scotia 186

Large Monochrome PrintsSt. Louis CC 198Photographic Guild Nova Scotia 191Manchester CC 188

Small Color PrintsMerrimack CC 189Photographic Guild Nova Scotia 189St. Louis CC 188Exploring Light CC 187

Small Monochrome Prints Exploring Light CC 195Pacific Coast PS 192St. Louis CC 192West Cumbria PG 192East Troy Viewfinders 184

Creative PrintsSt. Louis CC 195Photographic Guild Nova Scotia 194Merrimack CC 187

2015 Youth Showcase—Only two months left to get the entries from your local schools for the 2015 Youth Showcase. The deadline is April 30th. For details on the showcase, contact Kathy Braun, FPSA, PPSA, at [email protected] 2015 Chapters Showcase—Time is running out to get your Chapter entry to Bill Kramer for the 2015 Chapters Showcase. Deadline is April 1st. Contact Bill Kramer at [email protected] for details. 2015 Chapters, Clubs & Councils— Website Contest closing date is March 15th. Check the PSA website for details. March 1—Chicago Chapter—Meeting

to select entries for the 2015 Chapters Showcase. Location TBD.

March 22—Wisconsin Chapter—Waukesha State Bank in Oconomowoc. 9 AM Business Meeting and Your PSA panel discussion followed by Wisconsin PSA Individual Showcase. The Smokies by Jeff Klug and BYOI Shows. Afternoon Program TBA. Check the website for details: www.psawisconsin.org April 24—Central Florida Chapter—An early morning photo shoot at Gatorland in Kissimmee, FL, followed by a luncheon meeting. Plan to join your fellow PSA members for this outstanding photo opportunity. For details, check the website: http://www.photographybuynick.net/CHAPTER/Chapter1h.htm The deadline is March 25th to this Editor for Chapter News to be published in the June PSA Journal. Please keep me posted of any summer events or outings.

Calendar of EventsThis rolling calendar will feature brief listings of photographic opportunities available to members of the Society. PSA clubs, chapters, and councils will be given preference, but short mentions from other organizations may be included. The Journal reserves the right to edit for space, style, and clarity. Send notices to [email protected].

March 14, 2015—The Art & Craft of Photography presented by Bill Fortney. The Peoria Camera Club of Peoria, Illinois will host a full day seminar The Art & Craft of Photography presented by Bill Fortney. The Art part of the seminar includes interpreting your feelings, pre-visualizing, and then capturing those feelings in your image. The Craft part involves mastering your camera equipment and imaging software. Bill will guide us through the process of learning to see photographically. Bill currently teaches photography for KelbyOne and is a Photoshop World speaker and teacher. For more information visit www.peoriacameraclub.com.

April 11-12—Latow Photographers Guild 36th Annual Photography Weekend, Burlington, Ontario, Canada. Two days of events featuring Nikon legend Tony Sweet: an all-day seminar Saturday covering creative composition, in-camera creative effects, texture blends, phone photography; three choices on Sunday of 2-hour seminars, an AV Festival Saturday evening, and a print exhibition. Information and tickets: http://latowseminar.com/

2015 PSA Conference

West Yellowstone, MTSeptember 27 - October 3, 2015

Holiday Inn West Yellowstone315 Yellowstone Avenue

West Yellowstone, MT 59758

For more information visit thePSA website

Save the Date!

http://www.psa-photo.org/index.php?2015-psa-conference

Correction:The Journal obituary for Heinz Otto, FPSA, indicated that he served as chairman of the Pictorial Print Division (PPD). Apologies to readers: The late Dorothea (Dotty) Otto, FPSA, served as that Division’s chair, but Heinz did not serve as Division chairman of PPD but rather he served as chair of the PPD’s Permanent Print Collection.

Jean Timmermeister, HonPSA

PSA Journal Mission Statement

The PSA Journal pursues fine original work for an ever-improving publication for the members of the Photographic Society of America and other readers. The Journal is committed to offering material of interest to classic photographers as well as digital photographers and in so doing, strives for quality submissions from Society members of both persuasions.


The Photographic Society of America (PSA) supports a system of recognizing photo competitions for photographers worldwide. In these pages are PSA-recognized exhibitions that have agreed to conform to the PSA Exhibition Standards (ES). A copy of the current ES may be found on the PSA Website (www.psa-photo.org) under Exhibitions. The exhibitions are categorized by recognizing Division and subject interest with the most current closing dates in each Division listed first. PLEASE NOTE: While PSA has recognized the listed exhibitions, it is not involved with the actual running of the exhibitions, nor the selection of the exhibition judges, nor the fee structures of the exhibitions. You should address any questions to the appropriate contact and/or email address included with each exhibition listing as indicated below on “How to Use the Exhibition Listings.”

How to Use the Exhibitions ListingsThe following are the listings of upcoming PSA-recognized international exhibitions. The dates in bold type, under each division heading, are the closing dates for entries to be received.

The exhibition’s name is printed in CAPITAL letters. The exhibition’s website information is incorporated; where no website is available, a contact email is incorporated.

Only PSA members can apply their exhibition acceptances toward PSA Star Ratings, and only acceptances received in exhibitions listed in the PSA Journal are valid. Division Stars are awarded when a member has attained a certain number of acceptances in that Division. For these requirements, and other information, contact the appropriate Star Ratings director listed on the PSA website at http://www.psa-photo.org. Updates to the PSA Star Ratings listings are published quarterly in the PSA Journal.

Every year the PSA Journal publishes PSA’s Who’s Who in Photography, a listing of all exhibitors, whether PSA member or not, who have met or exceeded individual division acceptance requirements during the previous year.

PSA Recommendation—How to Have Your Exhibition ListedIf you’d like to have your exhibition listed on these pages, contact the Exhibition Standards Director for each division that will be a part of your exhibition. The Exhibition Standards Directors, who are listed under the division headings, recognize individual exhibitions and provide these listings. You can also find information on applying for PSA recognition of your exhibition by going to the PSA website (http://www.psa-photo.org) and then clicking on Exhibition>Host Int’l Exhibition. Plan in advance because you must apply at least six months before your exhibition’s intended closing date.

Notice to ExhibitionsAll exhibitions, including those in circuits, that are recognized for listing in the PSA Journal, follow the PSA Exhibition Standards, and whose acceptances thereby become eligible for Star Ratings and PSA’s Who’s Who in Photography, will pay a fee of $25 US per section, per judging, to the appropriate division. This fee entitles the exhibitions to receive complementary PSA Gold Medals to award at the exhibition. Revised January 2014

For up-to-date information please visit the Exhibition Listings on the PSA website at http://www.psa-photo.org

PROJECTED IMAGE European Exhibitions: Norbert Heil, APSA, MPSA, Email: [email protected] All Others: Andrea Meras • Email: [email protected]

Exhibitions

PID COLORAll acceptances in this Exhibition column are credited toward Projected Image Color

Mar. 1, 2015 – AVON VALLEY 2015 (PSA 2015-001) (UK) – 3 sections; Open; Creative; Triptych; http://www.avonvalley.photography/salon.html

Mar. 1, 2015 – CONTRAST 2015 (PSA 2015-072) (Bosnia and Herzegovina) – 2 sections; Open; Contrast; http://www.contrast.fotodoboj.com

Mar. 1, 2015 – HAN PIJESAK 2015 (PSA 2015-099) (Bosnia and Herzegovina) – 4 sections; Open; Landscape; Woman; Portrait; http://asocijacija-artfoto.com/hanpjesak/

Mar. 1, 2015 -BSPA (PSA 2015-098) (Bangladesh) 3 Judgings, 1 Color Class Section, 1) Freedom, www.bspabd.com

Mar. 2, 2015 - AVANT GARDE (PSA 2015-041) (India) 1 Judging, 1 Color Class Section, 1) Open, www.ccclub.in

Mar. 3, 2015 - ICS-PACIFIC (PSA 2015-033) (USA) 1 Judging, 1 Color Class Section, 1) Open; www.icsphoto.us

Mar. 8, 2015 – MALINIK 2015 (PSA 2015-093) (Serbia) 4 Judgings – 2 sections; Open; People of the World; http://www.photoclub-danube.com

Mar. 13, 2015 - JPS (PSA 2015-015) (India) 1 Judging, 2 Color Class Sections, 1) Open 2) Man at work; www.jpsjodhpur.org

Mar. 15, 2015 – GIP 2015 (PSA 2015-026) (Germany) 3 Judgings – 1 section; Open; http://www.germanphotocup.de/

Mar. 18, 2015 -RIDGEWOOD (PSA 2015-068) (USA) 1 Judging, 1 Color Class Section, 1) Open, www.ridgewoodcameraclub.org

Mar. 21, 2015 - SAN JOAQUIN VALLEY (PSA 2015-056) (USA) 1 Judging, 2 Color Class Sections, 1) Open 2) Creative; http:/www.sjvccc.org/

Mar. 23, 2015 – TRIERENBERG 2015 (PSA 2015-069) (Austria) 4 Judgings; – 1 section; Open; http://www.supercircuit.at

Mar. 23, 2015 – SPECIAL THEMES 2015 (PSA 2015-070) (Austria) 4 Judgings; – 2 sections; Experimental; Landscape; http://www.supercircuit.at

Mar. 27, 2015 - EQUINOX (PSA 2015-074) (India) 1 Judging, 1 Color Class Section, 1) Open; www.ivanf.in/salon

Mar. 29, 2015 – MOF 2015 (PSA 2015-049) (Turkey) – 4 sections; Open; Creative; Tradition&Shopping; Fruit&Vegetable; http://www.tfsfonayliyarismalar.org/en/

Mar. 29, 2015 – AFES PORTRAITS 2015 (PSA 2015-075) (Spain) – 2 sections; Portrait; Face to Face; http://concursos.afes.cat

Mar. 30, 2015 – MONTENEGRO 2015 (PSA 2015-078) (Montenegro) – 1 section; Open; www.photoclubmontenegro.com

Mar. 30, 2015 - PERN (PSA 2015-046) (Bangladesh) 1 Judging, 1 Color Class Section, 1) Open, www.bspabd.com

Mar. 31, 2015 – OPEN-AIR 2015 (PSA 2015-040) (Czech Republic) – 4 sections; Open - Mobile Photography; Nude; Focused on Mankind; Man and Addiction; http://award.foto-festival.cz

Mar. 31, 2015 – EIRE 2015 (PSA 2015-079) (Ireland) – 5 sections; Open; Woman, Man; Child; Creative; http://www.digitalphotoarchivelimited.com

Apr. 4, 2015 – MALMÖ 2015 (PSA 2015-054) (Sweden) – 1 section; Open; http://www.ffim.se

Apr. 4, 2015 – SCOTTISH SALON 2015 (PSA 2015-117) (UK) – 1 section; Open; http://www.scottish-photographic-salon.org/

Apr. 5, 2015 – APRIL 2015 (PSA 2015-100) (Czech Republic) – 2 sections; Open; Humor; http://www.april.photoart.cz/

Apr. 5, 2015 -THROUGH THE LENS (PSA 2015-082) (India) 1 Judging, 1 Color Class Section, 1) Open; www.maphotoclub.com

Apr. 6, 2015 – ROMANIJA 2015 (PSA 2015-057) (Bosnia and Herzegovina) – 6 section; Open; Women; Portrait; Life; Nude; Landscape; http://www.worldphoto-artgallery.com

Apr. 8, 2015 – GRAN TOUR DELLE COLLINE 2015 (PSA 2015-085) (Italy) 4 Judgings; 1 section; Open; http://www.grantourdellecolline.it

Apr. 8, 2015 - CLOUD (PSA 2015-035) (Argentina) 1 Judging, 1 Color Class Section, 1) Open; www.cloudcameraclub.com

Apr. 11, 2015 - GASO (PSA 2015-086) (USA) 5 Judgings, 1 Color Class Section, 1) Open; georgiacircuits.com

Apr. 12, 2015 – CHELTENHAM 2015 (PSA 2015-030) (United Kingdom) – 2 sections; Open; Experimental/Creative; http://www.cheltenhamcameraclub.co.uk

Apr. 12, 2015 – REFLECTIONS SERBIA 2015 (PSA 2015-077) (Serbia) – 2 section; Open; Reflection; http://www.srbijafoto.rs

Apr. 15, 2015 - SIBU (PSA 2015-014) (Malaysia) 1 Judging, 1 Color Class Section, 1) Open; www.pssibu.com

Apr. 19, 2015 - PICTURA (PSA 2015-019) (India) 1 Judging, 1 Color Class Section, 1) Open , www.fototechnik.in

Apr. 19, 2015 - SYDNEY HARBOUR (PSA 2015-036) (Australia) 1 Judging, 2 Color Class Sections, 1) Open 2) Altered reality; http://sydney-harbour-international.org.au/

Apr. 19, 2015 – LA GACILLY 2015 (PSA 2015-089) (France) – 1 section; Open; http://www.clubphotolagacilly.com/

Apr. 20, 2015 – MIDLAND 2015 (PSA 2015-090) (UK) – 2 sections; Open; Creative; http://www.midland-salon.com/

Apr. 20, 2015 – HOYLAKE 2015 (PSA 2015-092) (UK) – 1 section; Open; http://www.hoylakephoto.org.uk/

Apr. 21, 2015 – BALKAN DREAM 2015 (PSA 2015-088) (Serbia) – 1 section; Open; http://www.pca-exhibition.com/balkandream/

Apr. 22, 2015 – DIGITALNA FOTO ARHIVA CIRCUIT 2015 (PSA 2015-096) (Croatia) 4 Judgings – 2 sections; Open; Portrait; http://www.digitalnafotoarhiva.com

Apr. 26, 2015 - NJ-ICS (PSA 2015-033) (USA) 1 Judging, 1 Color Class Section, 1) Open; http://icsnewjersey2015.blogspot.com

Apr. 27, 2015 -SCENIC CITY (PSA 2015-103) (USA) 1 Judging, 2 Color Class Sections, 1) Open 2) Landscapes; http://chattanoogaphoto.org/scipe

May 1, 2015 – ADRIA OPEN 2015 (PSA 2015-106) (Montenegro) – 3 sections; Open; Women; Portrait; http://www.photoclubcattaro.com

May 2, 2015 – ECOLOGICAL TRUTH 2015 (PSA 2015-107) (Serbia) 4 Judgings; – 2 sections; Open; Water; http://www.photoclub202.com


May 3, 2015 – CYPRUS 2015 (PSA 2015-081) (Cyprus) – 2 sections; Open; Landscape; http://www.cps-cidpc.com

May 4, 2015 – BEST OF CF 2015 (PSA 2015-094) (Romania) – 3 sections; Open; Planet Earth’s Waters; Planet Earth’s Mountains; http://photoclub.voltin.ro

May 10, 2015 - OKLAHOMA (PSA 2015-104) (USA) 1 Judging, 1 Color Class Section, 1) Open, www.oklahomacameraclub.com

May 10, 2015 - DOUBLE HALF (PSA 2015-121) (India) 1 Judging, 1 Color Class Section,1) Open; www.doublehalffestival.com

May 11, 2015 - PFM (PSA 2015-104) (India) 1 Judging, 1 Color Class Section, 1) Open; www.pfmclub.com

May 15, 2015 – GOOD LIGHT 2015 (PSA 2015-115) (Serbia) – 4 sections; Open; Good Light; Decisive Movement; Child; http://photoclubkragujevac.com

May 15, 2015 – EMERALD 2015 (PSA 2015-119) (Ireland) – 1 section; Open; www.photoclubemerald.com

May 19, 2015 – PRINT DIGITAL ART VARNA 2015 (PSA 2015-123) (Bulgaria) – 1 section; Face & Body; http://www.fotosalonvarna.org

May 21, 2015 – PHOTO EMOTION 2015 (PSA 2015-125) (Bosnia and Herzegovina) – 2 sections; Open; Emotion; www.ufkk.rs.ba

May 23, 2015 - PATHSALA (PSA 2015-124) (India) 1 Judging, 1 Color Class Section, 1) Open; www.photographypathsala.org

May 25, 2015 -CROWN (PSA 2015-127) (India) 1 Judging, 2 Color Class Sections, 1) Open , 2) Creative; www.royalcameraclub.com

May 25, 2015 – VIRTUAL IMAGE (PSA 2015-129) (Argentina) 1 Judging, 2 Color Class Sections, 1) Open 2) Creative; http://fotoclubba.org.ar/virtualimage2015

May 25, 2015 – BOR 2015 (PSA 2015-128) (Serbia) – 3 sections; Open; Creative; Woman; http://www.photoclub-bor.com

May 26, 2015 – SWISS 2015 (PSA 2015-131) (Switzerland) – 2 sections; Open; Landscape; http://www.newcameraclub.com/

Jun. 1, 2015 – SBM CIRCUIT 2015 (PSA 2015-134) (Serbia) 3 Judgings – 4 sections; Open; Woman, Life; Portrait; http://www.fkns.rs

Jun. 2, 2015 – SMEDEREVO 2015 (PSA 2015-135) (Serbia) – 3 sections; Open; Street; People; http://www.fotokinoklub-smederevo.com/

Jun. 6, 2015 -CREATIVE BLINKS (PSA 2015-137) (Egypt) 1 Judging, 1 Color Class Section, 1) Open; http://creative.photodivan.com

Jun. 8, 2015 - QUEENSLAND (PSA 2015-021) (Australia) 4 Judgings, 2 Color Class Sections,1) Open 2) Water; www.queensland-photo.com

Jun. 9, 2015 - VIBGYOR (PSA 2015-130) (India) 3 Judgings, 2 Color Class Sections 1) Open 2) Life; www.vibgyorcircuit.org

Jun. 10, 2015 – VARNA 2015 (PSA 2015-118) (Bulgaria) – 4 sections; Open; Creative; People; Life; http://www.fotosalonvarna.org

Jun. 10, 2015 – BALEARIC ISLANDS CIRCUIT 2015 (PSA 2015-141) (Spain) 3 Judgings – 1 section; Open; http://ibphotocircuit.org

Jun. 13, 2015 – TROFEO STELE DAUNA 2015 (PSA 2015-110) (Italy) – 2 sections; Open; The Third Age; http://www.ilgolfo.net

Jun. 20, 2015 – DANUBE 2015 (PSA 2015-142) (Serbia) – 2 sections; Open; Water; http://www.photoclub-danube.com

Jun. 21, 2015 – CORSICA 2015 (PSA 2015-143) (Serbia) – 1 section; Open; http://pca-exhibition.com/corsica/

Jun. 25, 2015 – FOTOGRAM 2015 (PSA 2015-147) (Serbia) – 2 sections; Open; Sport and sporting life; www.fotogram.in.rs

Jun. 28, 2015 - PSNY (PSA 2015-062) (USA) 1 Judging, 1 Color Class Section, 1) Open; http://psnyusa.org

Jun. 30, 2015 – MNE CIRCUIT 2015 (PSA 2015-152) (Montenegro) 3 Judgings, 4 sections; Open; Portrait; Woman; Life; http://www.photoclubmontenegro.com

Jul. 1, 2015 – BON VOYAGE 2015 (PSA 2015-154) (Serbia) 3 Judgings – 2 sections; Open; Life; http://www.photoclub202.com

Jul. 1, 2015 – DPA CIRCUIT 2015 (PSA 2015-153) (Ireland) 3 Judgings – 2 sections; Open; Portrait; http://www.digitalphotoarchivelimited.com

Jul. 19, 2015 – SOUTH DEVON 2015 (PSA 2015-144) (UK) – 2 sections; Open; Creative; http://www.newtonabbot-photoclub.org.uk/

Jul. 9, 2015 -F2 (PSA 2015-161) (Argentina) 1 Judging, 1 Color Class Section, 1) Open; www.f2sociedadfotografica.com

Jul. 20, 2015 - JODHPUR (PSA 2015-111) (India) 3 Judgings, 1 Color Class Section, 1) Open; http://jodhpurcircuits.jpsjodhpur.org

Jul. 27, 2015 - MACAO (PSA 2015-095) (Macao) 1 Judging, 1 Color Class Section, 1) Open; www.psm.org

PID monochrome (Details see PID color)All acceptances in this Exhibition column are credited toward Projected Image Monochrome

Mar. 1, 2015 – AVON VALLEY 2015 (PSA 2015-001) (UK) 1 section; OpenMar. 1, 2015 – CONTRAST 2015 (PSA 2015-072) (Bosnia and Herzegovina) 1

section; OpenMar. 1, 2015 – HAN PIJESAK 2015 (PSA 2015-099) (Bosnia and Herzegovina)

1 section; OpenMar. 1, 2015 - BSPA (PSA 2015-098) (Bangladesh) 3 Judgings, 1 Section, 1)

Freedom

Mar. 2, 2015 - AVANT GARDE (PSA 2015-041) (India) 1 judging, 1 Section, OpenMar. 8, 2015 – MALINIK 2015 (PSA 2015-093) (Serbia) 4 Judgings, 1 section;

OpenMar. 13, 2015 - JPS (PSA 2015-015) (India) 1 judging, 1 Section, OpenMar. 27, 2015 - EQUINOX (PSA 2015-074) (India) 1 Judging, 1 Section, OpenMar. 29, 2015 – AFES PORTRAITS 2015 (PSA 2015-075) (Spain) 1 section;

PortraitMar. 30, 2015 – MONTENEGRO 2015 (PSA 2015-078) (Montenegro) 1 section;

OpenMar. 31, 2015 – EIRE 2015 (PSA 2015-079) (Ireland) 1 section; OpenApr. 3, 2015 - SWAN (PSA 2015-031) (USA) 1 judging, 1 Section, 1) OpenApr. 4, 2015 – MALMÖ 2015 (PSA 2015-054) (Sweden) 1 section; OpenApr. 4, 2015 – SCOTTISH SALON 2015 (PSA 2015-117) (UK) 1 section; OpenApr. 5, 2015 - THROUGH THE LENS (PSA 2015-082) (India) 1 Judging, 1

Section, OpenApr. 5, 2015 – APRIL 2015 (PSA 2015-100) (Czech Republic) 1 section; OpenApr. 6, 2015 – ROMANIJA 2015 (PSA 2015-057) (Bosnia and Herzegovina) 1

section; OpenApr. 8, 2015 – GRAN TOUR DELLE COLLINE 2015 (PSA 2015-085) (Italy) 4

Judgings; 1 section; OpenApr. 8, 2015 - CLOUD (PSA 2015-035) (Argentina) 1 judging, 1 Section, OpenApr. 11, 2015 - GASO (PSA 2015-086) (USA) 5 Judgings, 1 Section, OpenApr. 12, 2015 – CHELTENHAM 2015 (PSA 2015-030) (UK) 1 section; OpenApr. 12, 2015 – REFLECTIONS SERBIA 2015 (PSA 2015-077) (Serbia) 1

section; OpenApr. 15, 2015 - SIBU (PSA 2015-014) (Malaysia) 1 judging, 1 Section, OpenApr. 19, 2015 - PICTURA (PSA 2015-019) (India) 1 judging, 1 Section, OpenApr. 19, 2015 - SYDNEY HARBOUR (PSA 2015-036) (Australia) 1 judging, 1

Section, Open Apr. 20, 2015 – HOYLAKE 2015 (PSA 2015-092) (UK) – 1 section; OpenApr. 20, 2015 – MIDLAND 2015 (PSA 2015-090) (UK) – 1 section; OpenApr. 21, 2015 – BALKAN DREAM 2015 (PSA 2015-088) (Serbia) 1 section; OpenApr. 22, 2015 – DIGITALNA FOTO ARHIVA CIRCUIT 2015 (PSA 2015-096)

(Croatia) 4 Judgings, 1 section; OpenMay 1, 2015 – ADRIA OPEN 2015 (PSA 2015-106) (Montenegro) 1 section; OpenMay 2, 2015 – ECOLOGICAL TRUTH 2015 (PSA 2015-107) (Serbia) 4

Judgings; 1 section; OpenMay 3, 2015 – CYPRUS 2015 (PSA 2015-081) (Cyprus) 1 section; OpenMay 4, 2015 – BEST OF CF 2015 (PSA 2015-094) (Romania) 1 section; OpenMay 10, 2015 -DOUBLE HALF (PSA 2015-121) (India) 1 Judging, 1 Section, OpenMay 11, 2015 - PFM (PSA 2015-104) (India) 1 Judging, 1 Section, OpenMay 15, 2015 – EMERALD 2015 (PSA 2015-119) (Ireland) 1 section; OpenMay 15, 2015 – GOOD LIGHT 2015 (PSA 2015-115) (Serbia) 1 section; OpenMay 21, 2015 – PHOTO EMOTION 2015 (PSA 2015-125) (Bosnia and

Herzegovina) – 1 section; OpenMay 23, 2015 - PATHSALA (PSA 2015-124) (India) 1 Judging, 1 Section, OpenMay 25, 2015 - CROWN (PSA 2015-127) (India) 1 Judging, 1 Section, OpenMay 25, 2015 – VIRTUAL IMAGE (PSA 2015-129) (Argentina), 1 Judging, 1

Section, OpenMay 25, 2015 – BOR 2015 (PSA 2015-128) (Serbia) 1 section; OpenMay 26, 2015 – SWISS 2015 (PSA 2015-131) (Switzerland) 1 section; OpenJun. 1, 2015 – SBM CIRCUIT 2015 (PSA 2015-134) (Serbia) 3 Judgings – 1

section; OpenJun. 2, 2015 – SMEDEREVO 2015 (PSA 2015-135) (Serbia) 1 section; OpenJun. 6, 2015 - CREATIVE BLINKS (PSA 2015-137) (Egypt) 1 Judging, 1

Section, OpenJun. 8, 2015 - QUEENSLAND (PSA 2015-021) (Australia) 4 judgings, 1 Section,

OpenJun. 9, 2015 - VIBGYOR (PSA 2015-130) (India) 3 Judgings, 1 Section, OpenJun. 10, 2015 – VARNA 2015 (PSA 2015-118) (Bulgaria) 1 section; OpenJun. 10, 2015 – BALEARIC ISLANDS CIRCUIT 2015 (PSA 2015-141) (Spain) 3

Judgings, 1 section; OpenJun. 13, 2015 – TROFEO STELE DAUNA 2015 (PSA 2015-110) (Italy) 2

section; Open; The Third AgeJun. 20, 2015 – DANUBE 2015 (PSA 2015-142) (Serbia) 1 section; OpenJun. 21, 2015 – CORSICA 2015 (PSA 2015-143) (Serbia) 1 section; OpenJun. 25, 2015 – FOTOGRAM 2015 (PSA 2015-147) (Serbia) section; OpenJun. 28, 2015 - PSNY (PSA 2015-062) (USA) 1 judging, 1 Section, OpenJun. 30, 2015 – MNE CIRCUIT 2015 (PSA 2015-152) (Montenegro) 3

Judgings, 1 section; OpenJul. 1, 2015 – BON VOYAGE 2015 (PSA 2015-154) (Serbia) 3 Judgings, 1

section; OpenJul. 1, 2015 – DPA CIRCUIT 2015 (PSA 2015-153) (Ireland) 3 Judgings, 1

section; OpenJul. 9, 2015 - F2 (PSA 2015-161) (Argentina) 1 Judging, 1 Section, OpenJul. 20, 2015 - JODHPUR (PSA 2015-111) (India) 3 Judgings, 1 Section, OpenJul. 27, 2015 - MACAO (PSA 2015-095) (Macao) 1 Judging, 1 Section, Open


NATURE Tom Savage, APSA, MPSA • Email: [email protected] All acceptances in this Exhibition column are credited to Nature.

PHOTO TRAVEL Brian Magor, MPSA • Email: [email protected] All acceptances in this Exhibition column are credited to Photo Travel.

Mar. 1, 2015– CONTRAST (PSA 2015-072) (Bosnia and Herzegovina): 1 Section: Nature; http://www.contrast.fotodoboj.com/.

Mar. 2, 2015– AVANT-GARDE (PSA 2015-041) (India): 1 Section: Nature; http://www.ccclub.in/

Mar. 8, 2015– MALINIK CIRCUIT (PSA 2015-093) (Serbia): 4 Judgings; 1 Section: Nature; http://www.photoclub-danube.com/.

Mar. 13, 2015– JPS (PSA 2014-216) (India): 1 Section: Nature; http://www.jpsjodhpur.org/

Mar. 15, 2015– GIP (PSA 2015-026) (Germany): 3 Judgings; 1 Section: Nature; http://www.germanphotocup.de/

Mar. 18, 2015– RIDGEWOOD (PSA 2015-067) (USA): 2 Sections: Nature/Wildlife; http://www.ridgewoodcameraclub.org/.

Mar. 21, 2015– SAN JOAQUIN VALLEY (PSA 2015-056) (USA): 2 Sections: Nature/Wildlife; http://www.sjvccc.calisnaps.com.

Mar. 23, 2015– TRIERENBERG SUPER CIRCUIT (PSA 2015-069) (Austria): 4 Judgings;1 Section: Nature; http://www.supercircuit.at/.

May 25, 2015– VIRTUAL IMAGE (PSA 2015-129) (Argentina): 1 Section: Nature; http://fotoclubba.org.ar/virtualimage2015

Mar. 27, 2015– EQUINOX TWO (PSA 2015-074) (India): 1 Section: Nature; http://www.ivaf.in/salon/.

Mar. 29, 2015– MOF (PSA 2015-049) (Turkey): 1 Section: Nature; http://www.tfsfonayliyarismalar.org/en/

Mar. 30, 2015– JCM PRINT CIRCUIT (PSA 2015-066) (India): 4 Judgings; 1 Section: Nature; http://www.jcmcircuits.com/.

Mar. 30, 2015– MONTENEGRO GRAND PRIX (PSA 2015-078) (Montenegro): 1 Section: Nature; http://www.photoclubmontenegro.com/.

Mar. 30, 2015– PERN (PSA 2015-046) (Bangladesh): 1 Section: Nature; http://www.bspabd.com.

Apr. 2, 2015– BANGKOK (PSA 2015-080) (Thailand): 1 Section: Nature; http://www.bpsie.com/.

Apr. 3, 2015– REFLECTION (PSA 2015-059) (India): 1 Section: Nature; http://www.reflectionclub.org/.

Apr. 4, 2015– SCOTTISH (PSA 2015-117) (Scotland): 2 Sections: Nature Prints/Nature Projected; http://www.scottish-photographic-salon.org/.

Apr. 5, 2015– THROUGH THE LENS (PSA 2015-082) (India): 1 Section: Nature; http://www.maphotoclub.com/.

Apr. 6, 2015– ROMANIJA (PSA 2015-057) (Bosnia and Herzegovina): 2 Sections: Nature/Birds; http://www.romanija.photos/.

Apr. 11, 2015– GASO CIRCUIT (PSA 2015-086) (USA): 5 Judgings; 1 Section: Nature; http://www.georgiacircuits.com/.

Apr. 12, 2015– CHELTENHAM (PSA 2015-030) (UK): 1 Section: Nature; http://www.cheltenhamcameraclub.co.uk/

Apr. 12, 2015– REFLECTIONS SERBIA (PSA 2015-077) (Serbia): 1 Section: Nature; http://www.srbijafoto.rs/.

Apr. 15, 2015– SIBU (PSA 2015-014) (Malaysia): 1 Section: Nature; http://www.pssibu.com/

Apr. 15, 2015– SAUDI ARABIA (PSA 2015-120) (Saudi Arabia): 1 Section: Nature; http://www.ksaipae.com/.

Apr. 19, 2015– LA GACILLY (PSA 2015-089) (France): 1 Section: Nature; http://www.clubphotolagacilly.com/.

Apr. 19, 2015– PICTURA (PSA 2015-019) (India): 1 Section: Nature; http://www.fototechnik.in/

Apr. 19, 2015– SYDNEY HARBOUR (PSA 2015-036) (Australia): 2 Sections: Nature/Wildlife; http://sydney-harbour-international.org.au/

Apr. 20, 2015– HOYLAKE (PSA 2015-092) (UK): 1 Section: Nature; http://www.hoylakephoto.org.uk/.

Apr. 20, 2015– MIDLAND (PSA 2015-090) (England): 1 Section: Nature; http://www.midland-salon.com/.

Apr. 21, 2015– BALKAN DREAM (PSA 2015-088) (Serbia): 1 Section: Nature; http://www.pca-exhibition.com/balkandream/

Apr. 22, 2015– DIGITALNA FOTO ARHIVA CIRCUIT (PSA 2015-096) (Croatia): 4 Judgings; 3 Sections: Nature/Wildlife/Birds; http://www.digitalnafotoarhiva.com/.

Apr. 27, 2015– GB SMALL PRINT CIRCUIT (PSA 2015-105) (UK): 3 Judgings; 1 Section: Nature; http://www.westcumbriaphotogroup.co.uk/.

May 1, 2015– ADRIA OPEN (PSA 2015-106) (Montenegro): 1 Section: Nature; http://www.photoclubcattaro.com/.

May 2, 2015– ECOLOGICAL TRUTH CIRCUIT (PSA 2015-107) (Serbia): 4 Judgings; 1 Section: Nature; http://www.photoclub202.com/.

May 3, 2015– IMPRESSION (PSA 2015-101) (India): 1 Section: Nature; http://www.1st-impression.in/.

May 10, 2015– DOUBLE HALF (PSA 2015-121) (India): 1 Section: Nature; http://www.doublehalffestival.com/.

May 10, 2015– OKLAHOMA (PSA 2015-104) (USA): 1 Section: Nature; http://www.oklahomacameraclub.com/.

May 11, 2015– PFM (PSA 2015-108) (India): 1 Section: Nature; http://www.pfmclub.com/.

May 15, 2015– GOOD LIGHT (PSA 2015-115) (Serbia): 1 Section: Nature; http://photoclubkragujevac.com/.

May 19, 2015– PRINT DIGITAL ART VARNA (PSA 2015-123) (Bulgaria): 1 Section: Nature Prints; http://www.printsalonvarna.org/

May 23, 2015– PATHSHALA (PSA 2015-124) (India): 1 Section: Nature; http://www.photographypathshala.org/

May 25, 2015– VIRTUAL IMAGE (PSA 2015-129) (Argentina): 1 Section: Nature; http://fotoclubba.org.ar/virtualimage2015

May 25, 2015– CROWN (PSA 2015-127) (India): 1 Section: Nature; http://www.royalcameraclub.com/.

Jun. 6, 2015– CREATIVE BLINKS (PSA 2015-137) (Egypt): 1 Section: Nature; http://creative.photodivan.com

Jun. 7, 2015– ROYAL BENGAL ART (PSA 2015-136) (India): 1 Section: Nature; http://www.royalbengalart.com/

Jun. 8, 2015– QUEENSLAND CIRCUIT (PSA 2015-021) (Australia): 4 Judgings; 1 Section: Nature; http://www.queensland-photo.com/

Jun. 9, 2015– VIBGYOR CIRCUIT (PSA 2015-130) (India): 3 Judgings; 1 Section: Nature; http://www.vibgyorcircuit.org/

Jun. 10, 2015– VARNA (PSA 2015-118) (Bulgaria): 1 Section: Nature; http://www.fotosalonvarna.org/

Jun. 13, 2015– TROFEO STELE DAUNA (PSA 2015-110) (Italy): 1 Section: Nature; http://www.ilgolfo.net/.

Jun. 14, 2015– RAPTORS AT RISK (PSA 2015-102) (USA): 1 Section: Birds of Prey; http://www.peregrinefund.org/raptors-at-risk/.

Jun. 16, 2015– SAM PRINT CIRCUIT (PSA 2015-113) (India): 6 Judgings; 2 Sections: Nature/Wildlife; http://www.wpaidelhi.com/.

Jun. 28, 2015– PSNY (PSA 2015-068) (USA): 1 Section: Nature; http://psnyusa.org/Jun. 20, 2015– DANUBE (PSA 2015-142) (Serbia): 1 Section: Nature;

http://www.photoclub-danube.com/Jun. 22, 2015– LE CATALAN (PSA 2015-150) (France): 1 Section: Nature;

http//:www.perpignanphoto.fr/Jul. 1, 2015– BON VOYAGE CIRCUIT (PSA 2015-154) (Serbia): 3 Judgings; 1

Section: Nature; http://www.photoclub202.com/Jul. 1, 2015– DPA CIRCUIT (PSA 2015-153) (Ireland): 3 Judgings; 3 Sections:

Nature/Wildlife/Birds; http://www.digitalphotoarchivelimited/Jul.1, 2015– TOUR CIRCUIT (PSA 2015-155) (Serbia): 3 Judgings; 1 Section:

Nature; http://www.fkk.rs/

Mar. 1, 2015 - BPSA FREEDOM (PSA 2015-098) (Bangladesh) 3 judgings, 1 section - Travel, www.bspabd.com

Mar. 1, 2015 - AVON VALLEY (PSA 2015-001) (UK) 1 section - Travel, http://avonvalley.photography/salon.html

Mar. 1, 2015 - CONTRAST (PSA 2015-072) (Bosnia Herzegovina) 1 section - Travel, www.contrast.fotodoboj.com

Mar. 2, 2015 - AVANT-GARDE (PSA 2015-041) (India) 1 section, Travel, www.ccclub.in

Mar. 6, 2015 - KPA (PSA 2015-038) (India) 1 section - Travel, www.kpaclub.com Mar. 12, 2015 - DELAWARE VALLEY (PSA 2015-144) (USA) 3 judgings, 2

sections - Travel, Human Activity, www.dvcccpt.orgMar. 13, 2015 - JPS (PSA 2015-015) (India) 1 section - Travel. www.jpsjodhpur.orgMar. 23, 2015 - SPECIAL THEMES (PSA 2015-070)(Austria) 4 judgings, 1

section - Travel, www.supercircuit.atMar. 27, 2015 EQUINOX TWO (PSA 2015-074) (India) 1 section - Travel,

www.ivaf.in/salonMar. 30, 2015 - MONTENEGRO (PSA2015-078) (Montenegro) 1 section, Travel,

www.photoclubmontenegro.comMar. 30, 2015 - JCM PRINT CIRCUIT (PSA 2015-066) 4 judgings, 1 section -

Travel, www.jcmcircuits.comApr. 2, 2015 - BANGKOK (PSA 2015-080) (Thailand) 1 section - Travel

www.bpsie.comApr. 5, 2015 - THROUGH THE LENS (PSA 2015-082) (India) 1 section - Travel,

www.maphotoclub.comApr. 5, 2015 - APRIL (PSA 2015-100) (Czech Republic) 1 Print section -

Travel, www.Apr.il.photoart.czApr. 6, 2015 - ROMANIJA (PSA 2015-057) (Bosnia & Herzegovina) 1 section -

Travel, www.romanija.photos


PHOTOJOURNALISM Randy Carr, PPSA • Email: [email protected] All acceptances in this Exhibition column are credited to Photojournalism.

3D Robert Leonard, HonPSA, MPSA • Email: [email protected] All acceptances in this Exhibition column are credited to 3D.

PICTORIAL PRINT William Lewis • Email: [email protected] All acceptances in this Exhibition column are credited to Pictorial Print.

Mar. 23, 2015 – SOUTHERN CROSS (PSA 2015-011) (Australia): Digital (Open & Landscape/Seascape); Andrew Read, [email protected] Information & Entry form: www.oz3d.info

May 29, 2015 – OHIO INTERNATIONAL (USA): Digital (Open); Paul Gauche, [email protected] Information & Entry form: Ohio3d.com

Mar. 1, 2015 - CONTRAST (PSA 2015-072) (Bosnia & Herzegovina) 1 Judging; 1 Section; Photojournalism; www.contrast.fotodoboj.com

Mar. 13, 2015 - JPS (PSA 2015-015) (India) 1 Judging; 1 Section; Photojournalism; www.jpsjodhpur.org

Mar. 30, 2015 - MONTENEGRO GP (PSA 2015-078) (Ireland) 1 Judging; 2 Sections; Photojournalism; Sport; www.photoclubmontenegro.com

Apr. 6, 2015 - ROMANIJA (PSA 2015-057) (Bosnia & Herzegovina) 1 Judging; 1 Section; Photojournalism; www.romanija.photos

Apr. 11, 2015 - GASO (PSA 2015-086) (USA) 5 Judgings; 2 Sections; Photojournalism; Environmental Issues; www.georgiacircuits.com

Apr. 19, 2015 - PICTURA (PSA 2015-019) (India) 1 Judging;1 Section; Photojournalism; www.fototechnik.in

Apr. 20, 2015 - HOYLAKE (PSA 2015-092) (United Kingdom) 1 Judging; 1 Section; photojournalism; www.hoylakephoto.org.uk

Apr. 21, 2015 - BALKAN DREAM (PSA 2015-088) (Serbia) 1 Judging; 1Section; Photojournalism; www.pca-exhibition.com/balkandream/

Apr. 11, 2015 - GASO (PSA 2015-086) (USA) 5 judgings, 1 section - Travel, www.georgiacircuits.com

Apr. 12, 2015 - CHELTENHAM (PSA 2015-030)1 section - Travel, www.cheltenhamcameraclub.co.uk

Apr. 15, 2015 - SIBU (PSA 2015-014) (Malaysia) 1 section - Travel, www.pssibu.com

Apr. 19, 2015 - PICTURA (PSA 2015-019) (India) 1 section - Travel, www.fototechnik.in

Apr. 20, 2015 - HOYLAKE (PSA 2015-092) (UK) 2 sections - The Western World, The Rest of the World, www.hoylakephoto.org.uk

Apr. 21, 2015 - BALKAN DREAM (PSA 2015-088) 1 section - Travel, www.pca-exhibition.com/balkandream/

Apr. 22, 2015 - DIGITALNA FOTO ARHIVA (PSA 2015-096) (Croatia, Montenegro, Ireland, Serbia) 4 judgings, 3 sections- Travel, People, City Life, www.digitalnafotoarhiva.com

Apr. 27, 2015 GB SMALL PRINT CIRCUIT (PSA 2015-105) (UK) 3 judgings) 1 section Travel, www.westcumbriaphotogroup.co.uk

May 1, 2015 - ADRAI (PSA 2015-106) (Macedonia) 1 section - Travel, www.photoclubcattaro.com

May 3, 2015 - 1st IMPRESSION (PSA 2015-101) India, 1 section - Travel, www.1st-impression.in

May 10, 2015 - DOUBLEHALF (PSA 2015-121) (India) 1 section, Travel, www.doublehalffestival.com

May 11, 2015 - PFM (PSA 2015-108) (India) 1 section - Travel, www.pfmclub.com

May 19, 2015 PRINT-DIGITAL ART VARNA (PSA 2015-123) (Bulgaria)1 Digital Section - Travel, www.printsalonvarna.org

May 23, 2015 - PATHSHALA (PSA 2015-124) (India) 1 section - Travel, www.photographypathshala.org

May 25, 2015 CROWN (PSA 2015-127) (India) 1 section - Travel, www.royalcameraclub.com

May 25, 2015 - VIRTUAL IMAGE (PSA 2015-129) (Argentina) 1 section - Travel, http://fotoclubba.org.ar/virtualimage2015

Jun. 6, 2015 - CREATIVE BLINKS (PSA 2015-137) (Egypt) 1 section - Travel, http://creative.photodivan.com

Jun. 8, 2015 - SAM PRINT CIRCUIT (PSA 2015-113) (India) 6 judgings, 1 section - Travel, www.wpaidelhi.com

Jun. 9, 2015 - VIBGYOR CIRCUIT (PSA 2015-130) (India) 3 judgings, 1 section - Travel, www.vibgyorcircuit.org

Jun. 10, 2015 - BALEARIC ISLANDS CIRCUIT (PSA 2015-141) 3 judgings, 1 section - Travel, www.ibfotocircuit.org

Jun. 21, 2015 - CORSICA (PSA 2015-143) (Serbia) 1 section - Travel, www.pca-exhibition.com/corsica/

Jun. 25, 2015 - FOTOGRAM (PSA 2015-147) ( Serbia) 1 section -Travel, www.fotogram.in.rs

Jul. 20, 2015 - JODHPUR CIRCUIT (PSA 2015-111) (India) 3 judgings, 1 section - Travel, http://jodhpurcircuit.jpsjodhpur.org

Jul. 1, 2015 - BON VOYAGE CIRCUIT (PSA 2015-154) (Serbia) 3 judgings, 1 section - Travel, www.photoclub202.com

Jul. 1, 2015 - DPA CIRCUIT (PSA 2015-153) (Ireland) 3 judgings, 3 sections - Travel, City Life, People, www.digitalphotoarchivelimited.com

Jul. 1, 2015 - TOUR CIRCUIT (PSA 2015-155) (Serbia) 3 judgings, 1 section - Travel, www.fkk.rs

Apr. 22, 2015 - DIGITALNA CIRCUIT (PSA 2015-096) (Republic of Ireland) 4 Judgings; 3 Sections; photojournalism;sport;child; www.digitalnafotoarhiva.com

Apr. 30, 2015 - A PHOTO REPORTER (PSA 2015-122) (Spain) 1 Judging; 2 Sections; Photojournalism; Sport; www.aphotoreporter.com

May 10, 2015 - OKLAHOMA (PSA 2015-104) (USA) 1 Judging; 1 Section; photojournalism; www.oklahomacameraclub.com

May 19, 2015 - PRINT DIGITAL ART VARNA (PSA 2015-123) (Bulgaria) Digital; 1 Judging; 1 Section; Photojournalism; www.fotosalonvarna.com

May 23, 2015 - PATHSHALA (PSA 2015-124) (India) 1 Judging; 1 Section; Photojournalism; www.photographypathshala.org

May 25, 2015 - VIRTUAL IMAGE (PSA 2015-129) (Argentina) 1 Judging; 1 Section; Photojournalism; http://fotoclubba.org.ar/virtualimage2015

May 26, 2015 - SWISS (PSA 2015-131) (Switzerland) 1 Judging;1 Section; Photojournalism; www.newcameraclub.com

Jun. 6, 2015 - BLINKS (PSA 2015-137) (Egypt) 1 Judging; 1 Section; Photojournalism; http://creative.photodivan.com

Jun, 16, 2015 - SAM PRINT CIRCUIT (PSA 2015-113) (India) 6 Judgings; 1 Section; Photojournalism; www.wpaidelhi.com

Jun. 20, 2015 - DANUBE (PSA 2015-142) (Serbia) 1 Judging; 1 Section; Photojournalism; www.photoclub-danube.com

Jun. 21,2015 - CORSICA (PSA 2015-143) (Serbia) 1 Judging; 1 Section; Photojournalism; www.pca-exhibition.com/corsica/

Jun. 25, 2015 - FOTOGRAM (PSA 2014-147) (Serbia) 1 Judging; 1 Section; Photojournalism; www.fotogram.in.rs

Jul. 1, 2015 - DPA CIRCUIT (PSA 2015-153) (Republic of Ireland) 3 Judgings; 3 Sections; Photojournalism; Child; Sports; www.digitalphotoarchivelimited.com

LARGE PRINTS Mar. 10, 2015 – MAYET (PSA 2015-061) France (M–C) [email protected];

www.mairie-mayet.fr/module-contenus-viewpub-tid-2-pidMar. 23, 2015 – SPECIAL THEMES CIRCUIT (PSA 2015-070) – Austria (M & C,

each landscape & experimental) 4 judgings; [email protected]; www.supercircuit.at

Mar. 23, 2015 – TRIERENBERG SUPER CIRCUIT (PSA 2015-069) Austria (M – C) 4 judgings; [email protected]; www.supercircuit.at

Mar. 30, 2015 – JCM PRINT CIRCUIT (PSA 2015-066) India (M – C) 4 judgings; [email protected]; www.jcmcircuits.com

Apr. 4, 2015 – SCOTTISH (PSA 2015-117) United Kingdom (M – C) [email protected]; www.scottish-photographic-salon.org

Apr. 7, 2015 – HONG KONG PRINT CIRCUIT (PSA 2015-083) Hong Kong (M – C) 3 judgings; [email protected]; www.hkapa.net

Apr. 20, 2015 – MIDLAND SALON (PSA 2015-090) United Kingdom (M – C) [email protected]; www.midland-salon.com

May 19, 2015 – PRINT/DIGITAL ART VARNA (PSA 2015-123) Bulgaria (M – C) [email protected]; www.fotosalonvarna.org

May 28, 2015 – HKCC (PSA2015-133) Hong Kong (M – C) [email protected]; www.hongkongcameraclub.com

Jun. 16, 2015 – SAM PRINT CIRCUIT (PSA 2015-113) India (4 sections: M&C, each open & city life) 6 judgings; [email protected]; www.wpaidelhi.com

Jun. 28, 2015 – PSNY (PSA 2015-068) USA (M – C) [email protected]; www.psnyusa.org

Jul. 2, 2015 – CREATIVE (PSA2015-146) India (M – C) [email protected]; www.bplclub.in

SMALL PRINTSMar. 29, 2015 – AFES (PSA 2015-075) Spain (color only) [email protected];

www.concursos.afes.catApr. 27, 2015 – GREAT BRITISH SMALL PRINT CIRCUIT (PSA 2015-105) –

United Kingdom (M, M landscape, C) 3 judgings; [email protected]; www.westcumbriaphotogroup.co.uk

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Rate: 75 cents a word, initial or abbreviation. $7.50 minimum. A 5% discount is given on orders for six consecutive months of the same ad.Categories: Please specify: For Sale, Wanted, Workshop, Travel, or Miscellaneous.Terms: Payment with order. Mail to: PSA Journal, 8241 S. Walker Ave., Suite 104, OKC, OK 73139.Deadline: 2 full months prior to publication date.Display Ads: Accepted in this section at normal display rate.Free Ads: PSA members may place a maximum of 3 noncommercial ads each year at no cost. Each free ad must be no more than 5 lines or 175 characters, including punctuation and spaces.Send Ads to: PSA Journal Editor, Donna Brennan, at [email protected].

n UNIQUE PHOTO TOURS WITH MICHELE BURGESS. Ultimate Kenya Safari, Faroe Islands/Greenland/Iceland, Nepal Odyssey. Call 714/536-6104 for brochures or visit www.infocustravel.com.

n ALL TOURS INDIA—Small Group Tours designed with the Photographer in mind.Exciting itineraries since 2002, to Bhutan, India, Nepal and Tibet. Itineraries and details: www.AllToursIndia.com and Facebook.

n FOR SALE: Nikon D300; Nikon MB D-10 battery pack; NikonDX VR 18/55mm f3.5-5.6 G; Four Nikon EN EL 3e batteries with charger; 12 compact flash memory cards; Nikon 10 pin MC 30 cable release; Nikon manual; David Busch manual. For details 402-755-2240 or [email protected] PRICE $425 Francis Kingsbury, FPSA

n SPECIALIZED DIGITAL PHOTOGRAPHY WORKSHOPS ACROSS THE GLOBE: Join Photo Quest Adventures and our award-winning instructors as we learn, discover and capture amazing images on our once-in-a-lifetime global tours. Destinations include Laos & Cambodia, Cuba, Ethiopia, Venice, China, Botswana, Myanmar and the Falkland Islands. Come ACCESS the world differently with PQA! Learn more: https://www.photoquestadventures.com/

Ad Index

New Mexico and Southwest Photo Tours With Bob Ayre

Bosque del Apache (November to mid February).

Taos, Acoma Pueblo, Chaco Culture NHP and more.

[email protected] • www.bobayre.com

Rainbow Photo Tours ..................... 11www.rainbowphototours.com

Red River Paper.............................7www.redriverpaper.com/psa

RMF ......................................... 11www.rmfproducts.com

Tamron .......................... Back Coverwww.tamron-usa.com


Divisions of InterestWhich PSA Divisions are of interest to you? (Check all that apply)q Projected Image q Photo Travelq Nature q Pictorial Printq Photojournalism q 3D

Skills & ExperienceWhich skills do you possess? (Check all that apply)q Accounting/Finance q International Relationsq Computer Software/ q Manager/Executive Microsoft Office q Teaching and Educationq Public Relations, Publicity, q Fundraising/Development Marketing q Writing and Editingq Website Programming or Design

InterestsCheck all volunteer areas that might interest you now orin the future? (Check all that apply)q Competitions and Exhibitions q Print Study Groupq Digital Program Creation q PSA Conferenceq Digital Study Groups q Public Speakingq Membership Volunteer q Record Keepingq Photographic Training q Travel Aide

Photographic Society of AmericaApplication for New Membership

Revised March 2015

Given name (personal name):___________________Family name (surname): _______________________________ Birth date (MM/DD/YY): ___________

Address: _______________________________________________________________________ Telephone: __________________________________

City: _________________________________________________ State: ___________Country: _________________________ Postal Code: ______________

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Person who referred you to PSA: ______________________________________________________

Check Desired Membership Options BelowSTANDARD MEMBERSHIP (Adult or youth): Includes printed copy of PSA Journal by mail AND comlimentary access to online and mobile PSA Journal.Membership Category 1 Year 2 Years 3 YearsAdult Membership—USA, Canada, Mexico q $60 q $115 q $165Adult membership—Outside USA, Canada, Mexico q $100 q $195 q $285Youth membership—Under 18 years—USA, Canada, Mexico q $50 No multi-year option for youthYouth membership—Under 18 years—Outside USA, Canada, Mexico q $90

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PHOTO CLUB/ORGANIZATION MEMBERSHIP Includes the printed copy of PSA Journal only by mail (NO online or mobile PSA Journal access)Membership Category 1 Year 2 Years 3 YearsPhoto Club/Organization - USA, Canada, Mexico q $45 q $85 q $120Photo Club/Organization - Outside USA, Canada, Mexico q $55 q $105 q $150

We accept US bank drafted check, US money order, Visa, MasterCard or Discover payments.Make checks payable to PSA. Check MUST be in US dollars written on a US bank draft.q Visa q MasterCard q Discover q American Express

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Please mail this form (with payment) to:PSA HeadquartersAttn: Membership8241 S. Walker Avenue, Suite 104Oklahoma City, OK 73139

New Member Gallery

Jim AtkinsNebraska

by Jim Atkins

The Colorado National Monument has many trails for day and night hiking, biking and canyoneering. Bring your camera for the many photography ops of the towering monoliths, colorful walls and canyons from twenty-three mile Rim Rock Drive.

Winding your way along the drive you might see one of the local favorites, the Desert Big Horn Sheep. You might also spot a peregrine falcon, golden eagle or the colorful collared lizard. Along with the impressive geologic features, it is also home to coyotes, grey foxes, midget-faded rattlesnakes and the elusive mountain lion.

It sits on the edge of the Uncompahgre Uplift, is part of the greater Colorado Plateau, and overlooks the Colorado River Valley, Bookcliffs and the Grand Mesa.

Visit http://www.coloradonma.org for information about the monument.

Donna Fullerton

Distant Canyon Views © Donna Fullerton

Awakening © Oxana Trotsenko

Sunset Water © Ruth Sprain

Mountain Goats © Tammy Hammond

Alberta Falls © Mary Giordano

SP 15-30mm F/2.8 Di VC USD[Model A012] for Canon, Nikon, and Sony* mount

Introducing the world’s first** fast full-frame ultra-wide-angle zoom with image stabilizationPush your vision even wider with the new Tamron SP 15-30mm F/2.8 Di VC USD zoom — the world’s first in its class with image stabilization. The latest addition to Tamron’s line-up of SP (Super Performance) lenses, designed for both for full frame and crop-sensor DSLRs, is built to the highest standards, and enables you to capture images of expansive vistas free of annoying lens aberrations thanks to Tamron’s use of proprietary XGM eXpanded Glass Molded Aspherical lens elementtechnology. This bold new zoom delivers superb corner-to-corner resolution—equal to a prime lens— at every focal length and a bright F/2.8 aperture throughout its 15-30mm zoom range. Its rugged design features a fluorine-coated front element—which sheds water and repels dirt—and enhanced moisture resistant construction. Fast. Ultra-wide. Image stabilized. Powerful from any perspective.

*Sony mount without VC **For F/2.8 ultra-wide-angle zoom lens for full-frame DSLR cameras (Source: Tamron)

Focal length: 15mm Exposure: F/11 0.6 sec ISO400 © Ian Plant

www.tamron-usa.com

Perspectives of power

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