share moments - share photography macro photography · close-up photography as the skills, tools...
TRANSCRIPT
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Message From The President 3
Dates To Remember 3
Capturing The Perfect Flower Macro [For
Beginners]
4
Macro Photography From Basic To Extreme 5
Macro Photography Tips for Point and Shoot
Digital Cameras
8
A Brief History of Photography
Part 8 - Kodachrome amp Color Film
10
May Challenge Images 13
Your Camera Club Needs Your Participation 14
Macro Photography A Message From The Editor
The ability to reach into lsquonear spacersquo and take a viewer to new and seldom
seen vantage points is an attractive option for many photographers The term
macro photography is used when shooting something close-up and quite
small To be technically correct the term macro refers to the capture of an
object that resulted in an image on the original 35mm film frame (24x36mm)
which ranged from a 11 ratio (life size) up to 101 ratio (10X life size) This
term has been further confused by many of the manufacturers labelling
lenses and digital cameras with macro modes that are not truly macro
either Most of these devices get to a close up point or around a 14 ratio
(14 life size) on the digital sensor Most of the time then we are talking
about close-up photography even though we use the term macro In this
edition of Exposures I will not nit-pick the differences between macro and
close-up photography as the skills tools and techniques used to make a
huge print of an insect a flower petal or any small object are very much the
same
This edition of Exposures contains several excellent articles about macro
photography I start with a so called ldquobeginnerrdquo article written by Natalie
Denton Check out Tom Biegalskirsquos article ldquoMacro Photography - From
Basic To Extremerdquo for an excellent primer on the tools and techniques
required to get started with macro photography Darren Rowse of Digital
Photography School points out that much has been written on the topic of
macro photography for those photographers fortunate enough to own a
DSLR with macro lenses ndash but what about if you own a compact point and shoot camera Can you get great macro shots too
Each of the articles emphasize the fact that macro photography
brings with it certain problems with the working distance and
depth of field When you are working at a close working distance
you will find that you need to either blur out the background using a
small aperture f-number or a large f-number to gain optimum image
sharpness and depth of field Each of these alternatives can
present problems of their own A high f-stop improves depth of
field but too high of a value will also begin to compromise image
resolution due to lens diffraction Using a small lens aperture
means you need more light so you need to extend the exposure
time to make a correctly exposed photograph With depth of field at
a millimeter or less you want to make sure that it is you who are
deciding whatrsquos in focus The one thing that every macro guide
mentions is that you would want to manual focus your camera
So reach into near space and give macroclose up photography a
try It is a great way to share moments and share photography
Inside This Issue
Share Moments - Share Photography
June 2014 Volume 6 Issue 10
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
2013 - 2014
Board Members President Mike Trahan
President Elect Mark Theriot
Past President John Williams
Secretary Terry Ferguson
Treasurer Jim Ross
Vice President External Operations Michelle Cox
Vice President Internal Operations Bill Sullivan
2013 - 2014
Committee Chairpersons
LCCC is a proud member of the
Chicago Area Camera Clubs Association
and the Photographic Society of America
The clubrsquos mission is to promote teach and share the ideals skills techniques
and good practices of the art of photography and the use of cameras and
photographic equipment
Visit the clubrsquos website wwwlakecountycameracluborg
The club meets at 700pm on the first Thursday of every month at
University Center 1200 University Drive Grayslake IL
Questions or comments about this newsletter
Please contact Ken Johnson Newsletter Editor at
kenjohnsonlakecountycameracluborg
Exposures - June 2014 Volume 6 Issue 10 Page 2
CACCA Representative Bob Kruzic
Challenge Coordinator Linda OrsquoRourke
Competition Chair Bob Kruzic
Community Involvement Coordinator JoAnn Sullivan
Company Contact Coordinator Open
Continuing Education Coordinator Jim Ross
Critique Coordinator Liz Rose Fisher
DPI Competition Coordinator John Rouse
Educational Events Coordinator Open
Event Communications Coordinator Sue Baron
Facilities Coordinator Bill Sullivan
Gallery Coordinator John Williams
Historian Egon Shein
Hospitality Desk Margie Hurwich
Judge Procurement Tony Roma
Librarian Larry Chua
Long Term Planning Mark Theriot
Mentoring Program Coordinator Open
Membership Chair Terry Ferguson
New Member Coordinator Judy Reinhardt
Newsletter Editor Ken Johnson
Photo Excursion Coordinator Debra Olson
Program Chair Stevan Tontich
PSA Representative Egon Schein
PSA Photo Travel Coordinator Birgit Tyrrell
PSA Photojournalism Coordinator Linda Kruzic
PSA Projected Image Coordinator Ron Sheade
PSA Nature Coordinator Jeff Bark
Small Group Coordinator Ron Sheade
Webmaster John Rouse
Year End Party Coordinators Jeff Bott
Sheldon Wecker
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Exposures - June 2014 Volume 6 Issue 10 Page 3
A Message From President - Mike Trahan
Summer is in full swing with all the warm and comfortable photo opportunities it offers Our online critiquing program is in its
second round as Liz Rose Fisher and Jim Ross continue to refine this new capability for our members to get excellent reviews
and critiques of photos Some of our small groups are close to finishing up such as the Portrait Small Group some are finished
such as the NIK Plug-ins group while others are continuing such as the NoviceIntermediate group Remember anyone can
suggest a small group they would be interested in by emailing lakecountycameraclubyahoogroupscom If enough people are
interested wersquoll start one Work is continuing behind the scenes on a new library function
Be sure to sign up for and attend the year-end party when the announcements go out It should be a fun ending to a fine year for
us
Wersquore filling in our positions for the next year Our club only can offer the great services we do to our members because of all the
volunteers who are willing to help Wersquove worked at making each job a manageable bite-sized chunk so be sure to put your
name in for something See Terryrsquos list of positions elsewhere in this newsletter If you have any questions be sure to emai l
Terry at wheelsmithysbcglobalnet or me at miket99gmailcom
Keep shooting and having fun
Challenge Due lsquoDusk to Dawnrsquo June 30
IMPORTANT NOTICE July Club Meeting Date Change - Wednesday
Program Night Night amp Low Light Photography Techniques
July 9
Board Meeting All are welcome July 17
Shutter Cafeacute 800 AM July 19
Newsletter Articles Due Editing Techniques July 21
Challenge Due lsquoCelebrationsrsquo July 30
Photo Excursion Pike River Rendezvous August 2
Dates To Remember
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Capturing The Perfect Flower Macro [For Beginners] By Natalie Denton (nee Johnson)
If you appreciate the subtle beauty of a freshly bloomed bud or want to preserve the memory of that bright and bold gift bouquet
why not try putting your photography skills to good use and capture a delicate floral macro
Begin by finding the perfect specimen and if possible place it in an area with
great soft light for example in front of a window that is shielded with a sheet
or net curtain If the plant is outside either move it to a shaded location or find
a way of diffusing the sunrsquos rays with a piece of fine material if the light is
particular harsh or the sun is at a high position in the sky Shoot with your
back to the light (without blocking it) or from the side so that the light falls
gently and delicately on the flower headrsquos crevices and petals effortlessly
eventuating texture color and the intrinsic detailing An overcast but bright
day will undoubtedly harvest optimum captures but if you need to lsquoaddrsquo extra
light utilize a reflector to lift details from the shadows
Next set the camera onto a tripod or if you are lacking one try using
something as a stable substitute to support it underneath Using something
like Jobyrsquos GorillaPod for DSLRs will be extremely useful here especially
when shooting immoveable or smaller specimens as the accessory is
relatively dainty and low to the ground as it doesnrsquot have a restrictive center
column like a tripod does
In terms of glassware a macro lens or extension tube will reap stronger
images otherwise experiment with focal length you have at your disposal
and use your distance to influence the composition determine how close you
can get to secure a lock Some people prefer the simplicity of auto-focus
whereas others surmise that manual offers greater creative control either
way decide what you want in focus lock on to it and then recompose
If you are using a point-and-shoot device opt for the camerarsquos macro mode and ensure that the flash is deactivated DSLR or
hybrid users should switch into Aperture priority and experiment with the lensrsquo aperture range to alter how much detail is
captured For a crisp center and softly blurred petals or background opt for an aperture of between f18 and f4 depending on the
strength and range of the effect you want to generate If yoursquod rather keep the flower headrsquos details crisp use a narrower aperture
such as f18 or even f22Depending on the color of the flower you may find yoursquoll need to employ exposure compensation to
balance the scene
Stand above the flower and shoot the subject from various angles then lower the lens in
stages to the same level as the flower and shoot again finally fall beneath the flower head
and shoot up at its delicate underbelly
Review your captures onscreen to determine what appeals to you or what you would like to
develop If you want to tweak the captures in an editing suite it is advisable to shoot in RAW
so all of those vivid details and colors are naturally replicated
If you would like to repeat the photo session at a later date try experimenting with various
lighting techniques lenses gels and include elements such as water for that heightened level
of interest Shooting a flower macro just after it has rained or before snow or frost melts can
really exaggerate the specimenrsquos beauty and lends itself to creating a more dramatic
photograph
Exposures - June 2014 Volume 6 Issue 10 Page 4
copy Evan Leeson
Natalie Denton (nee Johnson) Natalie Denton (nee Johnson) is the former editor of Digital Photographer magazine and is now a freelance journalist and photographer who has written for dozens of photography and technology magazines and websites over the last decade Recent
author and tutor too
copy Hamed Saber
copy Auntie P
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
All images copy Tom Biegalsky
Macro Photography From Basic To Extreme By Tom Biegalski
The following is an adapted excerpt from a Power Point presentation given by Tom Biegalski
Working Distance
When choosing a macro setup and desired magnification it is important to consider the working distance Longer working
distances allow for more room to add lighting or other elements and may be helpful with skittish or dangerous subjects
Equipment for Macro Photography
Extension Tubes or Bellows These devices attach between a lens
and the camera body More extension provides higher magnification
(extension mm focal length of lens = magnification factor)
These alternatives can be very economical and there is no glass to
diminish the quality of a good lens
This option may lose some light and require manual focus It may also
focus to close with wider angle lenses You need lots of extension for
high magnification
Diopters These devices screw on the front of a lens like a filter There
is normally a fixed focal point working distance Magnification increases
with diopter strength and lens focal length Diopters work well with
telephoto zoom lenses
Diopters can be easy to use and there is minimal light loss A poor
quality single element model may provide marginal results Although a
bit more costly you should select a good quality model with multi-
elements a quality coatings
Exposures - June 2014 Volume 6 Issue 10 Page 5
Continued on next page
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Equipment for Macro Photography (continued)
Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring
You can focus very close You will lose all of the automatic lens functionality including
aperture control and focus
True Macro Lens These lenses may be used as normal lenses The provide very high
image quality and are corrected for flat field at
high magnification A true macro lens can focus
to a 11 ration They can be expensive Longer
focal lengths provide longer working distances
Longer focal lengths create a more narrow angle
of vies This helps to isolate the subject and
control the look of the background Shorter focal
lengths provide a wider angle of view and helps
create context by including background elements
Teleconverters These
devices attach between a
lens and the camera body
and are typically used to
increase the magnification of
telephoto lenses by a set
factor They do not change
the working distance of the
lens You may lose some image quality This alternative is moderately expensive
Focusing Rails Focusing
rails allow extremely fine movements of the macro setup forward
backward and for some models side to side This is useful for fine focus
and focus stacking
Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification
factors from 11 to 51 This lens works a macro only
Exposures - June 2014 Volume 6 Issue 10 Page 6
Continued on next page
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
2013 - 2014
Board Members President Mike Trahan
President Elect Mark Theriot
Past President John Williams
Secretary Terry Ferguson
Treasurer Jim Ross
Vice President External Operations Michelle Cox
Vice President Internal Operations Bill Sullivan
2013 - 2014
Committee Chairpersons
LCCC is a proud member of the
Chicago Area Camera Clubs Association
and the Photographic Society of America
The clubrsquos mission is to promote teach and share the ideals skills techniques
and good practices of the art of photography and the use of cameras and
photographic equipment
Visit the clubrsquos website wwwlakecountycameracluborg
The club meets at 700pm on the first Thursday of every month at
University Center 1200 University Drive Grayslake IL
Questions or comments about this newsletter
Please contact Ken Johnson Newsletter Editor at
kenjohnsonlakecountycameracluborg
Exposures - June 2014 Volume 6 Issue 10 Page 2
CACCA Representative Bob Kruzic
Challenge Coordinator Linda OrsquoRourke
Competition Chair Bob Kruzic
Community Involvement Coordinator JoAnn Sullivan
Company Contact Coordinator Open
Continuing Education Coordinator Jim Ross
Critique Coordinator Liz Rose Fisher
DPI Competition Coordinator John Rouse
Educational Events Coordinator Open
Event Communications Coordinator Sue Baron
Facilities Coordinator Bill Sullivan
Gallery Coordinator John Williams
Historian Egon Shein
Hospitality Desk Margie Hurwich
Judge Procurement Tony Roma
Librarian Larry Chua
Long Term Planning Mark Theriot
Mentoring Program Coordinator Open
Membership Chair Terry Ferguson
New Member Coordinator Judy Reinhardt
Newsletter Editor Ken Johnson
Photo Excursion Coordinator Debra Olson
Program Chair Stevan Tontich
PSA Representative Egon Schein
PSA Photo Travel Coordinator Birgit Tyrrell
PSA Photojournalism Coordinator Linda Kruzic
PSA Projected Image Coordinator Ron Sheade
PSA Nature Coordinator Jeff Bark
Small Group Coordinator Ron Sheade
Webmaster John Rouse
Year End Party Coordinators Jeff Bott
Sheldon Wecker
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Exposures - June 2014 Volume 6 Issue 10 Page 3
A Message From President - Mike Trahan
Summer is in full swing with all the warm and comfortable photo opportunities it offers Our online critiquing program is in its
second round as Liz Rose Fisher and Jim Ross continue to refine this new capability for our members to get excellent reviews
and critiques of photos Some of our small groups are close to finishing up such as the Portrait Small Group some are finished
such as the NIK Plug-ins group while others are continuing such as the NoviceIntermediate group Remember anyone can
suggest a small group they would be interested in by emailing lakecountycameraclubyahoogroupscom If enough people are
interested wersquoll start one Work is continuing behind the scenes on a new library function
Be sure to sign up for and attend the year-end party when the announcements go out It should be a fun ending to a fine year for
us
Wersquore filling in our positions for the next year Our club only can offer the great services we do to our members because of all the
volunteers who are willing to help Wersquove worked at making each job a manageable bite-sized chunk so be sure to put your
name in for something See Terryrsquos list of positions elsewhere in this newsletter If you have any questions be sure to emai l
Terry at wheelsmithysbcglobalnet or me at miket99gmailcom
Keep shooting and having fun
Challenge Due lsquoDusk to Dawnrsquo June 30
IMPORTANT NOTICE July Club Meeting Date Change - Wednesday
Program Night Night amp Low Light Photography Techniques
July 9
Board Meeting All are welcome July 17
Shutter Cafeacute 800 AM July 19
Newsletter Articles Due Editing Techniques July 21
Challenge Due lsquoCelebrationsrsquo July 30
Photo Excursion Pike River Rendezvous August 2
Dates To Remember
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Capturing The Perfect Flower Macro [For Beginners] By Natalie Denton (nee Johnson)
If you appreciate the subtle beauty of a freshly bloomed bud or want to preserve the memory of that bright and bold gift bouquet
why not try putting your photography skills to good use and capture a delicate floral macro
Begin by finding the perfect specimen and if possible place it in an area with
great soft light for example in front of a window that is shielded with a sheet
or net curtain If the plant is outside either move it to a shaded location or find
a way of diffusing the sunrsquos rays with a piece of fine material if the light is
particular harsh or the sun is at a high position in the sky Shoot with your
back to the light (without blocking it) or from the side so that the light falls
gently and delicately on the flower headrsquos crevices and petals effortlessly
eventuating texture color and the intrinsic detailing An overcast but bright
day will undoubtedly harvest optimum captures but if you need to lsquoaddrsquo extra
light utilize a reflector to lift details from the shadows
Next set the camera onto a tripod or if you are lacking one try using
something as a stable substitute to support it underneath Using something
like Jobyrsquos GorillaPod for DSLRs will be extremely useful here especially
when shooting immoveable or smaller specimens as the accessory is
relatively dainty and low to the ground as it doesnrsquot have a restrictive center
column like a tripod does
In terms of glassware a macro lens or extension tube will reap stronger
images otherwise experiment with focal length you have at your disposal
and use your distance to influence the composition determine how close you
can get to secure a lock Some people prefer the simplicity of auto-focus
whereas others surmise that manual offers greater creative control either
way decide what you want in focus lock on to it and then recompose
If you are using a point-and-shoot device opt for the camerarsquos macro mode and ensure that the flash is deactivated DSLR or
hybrid users should switch into Aperture priority and experiment with the lensrsquo aperture range to alter how much detail is
captured For a crisp center and softly blurred petals or background opt for an aperture of between f18 and f4 depending on the
strength and range of the effect you want to generate If yoursquod rather keep the flower headrsquos details crisp use a narrower aperture
such as f18 or even f22Depending on the color of the flower you may find yoursquoll need to employ exposure compensation to
balance the scene
Stand above the flower and shoot the subject from various angles then lower the lens in
stages to the same level as the flower and shoot again finally fall beneath the flower head
and shoot up at its delicate underbelly
Review your captures onscreen to determine what appeals to you or what you would like to
develop If you want to tweak the captures in an editing suite it is advisable to shoot in RAW
so all of those vivid details and colors are naturally replicated
If you would like to repeat the photo session at a later date try experimenting with various
lighting techniques lenses gels and include elements such as water for that heightened level
of interest Shooting a flower macro just after it has rained or before snow or frost melts can
really exaggerate the specimenrsquos beauty and lends itself to creating a more dramatic
photograph
Exposures - June 2014 Volume 6 Issue 10 Page 4
copy Evan Leeson
Natalie Denton (nee Johnson) Natalie Denton (nee Johnson) is the former editor of Digital Photographer magazine and is now a freelance journalist and photographer who has written for dozens of photography and technology magazines and websites over the last decade Recent
author and tutor too
copy Hamed Saber
copy Auntie P
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
All images copy Tom Biegalsky
Macro Photography From Basic To Extreme By Tom Biegalski
The following is an adapted excerpt from a Power Point presentation given by Tom Biegalski
Working Distance
When choosing a macro setup and desired magnification it is important to consider the working distance Longer working
distances allow for more room to add lighting or other elements and may be helpful with skittish or dangerous subjects
Equipment for Macro Photography
Extension Tubes or Bellows These devices attach between a lens
and the camera body More extension provides higher magnification
(extension mm focal length of lens = magnification factor)
These alternatives can be very economical and there is no glass to
diminish the quality of a good lens
This option may lose some light and require manual focus It may also
focus to close with wider angle lenses You need lots of extension for
high magnification
Diopters These devices screw on the front of a lens like a filter There
is normally a fixed focal point working distance Magnification increases
with diopter strength and lens focal length Diopters work well with
telephoto zoom lenses
Diopters can be easy to use and there is minimal light loss A poor
quality single element model may provide marginal results Although a
bit more costly you should select a good quality model with multi-
elements a quality coatings
Exposures - June 2014 Volume 6 Issue 10 Page 5
Continued on next page
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Equipment for Macro Photography (continued)
Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring
You can focus very close You will lose all of the automatic lens functionality including
aperture control and focus
True Macro Lens These lenses may be used as normal lenses The provide very high
image quality and are corrected for flat field at
high magnification A true macro lens can focus
to a 11 ration They can be expensive Longer
focal lengths provide longer working distances
Longer focal lengths create a more narrow angle
of vies This helps to isolate the subject and
control the look of the background Shorter focal
lengths provide a wider angle of view and helps
create context by including background elements
Teleconverters These
devices attach between a
lens and the camera body
and are typically used to
increase the magnification of
telephoto lenses by a set
factor They do not change
the working distance of the
lens You may lose some image quality This alternative is moderately expensive
Focusing Rails Focusing
rails allow extremely fine movements of the macro setup forward
backward and for some models side to side This is useful for fine focus
and focus stacking
Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification
factors from 11 to 51 This lens works a macro only
Exposures - June 2014 Volume 6 Issue 10 Page 6
Continued on next page
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Exposures - June 2014 Volume 6 Issue 10 Page 3
A Message From President - Mike Trahan
Summer is in full swing with all the warm and comfortable photo opportunities it offers Our online critiquing program is in its
second round as Liz Rose Fisher and Jim Ross continue to refine this new capability for our members to get excellent reviews
and critiques of photos Some of our small groups are close to finishing up such as the Portrait Small Group some are finished
such as the NIK Plug-ins group while others are continuing such as the NoviceIntermediate group Remember anyone can
suggest a small group they would be interested in by emailing lakecountycameraclubyahoogroupscom If enough people are
interested wersquoll start one Work is continuing behind the scenes on a new library function
Be sure to sign up for and attend the year-end party when the announcements go out It should be a fun ending to a fine year for
us
Wersquore filling in our positions for the next year Our club only can offer the great services we do to our members because of all the
volunteers who are willing to help Wersquove worked at making each job a manageable bite-sized chunk so be sure to put your
name in for something See Terryrsquos list of positions elsewhere in this newsletter If you have any questions be sure to emai l
Terry at wheelsmithysbcglobalnet or me at miket99gmailcom
Keep shooting and having fun
Challenge Due lsquoDusk to Dawnrsquo June 30
IMPORTANT NOTICE July Club Meeting Date Change - Wednesday
Program Night Night amp Low Light Photography Techniques
July 9
Board Meeting All are welcome July 17
Shutter Cafeacute 800 AM July 19
Newsletter Articles Due Editing Techniques July 21
Challenge Due lsquoCelebrationsrsquo July 30
Photo Excursion Pike River Rendezvous August 2
Dates To Remember
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Capturing The Perfect Flower Macro [For Beginners] By Natalie Denton (nee Johnson)
If you appreciate the subtle beauty of a freshly bloomed bud or want to preserve the memory of that bright and bold gift bouquet
why not try putting your photography skills to good use and capture a delicate floral macro
Begin by finding the perfect specimen and if possible place it in an area with
great soft light for example in front of a window that is shielded with a sheet
or net curtain If the plant is outside either move it to a shaded location or find
a way of diffusing the sunrsquos rays with a piece of fine material if the light is
particular harsh or the sun is at a high position in the sky Shoot with your
back to the light (without blocking it) or from the side so that the light falls
gently and delicately on the flower headrsquos crevices and petals effortlessly
eventuating texture color and the intrinsic detailing An overcast but bright
day will undoubtedly harvest optimum captures but if you need to lsquoaddrsquo extra
light utilize a reflector to lift details from the shadows
Next set the camera onto a tripod or if you are lacking one try using
something as a stable substitute to support it underneath Using something
like Jobyrsquos GorillaPod for DSLRs will be extremely useful here especially
when shooting immoveable or smaller specimens as the accessory is
relatively dainty and low to the ground as it doesnrsquot have a restrictive center
column like a tripod does
In terms of glassware a macro lens or extension tube will reap stronger
images otherwise experiment with focal length you have at your disposal
and use your distance to influence the composition determine how close you
can get to secure a lock Some people prefer the simplicity of auto-focus
whereas others surmise that manual offers greater creative control either
way decide what you want in focus lock on to it and then recompose
If you are using a point-and-shoot device opt for the camerarsquos macro mode and ensure that the flash is deactivated DSLR or
hybrid users should switch into Aperture priority and experiment with the lensrsquo aperture range to alter how much detail is
captured For a crisp center and softly blurred petals or background opt for an aperture of between f18 and f4 depending on the
strength and range of the effect you want to generate If yoursquod rather keep the flower headrsquos details crisp use a narrower aperture
such as f18 or even f22Depending on the color of the flower you may find yoursquoll need to employ exposure compensation to
balance the scene
Stand above the flower and shoot the subject from various angles then lower the lens in
stages to the same level as the flower and shoot again finally fall beneath the flower head
and shoot up at its delicate underbelly
Review your captures onscreen to determine what appeals to you or what you would like to
develop If you want to tweak the captures in an editing suite it is advisable to shoot in RAW
so all of those vivid details and colors are naturally replicated
If you would like to repeat the photo session at a later date try experimenting with various
lighting techniques lenses gels and include elements such as water for that heightened level
of interest Shooting a flower macro just after it has rained or before snow or frost melts can
really exaggerate the specimenrsquos beauty and lends itself to creating a more dramatic
photograph
Exposures - June 2014 Volume 6 Issue 10 Page 4
copy Evan Leeson
Natalie Denton (nee Johnson) Natalie Denton (nee Johnson) is the former editor of Digital Photographer magazine and is now a freelance journalist and photographer who has written for dozens of photography and technology magazines and websites over the last decade Recent
author and tutor too
copy Hamed Saber
copy Auntie P
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
All images copy Tom Biegalsky
Macro Photography From Basic To Extreme By Tom Biegalski
The following is an adapted excerpt from a Power Point presentation given by Tom Biegalski
Working Distance
When choosing a macro setup and desired magnification it is important to consider the working distance Longer working
distances allow for more room to add lighting or other elements and may be helpful with skittish or dangerous subjects
Equipment for Macro Photography
Extension Tubes or Bellows These devices attach between a lens
and the camera body More extension provides higher magnification
(extension mm focal length of lens = magnification factor)
These alternatives can be very economical and there is no glass to
diminish the quality of a good lens
This option may lose some light and require manual focus It may also
focus to close with wider angle lenses You need lots of extension for
high magnification
Diopters These devices screw on the front of a lens like a filter There
is normally a fixed focal point working distance Magnification increases
with diopter strength and lens focal length Diopters work well with
telephoto zoom lenses
Diopters can be easy to use and there is minimal light loss A poor
quality single element model may provide marginal results Although a
bit more costly you should select a good quality model with multi-
elements a quality coatings
Exposures - June 2014 Volume 6 Issue 10 Page 5
Continued on next page
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Equipment for Macro Photography (continued)
Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring
You can focus very close You will lose all of the automatic lens functionality including
aperture control and focus
True Macro Lens These lenses may be used as normal lenses The provide very high
image quality and are corrected for flat field at
high magnification A true macro lens can focus
to a 11 ration They can be expensive Longer
focal lengths provide longer working distances
Longer focal lengths create a more narrow angle
of vies This helps to isolate the subject and
control the look of the background Shorter focal
lengths provide a wider angle of view and helps
create context by including background elements
Teleconverters These
devices attach between a
lens and the camera body
and are typically used to
increase the magnification of
telephoto lenses by a set
factor They do not change
the working distance of the
lens You may lose some image quality This alternative is moderately expensive
Focusing Rails Focusing
rails allow extremely fine movements of the macro setup forward
backward and for some models side to side This is useful for fine focus
and focus stacking
Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification
factors from 11 to 51 This lens works a macro only
Exposures - June 2014 Volume 6 Issue 10 Page 6
Continued on next page
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Capturing The Perfect Flower Macro [For Beginners] By Natalie Denton (nee Johnson)
If you appreciate the subtle beauty of a freshly bloomed bud or want to preserve the memory of that bright and bold gift bouquet
why not try putting your photography skills to good use and capture a delicate floral macro
Begin by finding the perfect specimen and if possible place it in an area with
great soft light for example in front of a window that is shielded with a sheet
or net curtain If the plant is outside either move it to a shaded location or find
a way of diffusing the sunrsquos rays with a piece of fine material if the light is
particular harsh or the sun is at a high position in the sky Shoot with your
back to the light (without blocking it) or from the side so that the light falls
gently and delicately on the flower headrsquos crevices and petals effortlessly
eventuating texture color and the intrinsic detailing An overcast but bright
day will undoubtedly harvest optimum captures but if you need to lsquoaddrsquo extra
light utilize a reflector to lift details from the shadows
Next set the camera onto a tripod or if you are lacking one try using
something as a stable substitute to support it underneath Using something
like Jobyrsquos GorillaPod for DSLRs will be extremely useful here especially
when shooting immoveable or smaller specimens as the accessory is
relatively dainty and low to the ground as it doesnrsquot have a restrictive center
column like a tripod does
In terms of glassware a macro lens or extension tube will reap stronger
images otherwise experiment with focal length you have at your disposal
and use your distance to influence the composition determine how close you
can get to secure a lock Some people prefer the simplicity of auto-focus
whereas others surmise that manual offers greater creative control either
way decide what you want in focus lock on to it and then recompose
If you are using a point-and-shoot device opt for the camerarsquos macro mode and ensure that the flash is deactivated DSLR or
hybrid users should switch into Aperture priority and experiment with the lensrsquo aperture range to alter how much detail is
captured For a crisp center and softly blurred petals or background opt for an aperture of between f18 and f4 depending on the
strength and range of the effect you want to generate If yoursquod rather keep the flower headrsquos details crisp use a narrower aperture
such as f18 or even f22Depending on the color of the flower you may find yoursquoll need to employ exposure compensation to
balance the scene
Stand above the flower and shoot the subject from various angles then lower the lens in
stages to the same level as the flower and shoot again finally fall beneath the flower head
and shoot up at its delicate underbelly
Review your captures onscreen to determine what appeals to you or what you would like to
develop If you want to tweak the captures in an editing suite it is advisable to shoot in RAW
so all of those vivid details and colors are naturally replicated
If you would like to repeat the photo session at a later date try experimenting with various
lighting techniques lenses gels and include elements such as water for that heightened level
of interest Shooting a flower macro just after it has rained or before snow or frost melts can
really exaggerate the specimenrsquos beauty and lends itself to creating a more dramatic
photograph
Exposures - June 2014 Volume 6 Issue 10 Page 4
copy Evan Leeson
Natalie Denton (nee Johnson) Natalie Denton (nee Johnson) is the former editor of Digital Photographer magazine and is now a freelance journalist and photographer who has written for dozens of photography and technology magazines and websites over the last decade Recent
author and tutor too
copy Hamed Saber
copy Auntie P
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
All images copy Tom Biegalsky
Macro Photography From Basic To Extreme By Tom Biegalski
The following is an adapted excerpt from a Power Point presentation given by Tom Biegalski
Working Distance
When choosing a macro setup and desired magnification it is important to consider the working distance Longer working
distances allow for more room to add lighting or other elements and may be helpful with skittish or dangerous subjects
Equipment for Macro Photography
Extension Tubes or Bellows These devices attach between a lens
and the camera body More extension provides higher magnification
(extension mm focal length of lens = magnification factor)
These alternatives can be very economical and there is no glass to
diminish the quality of a good lens
This option may lose some light and require manual focus It may also
focus to close with wider angle lenses You need lots of extension for
high magnification
Diopters These devices screw on the front of a lens like a filter There
is normally a fixed focal point working distance Magnification increases
with diopter strength and lens focal length Diopters work well with
telephoto zoom lenses
Diopters can be easy to use and there is minimal light loss A poor
quality single element model may provide marginal results Although a
bit more costly you should select a good quality model with multi-
elements a quality coatings
Exposures - June 2014 Volume 6 Issue 10 Page 5
Continued on next page
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Equipment for Macro Photography (continued)
Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring
You can focus very close You will lose all of the automatic lens functionality including
aperture control and focus
True Macro Lens These lenses may be used as normal lenses The provide very high
image quality and are corrected for flat field at
high magnification A true macro lens can focus
to a 11 ration They can be expensive Longer
focal lengths provide longer working distances
Longer focal lengths create a more narrow angle
of vies This helps to isolate the subject and
control the look of the background Shorter focal
lengths provide a wider angle of view and helps
create context by including background elements
Teleconverters These
devices attach between a
lens and the camera body
and are typically used to
increase the magnification of
telephoto lenses by a set
factor They do not change
the working distance of the
lens You may lose some image quality This alternative is moderately expensive
Focusing Rails Focusing
rails allow extremely fine movements of the macro setup forward
backward and for some models side to side This is useful for fine focus
and focus stacking
Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification
factors from 11 to 51 This lens works a macro only
Exposures - June 2014 Volume 6 Issue 10 Page 6
Continued on next page
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
All images copy Tom Biegalsky
Macro Photography From Basic To Extreme By Tom Biegalski
The following is an adapted excerpt from a Power Point presentation given by Tom Biegalski
Working Distance
When choosing a macro setup and desired magnification it is important to consider the working distance Longer working
distances allow for more room to add lighting or other elements and may be helpful with skittish or dangerous subjects
Equipment for Macro Photography
Extension Tubes or Bellows These devices attach between a lens
and the camera body More extension provides higher magnification
(extension mm focal length of lens = magnification factor)
These alternatives can be very economical and there is no glass to
diminish the quality of a good lens
This option may lose some light and require manual focus It may also
focus to close with wider angle lenses You need lots of extension for
high magnification
Diopters These devices screw on the front of a lens like a filter There
is normally a fixed focal point working distance Magnification increases
with diopter strength and lens focal length Diopters work well with
telephoto zoom lenses
Diopters can be easy to use and there is minimal light loss A poor
quality single element model may provide marginal results Although a
bit more costly you should select a good quality model with multi-
elements a quality coatings
Exposures - June 2014 Volume 6 Issue 10 Page 5
Continued on next page
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Equipment for Macro Photography (continued)
Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring
You can focus very close You will lose all of the automatic lens functionality including
aperture control and focus
True Macro Lens These lenses may be used as normal lenses The provide very high
image quality and are corrected for flat field at
high magnification A true macro lens can focus
to a 11 ration They can be expensive Longer
focal lengths provide longer working distances
Longer focal lengths create a more narrow angle
of vies This helps to isolate the subject and
control the look of the background Shorter focal
lengths provide a wider angle of view and helps
create context by including background elements
Teleconverters These
devices attach between a
lens and the camera body
and are typically used to
increase the magnification of
telephoto lenses by a set
factor They do not change
the working distance of the
lens You may lose some image quality This alternative is moderately expensive
Focusing Rails Focusing
rails allow extremely fine movements of the macro setup forward
backward and for some models side to side This is useful for fine focus
and focus stacking
Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification
factors from 11 to 51 This lens works a macro only
Exposures - June 2014 Volume 6 Issue 10 Page 6
Continued on next page
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Equipment for Macro Photography (continued)
Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring
You can focus very close You will lose all of the automatic lens functionality including
aperture control and focus
True Macro Lens These lenses may be used as normal lenses The provide very high
image quality and are corrected for flat field at
high magnification A true macro lens can focus
to a 11 ration They can be expensive Longer
focal lengths provide longer working distances
Longer focal lengths create a more narrow angle
of vies This helps to isolate the subject and
control the look of the background Shorter focal
lengths provide a wider angle of view and helps
create context by including background elements
Teleconverters These
devices attach between a
lens and the camera body
and are typically used to
increase the magnification of
telephoto lenses by a set
factor They do not change
the working distance of the
lens You may lose some image quality This alternative is moderately expensive
Focusing Rails Focusing
rails allow extremely fine movements of the macro setup forward
backward and for some models side to side This is useful for fine focus
and focus stacking
Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification
factors from 11 to 51 This lens works a macro only
Exposures - June 2014 Volume 6 Issue 10 Page 6
Continued on next page
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Tips For Maximum Sharpness
Soft even overcast light is best for details A direct light helps create contrast To help control the contrast
ratio you can use diffusers reflectors andor fill flash
To get the sharpest images you may need to use a tripod One with no center column
allows you to get flat on the ground To steady subjects moving in the wind you can use a
variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors
For best results you should use a cable release or the self timer on your camera You might
even consider the mirror lock-up feature and live view mode if your camera has this option
Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple
images of the subject moving the camera forward or backward in very small increments between each exposure (as small as
one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot
by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of
each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and
Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping
parts
To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom
Exposures - June 2014 Volume 6 Issue 10 Page 7
Continued from previous page
All images copy Tom Biegalsky
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Images copy Digital Photography School
Continued on next page
Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse
Much has been written on the topic of Macro photography for those
photographers fortunate enough to own a DSLR with macro lenses ndash
but what about if you own a compact point and shoot camera Can
you get great macro shots too
While the results achievable with a point and shoot camera in macro
mode probably wonrsquot compare with a DSLR with a special purpose
macro lens Irsquove still seen some remarkably good shots with compact
cameras (all three shots in this post were taken with compact
cameras) Here are a few tips to help you get the most out of yours
Select Macro Mode ndash this is a fairly obvious first step but Irsquom always
surprised by how many digital camera owners havenrsquot explored the
shooting modes that their camera has Macro mode is generally
symbolized with a little flower and when selected it will tell your
camera that you want to focus on a subject closer to your lens than
normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro
mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not
Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera
Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with
different settings without losing your composition
Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play
with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that
aperture impacts is the depth of field of your shots Choose a small
aperture (big number) if you want a large depth of field with
everything in focus or a large aperture if you just want your main
subject in focus In macro photography yoursquoll probably want a
shallow depth of field so select the largest aperture available
Focusing ndash I find that in macro photography it is helpful to have full
control over focusing ndash especially when you have shallow depth of
fields where it is all the more important to make sure the right part of
your shot is in focus If your camera allows manual focusing select
this option and manually focus on the part of our subject that is the
main point of interest
Composition ndash remember some of the basic rules of composition
like the Rule of Thirds Make sure your image has a main point of
interest and place that focal point in a smart position in your image in
order to draw the eye of your viewer Try to select a non cluttered or
simple background for your main subject so as it doesnrsquot compete
with it visually
Exposures - June 2014 Volume 6 Issue 10 Page 8
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Continued from previous page
Flash ndash in many macro shots having some artificial light is important
The challenge with compact cameras is that most give you limited
control of your flash As a result choosing a good time of day when
there is plenty of available light is probably your best bet If you do
need more light check to see if your camera allows you to pull back
the level that your flash fires at Alternatively you might like to try
diffusing it in some way (tissue paper or cellotape over the flash for
example) Another option might be to use some other source of
artificial light or to invest in a reflector to help make the most of
available light Experiment with different methods of lighting your
subject
Take Your Shot - once you have your shot lined up and in focus take
your shot Make sure once yoursquove taken it to take a good look at it
on your LCD zooming in to make sure that your focusing is sharp
Try shooting at slightly different apertures with different
compositions and focusing on different points of your subject to see
what works best
Macro Lens Attachments ndash some compact cameras actually have
accessories available to help with macroclose up photography
These will enable you to enlarge your subject andor decrease your
minimum focal length These might be worth investing in if you
intend on doing a lot of macro work
Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to
use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake
from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your
camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking
your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)
PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an
image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio
In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion
However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article
Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is
also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+
Exposures - June 2014 Volume 6 Issue 10 Page 9
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
A Brief History of Photography
Part 8 - Kodachrome amp Color Film By Mike Kukulski
The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the
Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting
acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in
register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts
in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the
film emulsion effectively lowering their sensitivity and use in lower light situations
Beginning in 1869 with the published papers accompanying his patents on the
subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive
color theory in color photography The subtractive process removes certain colors
from white light while allowing other colors The three subtractive primary colors
(cyan magenta yellow) are the complementary colors of the three additive primary
colors (red green blue) and in combined use as filters can generate almost any
color
While numerous subtractive methods for photography were tried in the following 50
years they all suffered from technical complexities Cameras had to provide 3
perfectly registered negatives for every shot one for each primary filter color using
multiple exposures multiple lenses mirrors or beam splitters The filter and color
dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some
degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos
one-shot camera these efforts were expensive complex and time
demanding
The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue
Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern
color film the concept of the formation of dyes during film development and introduced technical methodologies such as
multilayer color film as it exists today
Exposures - June 2014 Volume 6 Issue 10 Page 10
Continued on next page
Figure 1 Subtractive Filtering of White Light
Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron
Figure 3 Feather 1902 (ca) by Sanger Shepherd
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
The basic concept as seen in all subsequent color films is the use of
multiple film emulsion layers each sensitive to one of the three primary
colors and separated by colored filter layers This allows during
development for three silver-based negative layers to be generated for
each exposure in perfect register each negative layer carrying the correct
exposure for one of the three primary colors Color couplers are added
(in the development chemicals in the case of Kodachrome or as in other
color films included in the film emulsion) These color couplers combine
with oxidation products during development to create insoluble dyes that
impart a cyan magenta or yellow tone to the corresponding negative
layer The silver in the emulsions is then removed through a bleaching
and fixing process leaving the three dyed layers in register to produce
the final image At this point in 1912 the major obstacle facing NPG in
producing a viable color film was the problem of the dyes diffusing
between layers creating color inaccuracies
From 1912 until the mid-1930s two competing efforts attempted to solve
this dye migration problem In the US two professional musicians
Leopold Godowsky and Leopold Mannes who happened to be
enthusiastic amateur photographers with science educations began
working on the chromogenic color photography theories put forth by
Fischer After some progress with their own research lab and
independent funding they were hired by Kodak to head a large research
effort to finish and refine their work The two who came to be known as
ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27
complicated steps which they patented in early 1935 under the Kodachrome trademark
The key characteristic of Kodachrome versus other chromogenic films was that
the color processing during development was done layer by layer Each color
layer employed a unique developer solution that incorporated the appropriate color
dye for that layer each layer was then washed bleached and fixed in turn before
the next color layer was addressed After all three layers had been developed and
bleached all the silver had been removed from the emulsions leaving the dyed
layers to create a color slide While subsequent evolution saw the Kodachrome
developing process (or K-14 process) simplify into just 16 steps the color couplers
for the dye remained in the developer solutions versus the film itself This
complicated development process was out of reach of both amateur and
professional photographers only Kodak initially had the required equipment and
expertise to process Kodachrome although an anti-trust case in 1954 compelled
Kodak to offer the processing chemicals to independent processing labs
Kodachrome was offered in ISO speed ratings ranging from 8-200 and was
considered by many the sharpest highest resolution and best archival color film
from its introduction in 1935 until Kodak ceased production in 2009 The
availability of newer color films that offered easier processing and competitive
image quality (such as Fuji Velvia in 1990) the increased emphasis on digital
imaging and Kodakrsquos financial woes sealed the fate of Kodachrome
Exposures - June 2014 Volume 6 Issue 10 Page 11
Continued from previous page
Continued on next page
Figure 4 Color Film Cross Section
Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav
Wilmanns and Wilhelm Schneider while working on anti-halation backings for
monochrome films discovered that dyes carrying chemical groups known from cotton
dyeing remained intact in film gelatin layers and would not migrate between layers They
filed a patent (within days of the patent filing for Kodachrome) for a process employing
this that led to the creation of Agfacolor Neu film which saw some use by photographers
at the 1936 Olympic Games in Berlin
Because the Agfacolor process had the color couplers contained in the film emulsion
layers just one color developer solution was used to process all three color layers at one
time This yielded a much simpler process than Kodachrome with only 5 steps to create
a slide image Agfacolor methods and recipes were declared public domain at the end of
World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted
the procedures
Kodak never employed the Agfacolor process in 1937 they had developed an aerial
reconnaissance film Kodacolor Aero Reversal film when the US military specified
an in-the-field processing capability that Kodachrome could not support This process
led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946
Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than
that used in Agfacolor Agfacolor initially demonstrated better image quality than
KodacolorEktachrome but over time Kodak improved the emulsions and processes
(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical
simplicity and lower cost As a result the Kodak process was adopted by other color
film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978
Kodachrome (1973 Words amp Music by Paul Simon)
They give us those nice bright colors
They give us the greens of summers
Makes you think all the worldrsquos a sunny day oh yeah
I got a Nikon camera
I love to take a photograph
So mama donrsquot take my Kodachrome away
Next Time Edward Land Polaroid amp Instant Film
This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by
the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a
slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has
developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at
httpphotohistoryjeffcurtocom
Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl
Exposures - June 2014 Volume 6 Issue 10 Page 12
Continued from previous page
Figure 6 Box of Agfacolor Neu
Figure 7 Box of Kodachrome
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
May Challenge - Letrsquos Go Outside By Linda OrsquoRourke
This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the
park or observing things as time goes by
There is a diverse selection of images in
the LCCC Website Challenge Gallery
Here are just a few
I love the young animal life that spring
produces and Debra Olson caught a
couple of siblings ldquoOut Playing Togetherrdquo
Itrsquos been a while since Irsquove taken the time
to do this how about you ldquoEnjoying the
Park with My Dogrdquo by John Rouse
Do you remember these days A bunch
of the neighborhood kids enjoying a ldquoDay
at the Pondrdquo by Elizabeth Heneks
Sue Matsunaga has captured the action
stunningly here with ldquoShowing Teethrdquo
rdquoYummyrdquo by Julie Boatright who caught
a robin with a mouthful
ldquoViva Cinco de Mayordquo by Toma Lee
Bowers I can feel the action in this
dancerrsquos body
Please take a look at the Challenge
Gallery on the LCCC Website as there
are more images for your viewing
The June Challenge is Dusk to Dawn I
hope this gives us all a purpose to
practice some evening shooting andor
early morning as well
The July Challenge will be Celebrations
Challenge images must be newly taken
images between the first day of the
assignment month and the end of the
given month Up to ten images may be
submitted on a monthly basis by each
individual Please submit them to the
Challenge Gallery through the LCCC
Website
Give it your best shot
ldquoYummyrdquo
ldquoViva Cinco de Mayordquo
Exposures - June 2014 Volume 6 Issue 10 Page 13
copy Toma Lee Bowers
copy John Rouse
ldquoEnjoying the Park with My Dogrdquo
copy Deb Olson
ldquoOut Playing Togetherrdquo
copy Sue Matsunaga
ldquoShowing Teethrdquo
copy Elizabeth Heneks
ldquoA Day at the Pondrdquo
copy Julie Boatright
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb
copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor
Your Camera Club Needs Your Participation By Terry Ferguson
Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and
communication you have come to expect
This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing
proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to
put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at
secretarylakecountycameracluborg
Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any
experience as an editor I also did not have any formal training or writing experience I did write technical documents for my
previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I
took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than
technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be
creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way
when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real
thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the
privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo
job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this
reason I must retire as editor of Exposures
If you have a desire to increase your creativity and compliment the creative side of your photography please consider this
important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The
newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I
believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help
you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis
Exposures - June 2014 Volume 6 Issue 10 Page 14
ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes
mdash then learn how to do it laterrdquo
~Richard Branson
ldquoFor the things we have to learn before we can do them we learn by doing themrdquo
~Aristotle The Nicomachean Ethics
Tell me and I will forget Show me and I may remember Involve me and I will understand
~Chinese Proverb