the view findercvcameraclub.org/newsletters/cvcc august_ news_18.pdf · 2018-08-03 · photograph...

Catawba Valley Camera Club Newsletter

The View Finder

August 2018

Photograph by Donny Teague

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Volume 7, Issue 8 August, 2018

I was inspired to write this post after Wednesday’s “Blind Photo Critiques” on The

Grid (Rick Sammon was my in-studio guest, and he was awesome, as always). When

it comes to The Grid, we often get hundreds of submissions for these monthly Blind

Critiques, but we only get to show a handful on the air. One reason is many of the im-

ages are the same because many photographers are stuck in a particular stage of their

development, so their photos (even if they are different types of subjects) look essen-

tially the same. That’s why today I wanted to break these stages down so folks might

see which stage they’re at, and I included my advice on how to level up to the next

stage.

I’m kinda “telling it like it is” here, speaking frankly and honestly — not to hurt feel-

ings, but sugar coating this message doesn’t help move anybody move further down

their path. In fact, it almost reinforces why they should stay right where they are.

So…here goes:

THE FIVE AGONIZING STAGES OF PHOTOGRAPHY CONTINUED ON PAGE 18,19,20,21,22

2

FRESH WATERS QUIZ ANSWERS ON PAGE 13

4

WEB SITES TO TRY 4

ASK TIM GREY CONTINUED ON PAGE 13

4

THE PERSEID METEOR SHOWER 5

APPLICATION FOR MEMBERSHIP 24

HOW TO USE DRONES TO DO STUNNING AERIAL PHOTOG-

RAPHY CONTINUED ON PAGE

3

CALENDAR OF EVENTS 3

MODELS IN THE MOUNTAINS FIELD TRIP PHOTOS CONTINUED ON PAGE 7,8,9,10,11,12

6

CLUB OFFICERS, PRESIDENTS REPORT

23

Inside this issue:

C a t a w b a Va l l e y C a m e r a C l u b

The Five Agonizing Stages of Photography

By Scott Kelby

Continued on page 18

https://scottkelby.com/

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You’ve been getting lots of good comments from friends on your Instagram posts taken with your cell phone’s camera — so much so you decided to buy a “real camera.” You were pretty sure buying a nice camera was going to take your photography over the top, and your friends can’t wait to see you blow it up on Instagram now, but…not only do your photos not look better — they look worse. This real camera thing is way more complicated than you thought, and just using it as a heavy-cell phone replacement isn’t giving you the amazing shots you thought you’d be getting.

Calendar of Events

Aug 1 Presentation - Drone Photography Mike Morrison

Aug 15 Competition - Print - Architecture Randy Knauf

Aug 18 Field Trip - Mt. Mitchell & Waterfalls Ed Lane

Sept 5 Competition - Projection - Silhouettes Randy Knauf

Sept 19 Competition - Projection - Triptych Randy Knauf

Sept 22 Field Trip - Hickory Motor Speedway Tom Devlin

Oct 3 Competition - Projection - Open (this year) Randy Knauf

Oct 17 Competition - Projection - Graveyards & Tombstones Randy Knauf

Oct 20 Field Trip - Great Smoky Mtn. Railroad & Nantahala Gorge Donny Teague


How to Use Drones to do Stunning Aerial Photography

by Andrew Thomas

One of the most exciting de-

velopments in photography in

the last year or two is the

drone – high flying cameras

that enable you to capture

unique viewpoints of common

subjects. Recently the cost of

getting a camera into the air

has dropped dramatically and

if you decide to venture down

this road I guarantee you won’t

be disappointed. Apart from

the amazing images you will capture, they are also tremendous fun!


http://andrewthomasphotographer.com/

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Fresh Waters Quiz Big or small, shallow or deep - in North Carolina, a lake is just a stone’s skip away.

1. Lake Norman is the largest manmade lake in North Caroli-na. With a total area of more than 32,000 acres and more than 500 miles of shoreline, this body of water is also known as what?

A. Charlotte Bay

B. Miniature Ocean

C. Inland Sea

2. What an area of around 30,000 acres, Lake Mattamuskeet is the largest natural lake in our state. This vital habitat for waterfowl and wildlife is located in the central part of what county?

A. Hyde

B. Pamlico

C. Brunswick

3. The once-thriving community of Judson in Swain County is now underwater. What major lake, contained by the highest dam in the Eastern United States, flooded Judson in the 1940s?

A Hyco

B. Kerr

C. Fontana

4. White Lake in Bladen County has been a popular retreat for more than 100 years. This 1,200-acre body of water is part of what unique geographical feature?

A Carolina Bays

B. Bladen Berms

C. Crater Lakes

5. Lake Glenville, also known as Thorpe Reservoir, is said to be the highest lake east of the Mississippi River. At 3,500 feet in elevation, this lake is located near what town?

A Hickory

B. Mount Airy

C. Cashiers

http://500px.com/popular

http://digital-photography-school.com/

http://photonaturalist.net/

http://www.digital-photo-secrets.com/tip/

http://www.steeletraining.com/

http://www.digitalcameraworld.com/

Click on the links above

Web Sites to try

Ask Tim Grey:

As a longtime user of Adobe Camera Raw and Pho-toshop, I'm only now trying to learn to use Lightroom [Classic CC]. I realize it has some real advantages, but there is one thing about it that really irritates me. Compared to Camera Raw, the sliders in the Devel-op module are quite small and, in my opinion, overly sensitive. They don't permit fine adjustments nearly as easily as Camera Raw does. Or have I overlooked some way of changing that in Lightroom?

Tim's Quick Answer:

There are two recommendations I can offer. First, you can enlarge the right panel in the Develop module to make the adjustment sliders larger and therefore less sensitive to small mouse movements. In addition, you can use keyboard shortcuts to increase or decrease the value for individual adjustments.

More Detail:

The panels in Lightroom Classic can all be resized to make them larger or smaller. You can simply point your mouse at the inner edge of any panel, and then drag to enlarge the panel. So, for example, you could drag the left edge of the right panel in the Develop module toward the left in order

Continued on page 13 Answers on page 13

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The Perseid Meteor Shower

There’s An Incredible Meteor Shower Happening This Summer And North Carolina Has A Front Row Seat

If you only stay up incredibly late this year for one meteor shower, make it this one. The Perseid Meteor Shower is predicted to be one of the best shooting star parties of the year – and it’s happening right now through August 24. Read on to learn which days and what times are the best for seeing not one, but doz-ens of them per hour!

The Perseid Meteor Shower occurs when the Earth passes through the debris of comets and asteroids. The debris leaves trails in the night sky that are visible to the naked eye.

In 2018, it's predicted you'll be able to see as many as 90 "shooting stars" per hour. When is the best time to see them?

Perseid came into view on July 17th and will be visible in the night sky through August 24th. The peak viewing is expected between August 12-14, with the best times to see them in the early morning hours.

Typically, the optimal place to see any meteor shower with the naked eye is from a spot with little or no light pollution.

Additionally, this meteor shower will take place all over the sky, so you won't need an app to find it, but you may want to do a little research ahead of time to pick up some tips for capturing the event on your phone! Want to attend a meteor shower party in the Tar Heel State?

1. Dorothea Dix Park, Raleigh – August 12, 2018 from 9:00 p.m. to 11:00 p.m. Meet on the big field, bring a blanket or chairs. More in-formation at this link.

2. McDowell Nature Preserve (Hike to viewing location), Charlotte – August 12, 2018. Ages 6 and up. Cost: $3/person. Pre-registration is required for all participants, including chil-dren. More information at this link.

Of course, you can always find your own spot that’s free of light pollution, including your own back yard.

If you only stay up, or get up, for one meteor shower this year, make it this one!

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Photographs by Mike Morrison


Models in the Mountains Field Trip Photos

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Photographs by John Hildebrand



8


Photograph by Doreen Sugierski



9




Photo by Doreen Sugierski

10


Photograph by John Pascone



11


Photograph by Donny Teague



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Photographs by Donny Teague



Eight club members and four guest made the trip to Douglas Falls for the Club’s July field trip.

Those in attendance were: John Hildebrand, Doreen Sugierski, John Pascone, Judy Young, Phil Echerd,

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to enlarge the panel. This will make it easier to apply adjustments with the mouse, since a larger slider range will create an adjustment that is less sensitive.

In addition, in Lightroom (or Camera Raw) you can use keyboard shortcuts to increase or decrease the value for most of the adjustments. As you may have noticed, most of the adjustments include a numeric value that changes as you drag the applicable slider left or right. If you click on a numeric value for a slider you wish to adjust, that value will be highlight-ed.

You can then use the up and down arrow keys on the keyboard to increase or decrease the highlighted value, respective-ly. If you hold the Shift key while pressing the up or down arrow key on the keyboard, the value will be increased or decreased to a greater degree. In most cases holding the Shift key will cause the arrow key shortcut to adjust the value by a factor of ten, but this will vary with different adjustments.

With both of these options I think you'll find that you are able to alter the various adjustment values in Lightroom with

the same degree of control that is available in Adobe Camera Raw.


Fresh Waters Quiz Answers

1. C. Inland Sea

2. A. Hyde

3. C. Fontana

4. A. Carolina Bays

Back to Page 4

Back to Page 4

Continued from page 4 Ask Tim Grey

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Continued from page 3 How to Use Drones to do Stunning Aerial Photography

As with most modern technology there is a vast range of

drones, or UAVs (unmanned aerial vehicles), on the mar-

ket. Similar to camera equipment in general, how much

you’re prepared to spend will determine the quality of

camera on-board, and the flying characteristics of the

drone itself. There are low-cost models that will take very

basic images, up to the big boys toys that will happily lift

your prized DSLR up into the heavens. You can even add

your GoPro on to some units that will take advantage of

camera gear you may already have. One company has a

range of models that has a large percentage of the market

– DJI. Their Phantom range of drones are the first choice

for many, and though they do make some high end-

models, the Phantom 3 series models are the most popu-

lar drone in the world, for good reason.

Getting Started

One of the big advertising features of most drones these

days is their ease of operation. “Fly Straight Out of the

Box” is a common term you’ll see, and in fact it is also

very true. Charge the battery, download the app to your

smartphone, fire it up, and away you go.

However, it must be mentioned that as easy as these are to

fly, common sense and care is a big part of aerial flying.

It’s suggested you start with some limitations in place,

easily set up on the smartphone app that runs the drone.

This is usually along the lines of limiting the maximum

height you can fly, and also how far away you can send

the drone.

Always start somewhere wide open, such as a local oval or

park, and spend time getting a feel of the controls before

you even think about pressing the shutter button. Always

be aware of your location in relation to what’s around you.

As these cameras usually have a wide angle lens (20mm

Continued on Page 15

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equivalent) and it’s easy to mis-

judge your positioning when in

close proximity to objects such

as trees and buildings, especially

if viewing the smartphone screen is your prime.

Rules and Regulations

Most countries have rules to follow, and while they can’t

all be mentioned here, usually they are along the lines of

these:

Drone must always be in Line of Sight (LOS) – that basi-

cally means you should always be able to see it

Maximum Height 133 metres (400 feet)

Never fly over groups of people

Respect others privacy

No flying anywhere near airports and other no-fly zones

as specified in each country

It’s suggested you check with your local air safety authori-

ties for particular details in your area.

A few months ago I was flying above my local railway

station, looking for the perfect image at dusk, just as the

lights came on that illuminate the tower every evening on

this historic building. Happily flying for five minutes or

so, I looked down to see two local policemen coming over

to me. My first reaction in these circumstances is to gauge

their reaction to drone flying, and if there are any concerns

I bring the machine down immediately. Unfortunately

drones have been getting some negative publicity in the

press, certainly not helped by the person that crash landed

one on the front lawn of the White House in Washington

earlier in 2015. Luckily these two policemen were very

interested in what I was doing. By showing them exactly

on-screen what I was seeing, and explaining the whole

procedure and the care I was taking in not flying directly

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above any people, they left with a very positive attitude.

I think it’s very important to fly with this attitude in

mind. And one other thing about flying in public plac-

es….you will need to be prepared to become the centre of

attention as people are generally quite intrigued by what

you doing!

Its also tempting to think that aerial imaging is going to

be a great new avenue for making some money from your

photography. Once again this is another area where the

rules vary from country to country, and you should look

into the certification you may need in your area to under-

take paid aerial work.

Aerial Photography

When you first start flying, it’s very exciting to get home,

load your images, and marvel at the amazing scenes you

have captured. In my first few weeks of flying, every-

thing I took was thrilling. However, I quickly realized

that aerial photography is no different to other forms of

photography – it’s still all about the light! So rather than

just heading out randomly, I once again started to chase

the light and conditions, which has always been the

strength of my landscape photography.

As a landscape photographer I am always aware of weath-

er conditions and what they might offer. Now even more

so, as a drone pilot you will have to also take into account

the wind forecasts. Drones are not something you fly in

high winds (unless you have to get that amazing once-in-a

-lifetime scene in front of you!) and you will find yourself

looking for calm weather more than any other condition.

At present the in-built cameras on most drones are no-

where near the quality you are used to with your ground

level camera. However, I have found the images I have

been able to capture are surprisingly good. Though only

12mps, the fact that you can shoot a RAW file gives you

more options to work with later on. The jpg files are also

surprisingly good, especially if you have been flying in

good light.

Even when shooting in low light the quality has been

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amazing for such a small camera unit, and the stability of

the camera at 300 feet can be quite astonishing. You can

also shoot panorama images just as you would when down

at sea level, once again creating something very unique.

And why not try a time-lapse from 300 feet?! I have had

images printed up to A3 size (roughly 12×16) and you

would be hard pressed to tell they were taken with a 12mp

camera.

I should also mention that most drones these days shoot

high quality video, even up to 4K, which produces stun-

ning aerial footage. In fact, at 4K resolution it’s possible

to take a high quality frame directly out of the video.

Unique Views

One thing you will love is the amazing patterns you find in

the landscape when viewed from above. Drones allow you

to get into the area that most planes and helicopters are not

allowed to – below 300 feet. Google Maps makes a great

starting point for finding locations that look worth visit-

ing.

It certainly beats putting your camera on the end of a ten

foot pole (yes, I did that a few years ago).

As a landscape photographer for a number of years now, I

can’t recommend highly enough aerial imaging as a

unique way to add that extra aspect to your photography.

Everyone you share your images with will be amazed and

intrigued, and don’t forget how much fun it is. If you ever

tire of it, you may like to try herding sheep with your

drone – yes, it’s been done!

***

Andrew Thomas is an award

winning Australian landscape

photographer who has been

working on 2 major projects for

the last 8 years. First is to photo-

graph his local district around

Ballarat, Victoria, in all seasons and at all times. His 2nd

project is to photograph the 59 USA National Parks,

which he is pleased to say he accomplished in August this

year. His USA book is in preparation and will be launched

in 2016. You can see his daily postings on his blog or see

more of his aerial images here.

Back to Page 3

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Continued from page 2 The Five Agonizing Stages of Photography

STAGE ONE: Camera Owner

You’ve been getting lots of good comments from friends

on your Instagram posts taken with your cell phone’s

camera — so much so you decided to buy a “real cam-

era.” You were pretty sure buying a nice camera was go-

ing to take your photography over the top, and your

friends can’t wait to see you blow it up on Instagram

now, but…not only do your photos not look better —

they look worse. This real camera thing is way more

complicated than you thought, and just using it as a heavy

-cell phone replacement isn’t giving you the amazing

shots you thought you’d be getting. Here’s why: buying a

DSLR or Mirrorless “real” camera doesn’t make you a

photographer any more than buying a saxophone makes

you a sax player. At this stage, you are simply “A cam-

era owner,” and you’re just taking pictures (and you still

call them “pictures”). Since you’re not getting the results

you thought you should, you’re focused on trying to fig-

ure out which setting, buried deep in the menus on the

back of your camera, turns on the secret feature the pros

use for making great photos. You know it’s there some-

where — but where?

How to Level Up: If that sounds like the agonizing

stage you’re currently at, here’s how to level up: Stop

looking at the menus. Ignore all the other stuff. Just focus

on learning what the Aperture (f/stop), Shutter Speed, and

ISO mean, and how they work together. Forget every-

thing else for now, because once you understand those

and get used to adjusting them on your camera, you can

stop worrying about the settings and start working on

making great pictures (and yes, you still have to call them

“pictures” for a little while longer. It’s the law).

STAGE TWO: Snapshot Maker

You’ve got a feel for how to use your camera, and you’re

taking time to go out shooting. Maybe you’re doing some

street photography, or heading out to the countryside and

actively looking for shots. However, at this stage, you’re

making tons of technical mistakes. Your horizon line is

always in the center; you’ve got trees growing out of peo-

ple’s heads; there are distracting things pulling the view-

er’s eye away from your subject, and the rule of thirds is

what you employ when you order one dessert, and the

waiter brings you three forks. Since you haven’t learned

the basic rules of composition yet, you don’t realize your

photos have all these mistakes, so you’re actually in a fair-

ly good place. In fact, you’re in one of the happiest places

you can be as a photographer. You stink, but you don’t

know it, but it’s OK because your friends aren’t any good

either, so they can’t recognize that you’re making all these

mistakes, so they don’t point them out. In short, you’re

taking snapshots — they look like the same shot a stranger

with a cell phone would get if they walked up beside you

while you were taking yours. If you compared shots, they

would look pretty similar; yours would just have more

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STAGE THREE: Photo Taker

You’ve learned the basic rules; you’re very comfortable

with your camera, and you’re going out shooting pretty

regularly, but what you’re spending your time shooting at

this stage are photos that you think you’re supposed to

shoot. Things that you think more accomplished photogra-

phers would shoot, and you convert your images to black

and white because they feel more ‘serious’ and more

‘artsy’ to you, (but most of these images don’t really make

great black and whites anyway). It’s like you’re saying to

yourself, “This is what a good photographer would be

shooting…right?” You’re shooting dead tree photos,

homeless people in town, railroad tracks, the old

bridge, and while they are technically good, they’re not

interesting (well, they’re interesting to you but only be-

cause you’re experiencing what they call the “Gee, I made

that!” effect. You’re excited at what you made because

you made it, and you’re impressed that you could do that.

Everybody else sees a black and white photo of a bridge in

bad light – one they drive past every day, and to them, it

looks just like it looks. You want people to look at your

images and say “Wow!” Not, “yup, there’s the old

bridge.”

How to Level Up: To move up at this stage, you

need to figure out what type of photographer you want to

be. Think about where are you are focusing your time and

energy today photographically. It’s important to take a

moment to think about that because that’s where you’re

headed. You can’t be great in every genre — you’ve got to

pick some topic, some category and really focus on it. Be

it flower photography or portraits; landscape or travel,

wedding or commercial products — if you want to get

really good at something, you’ve got to find what that



megapixels. The good news is at least you’ve stopped

calling them “Pictures.”

How to Level Up: If that sounds like you (if you

thought to yourself, “what’s the rule of thirds?” it’s you),

you need to do some learnin’. Buy a book – take an

online course (I know, it sounds like I’m plugging my

stuff, but this is what I’d tell a friend), or join your local

photo group and tell them right up front, “I’m new to

this.” You need local photography friends. You can

help each other, share what you’ve learned, and you’ll

have someone to go shooting with and so you’ll go shoot-

ing more often. Photographers at these groups are really

happy to help new photographers when they meet them in

person. However, for your progress and self-esteem, I

would absolutely stay out of public online photography

forums. This is where angry people gather to attack any-

one showing even the slightest sign of weakness. You

might eventually find an answer you were looking for,

but it may exact an emotional toll along the way. Make

local friends, do a photo walk, attend the local group.

You’ll level up much faster, and have more fun doing it.

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like you’re really growing, and if a client were to call and

they needed a steel wool sparks photo or a water drop,

you’d get that gig in a heartbeat. You’ve upgraded your

gear, you’ve bought some really nice lenses (and you call

your lenses “glass”), and you’re not taking pictures, and

you’re not taking photos, you’re creating “images.”

You’re starting to think about getting a camera body that’s

been converted for infrared, and you have long conversa-

tions with other photographers about the type of bokeh

certain lenses have. You feel like you’re really making

progress, but inside you know you still have a lot to learn

(which is why you’re talking about bokeh — it makes you

feel “next level,” but in reality, the next level shooters

don’t talk about bokeh). In fact, the more you learn, the

more you realize how much there really is to learn about

the bigger picture of photography, and when you watch a

course from Jay Maisel, you realize how truly far you

have to go. The good news is: you now fully realize there

is no setting in your camera that makes great photos. In

fact, you’re almost at the point where you realize how lit-

tle the camera make and model even matter.

How to Level Up: You’re good at all the technical stuff,

so put down the camera, and start looking at the work of

photographers you admire. Don’t just look at it. Study it.

Break it down. Become a photographic detective — figure

out where they put the light, or where they positioned their

subject. Look at their subject. Look at the scene, how they

composed it. Figure out what it is about their work that

makes their images so special. If you can’t figure out how

they’re doing it, what chance do you have of stumbling

upon it in your work? You have to study and learn how

the masters do it, and you have to learn how to emulate

their looks, so your own look and your own style will



something is. What’s the thing that really excites you —

the thing people tell you-you’re really good at? What do

you seem to really have a knack for? Listen to that voice

inside you, and follow where it leads. Once you figure

out what that genre is, you need to go all in. You need to

study everything you can get your hands on; you need to

read the top three books on the topic; you need to start

getting the equipment together you’ll need to be a suc-

cess, and you need to pour your time, energy, and most

importantly practice into that nailing that genre. Don’t

just read about it, and watch courses, that will make you

an authority on the topic — but that won’t create great

images. Practice will. That’s the secret at this stage —

find out what it is you want to be, and focus on that; prac-

tice that, dive into that. You’ll be amazed at the results.

STAGE FOUR: Emerging Photographer

You’re getting there. You’re doing lots of projects you

see on the Web. You’re photographing water splashes,

and you’re doing the ‘steel wool at night spark trick,’ and

you’re doing long exposure shots of cars driving by; and

you’re adding edgy film-look borders around your imag-

es. You’re learning lots of different, fun techniques one

after another. These personal assignments make you feel

21



the most from your gear, and you know it inside and out.

In fact, you’re so confident that you don’t have to even

think about it that much — it’s all second-nature at this

point, in fact, it’s becoming routine. You should be abso-

lutely delighted at this stage, but in reality, this is the #1

most-agonizing stage. You’re perhaps more frustrated and

disappointed with your own work than any time in your

career. It’s because you know in your heart, your best im-

ages are still inside you, but you can’t for the life of you

coax them out. You look at the best image in your portfo-

lio, and you think to yourself, “I know I can make a better

image than this one.” And you know what? You’re actual-

ly right. But it’s going to take some work. The better you

get, the harder it is to get measurably better. When you

were in Stage Two and Stage Three, you were making big

progress. Now, you don’t learn something new every day.

Maybe you pick up something new just once every couple

of months. How do you make amazing images when

you’re learning so little?

How to Level Up: You’re going to need to stretch your-

self, but do it in a way that’s relevant and meaningful to

the type of photographer you are. It’s time to invest in

yourself. It’s time to invest in making the kind of images

you’ve always dreamed of. This is serious, personal work,

and something that can propel you and keep you engaged

and growing for years to come. For example, if you’re a

landscape photographer, don’t buy another lens or a better

camera body. Buy an airplane ticket. Travel to Patagonia,

or Greenland. Head to the Sahara Desert or Namibia or

Antartica. Go to places that will inspire you; places

that will challenge you; places where you have opportuni-

ties to make the shots of a lifetime. It’s not going to hap-



emerge from it (by the way, none of your personal style

and look will include steel wool). Remember, you’re not

just looking, you’re studying — study the work of the

type of photographer you want to be — that’s how you

level up. You know what your goal is. What

you’re aiming for, and now perhaps even how to get

there. The agonizing part of this is simply that there is no

shortcut — you have the road map now, but you have to

make the trip to get there. There are no shortcuts for ex-

perience — you get experience by doing it again and

again. Through practice. Through trying and failing, and

you keep on trying. I think it was Caesar who said,

“Experience is the teacher of all things.” He also said,

“This salad could really use some croutons.” This is the

2nd most agonizing and frustrating stage of being a pho-

tographer because breaking out of this stage is-

n’t something you buy. It’s not a camera. It’s not a lens.

It’s seeing. It’s creativity. It’s things they don’t sell.

STAGE FIVE: Frustrated Photographer

You’re an accomplished photographer at this stage. A pro

-level shooter. You’ve entered photo contests, maybe

even won a few. You’re getting some paid work here and

there, too. You’re confident in your skills, you’re getting

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Back to Page 2

journey, whichever stage you’re at, just know you’re

simply passing through it. Don’t focus on where you are;

focus on how to level up, and you won’t be at that stage

very long.

*** I wish you the very best on your photographic journey. :)

-Scott Article sent in by Tom Devlin.



pen at that barn in Wyoming or at Delicate Arch in Moab.

You need to go “next level.” If you’re a fash-

ion photographer, go to New York, LA, Miami, London

or Milan. Hire a brilliant stylist, an incredible make-up

artist, and a fantastic model, and shoot in a world class

location. You need a great team, and the best ones are

literally in those cities. It will transform your work more

than a new body, or a new lens will ever do. If you’re an

automotive photographer, stop shooting Camaros on top

of an empty parking garage. Fly to an amazing location

(maybe the Scottish Highlands, or even Mount Tam or

the Pacific Coast Highway in California); rent a Ferrari

(or a Bentley or a Jag), and do it right. It’s time to invest

in yourself and into creating those images that push you,

your images, and your career forward.

I hope you found that helpful, and if you saw yourself in

one of those stages (we’re all in one of them, or transi-

tioning between them, right?), don’t get upset or be de-

fensive, especially if one hit really close to home, and it’s

a stage you’re not happy identifying with. We all just

want the same thing. We want to make great images, and

we want to have fun doing it. Wherever you are in your

23


Hello all.

July came and has almost gone. Such a busy time. Thanks to John Hildebrand for the field trip and to the

models. I hear that it was a wonderful and fun time. I am looking forward to seeing some of the pics. This

next meeting will be on August 1st and will be a business

meeting followed by a presentation/demonstration on Drone Photography by our “very own” Mike Morrison.

I hope to see you all there at 7:00 sharp.

Dean

President’s Report

We’re on the Web

http://cvcameraclub.org/

Club Officers

President: Dean Powell [email protected] Vice President: John Setzler [email protected]

Secretary: Cindy Martin [email protected] Treasurer: Stan Bolton [email protected] Image Coordinator: Randy Knauf [email protected] Webmaster: Ed Lane [email protected]

Programs: Doreen Sugierski [email protected]


24



Application for Membership

NAME_____________________________________________________DATE__________________

ADDRESS_________________________________________________________________________

CITY_____________________________________STATE________________ZIP_______________

PHONE: HOME (____)____________WORK (____)___________CELL (____)_______________

E-

MAIL___________________________________________________________________________

Dues are $35 per year. Meetings are the first and third Wednesday of each month. Students: $15 per year.

New Member ____ Renewal ____ CLUB USE ONLY: Date Received______________ Cash_______ Check______

Please indicate your preference for committee membership on which you would serve if asked.

Program ____ Field Trip Leader ____ Working on Website ____ Newsletter ____ Mentoring ____ Social Events ____

Publicity ____ External Judging ____ Club Website: www.cvcameraclub.org

Photography Mentoring available by request:

Please print clearly as our club correspondence is conducted via e-mail.

Occupation:____________________________________________________________________________

Website:_______________________________________________________________________________

My skill level in Photography would best be described as: Beginner ___ Intermediate ___ Advanced____ Professional ____

Do you have accounts with: Facebook ____ Google+ ____ Twitter ____ Other ___________________________________

Shoot Mostly: Film ____ Digital ____ Both ____

Camera Make: Canon ____ Nikon ____ Sony ____ Other _____________________________________________________

Photography Interest: (Check All that Apply)

Architecture ____ Eclectic ____ Events ____ Family ____ Landscapes ____ Macro ____ Nature ____

Photojournalism ____ Portraiture ____ Sports ____ Travel ____ Underwater ____ Waterfalls ____

Wild Flowers ____ Wildlife ____ Other ____________________________________________________________________

Computer System: Mac ____ Windows ____

Photo Editing Software: Aperture ____ Elements ____ Lightroom ____ Photoshop ____

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