Volume 73 Number 5February 2004

Being an eclectic artist, it is challenging togive a general statement of my work, which,as with my life, has changed over the 20years I have been a photographer. With

photography there is an element, I believe,of art in the everyday, seeing the spectacularin the quiet simple things of life. Peopleoften ask in what country I have taken a

particular photograph and aresurprised when I often tell themonly a few miles from Troy.With photography, I feel I amdiscovering the world andpeople around me, and learningto appreciate the present. As a social worker andjournalist, I had aspirations ofbeing a documentaryphotographer, of telling themuch-needed stories of humansuffering and bravery, and of

Deyva Arthur

Local artistto addressslide group

“The Gunks” asyou’ve neverseen them – G.Steve Jordan

Bob Gough

Leaf in Ice by G. Steve Jordan

“The aim of Art is torepresent not the outwardappearance of things, buttheir inward significance.”This quote by the philosopherAristotle is used byphotographer G. Steve Jordanto describe his approach tothe art of photography, and inparticular to the work that hehas done over the last tenyears or so in theShawangunk mountainssoutheast of the Catskills.

Steve first visitedthe area as a rock climbing college studentand found that the region had a particularbeauty that appealed to him. “It’s a uniquearea that speaks to me personally,” Stevesays, and that personal connection is quiteevident in the photographs that he makesthere. Each one displays not only a technicalmastery of his craft, but also an intimateawareness of his surroundings that shows

every sweeping vista and each splash offoliage and stand of trees with a clarity andvision that speaks from the heart.

Steve was interested in photographyfrom a young age, but his interest wasfocused in high school when his fatherbought him a camera. With it he won acontest that was judged by a photographer

Please see Jordan page 3

Please see local artist page 6

Photo Collage - BikesDeyva Arthur

page 2

SPS Focus

SPS SPS Focus February 2004

Jim Craner

Flowers have to be among the most pho-tographed of subjects and the challengeis coming up with something to catch theviewer’s attention in our visually ‘busy’world. Successful approaches may com-bine traditional techniques such as pointof view, selective focus, and good com-position with the new capabilities of thedigital darkroom. My presentation on February 18th forthe Digital Group will illustrate flowerphotography with a series of imagesmade at the Albany TulipFestival and at the Al-bany Airport the year thewildflowers appeared.And while it is a littleearly to be out looking forflowers, here are sometips and techniques fornext spring’s flower pho-tography!

Lens and Filter Selec-tion

Almost any lens can besuccessfully employedfor flower photography.I’ve used focal lengthsranging from 300mm to15mm when photograph-ing flowers over theyears. A very wide angle lens, usuallycombined with an extension tube, allowsthe photographer to ‘park’ the lens rightnext to the flower for a unique point ofview in which foreground and back-ground are both included in the shot. Theresult is a strong sense of place createdby the juxtaposition of both near and farobjects. A longer telephoto allows the photog-rapher to ‘work’ the edge of a field or bedand yet isolate individual subjects. As apractical matter it is often not possibleto approach the beds too closely in pub-lic gardens, and the responsible photog-rapher does not want to spoil a wild vistafor others by trampling wildflowers. Anextension tube is often needed as goodsubjects are often closer than the mini-mum focusing distance of a longer tele-photo lens. Another advantage of the

telephoto lens, in addition to the ‘com-pression’ effect, is the ‘voyeuristic’ viewinto the world of the flower and the smallcreatures that share its world. One of myfavorite lenses for casual flower photog-raphy is my Canon 100-400. While cer-tainly not a ‘fast’ lens at F4.5-5.6, it al-lows me to ‘reach’ out into a bed of flow-ers and also make subtle compositionaladjustments without having to change myshooting location. While I am not a huge fan of filters

generally, the ubiquitous polarizing fil-ter can certainly be successfully em-ployed to cut glare and allow the highlysaturated colors of flowers to comethrough. Other filters can certainly beemployed to match film and light, cor-rect color, enhance color, and createother special effects such as adding astarburst to the specular highlights cre-ated by water droplets.

Field Techniques

I am a great believer in always steady-ing the camera to the extent possible, al-though this does not always mean usinga tripod. Shutter speeds can quickly fallto 1/30-1/60 of a second or less whenemploying a moderate aperture in diffuselight. For the sharpest images, especiallywhen heavier lenses are used, camerasupport is essential. The conventional so-

lution is a tripod, however I often employother supports such as ‘bean bags’ ordevices such as the ‘Groofwin’ ™ devicemanufactured by Rue Enterprises. Acable release keeps the photographerfrom inadvertently moving the cameraduring exposure, and frees the hands tohold props and accessories of variouskinds. In addition to sharper images, Ibelieve the discipline of using a tripodimproves composition. The trick is tofind the subject, the point of view, theright lens, etc. before bringing the tripodinto play. A quick release system allowsthe camera to be easily and quickly

mounted and dis-mounted from thetripod head speedingup the pace of work. Harsh, direct sun-light seldom worksin flower photogra-phy and the photog-rapher may have toprovide some sort ofdiffusion to createthe soft effect of lightbeing filteredthrough clouds.While flash can beemployed to fillshadows in close-upwork, I don’t thinkthe overall result isas flattering as natu-rally soft light. Since

we can’t control atmospheric conditions,a number of devices are available com-mercially to provide diffusion, and de-vices can be improvised from sheer fab-ric (be careful not to introduce any un-wanted color casts).

A number of ‘creature comforts’ for thephotographer are worth mentioning. It’swet out there, especially in the earlymorning when dew covers everything! Ihave taken to carrying a light ponchowith me. It is small enough to fold andfit in my camera backpack and can serveas a ground cover, or to keep me and mygear dry if a sudden shower catches meout in a field somewhere. Protect your-self from hours of exposure to the sun,stay hydrated, and think about taking

Challenges in Flower Photography

continued on next page

Photo by Jim Craner

page 3

SPS Focus

SPS SPS Focus February 2004

F r a g o m e n iInsurance

584-4200

Home Auto Life Business

Jordancontinued from page 1

from National Geographic magazine.This encouraged him to get intophotography more seriously.Academically, however, he chose topursue degrees in Biology andEnvironmental Studies and worked inWashington D.C. for the NationalWildlife Federation and the NationalAudubon Society before turning tophotography full-time.

He began his professionalcareer focusing on people and locationphotography. His unique sense ofperspective, composition, form andtexture as well as an intrinsic sense oflight served him well to create images ofuniversal appeal. But still he was drawnto the Shawangunk mountains. He writes“Like the Hudson River School artists ofthe 19th century, I find inspiration in thenatural beauty around us. Though onefaction of these accomplished painterscreated their art as metaphor for largerspiritual or philosophical beliefs, anothergroup, Asher Durand most notableamong them, sought to express thesublime more simply and directly.”

The Hudson River School ofpainters were a particular influence onSteve. They were a group of Americanlandscape painters of the mid-nineteenthcentury, who took a Romantic approachto depicting the Hudson River Valley,and of the Catskill, Berkshire, and WhiteMountains. They were luminests who

responded to a young America andsought to reflect the beauty of the HudsonRiver valley. In their art Steve saw peoplewho had been affected by the beauty ofthe region around them just as he was.

“In the photographs I havemade of the Shawangunk Ridge, mymotivation is similar to Durand’s - ascene is rendered and realized on onelevel, but holds within it more than arecord or document of nature at aparticular moment, even more than Icould intend as I release the shutter.”

When I asked Steve about hisshooting style he told me, “Serendipityis my buddy.” He carries a camera withhim in his car and is most likely foundpulled over on the side of the road withthe camera in his hand or on a tripodshooting something that he saw as hedrove by. Other people will be driving by,the same people who will look at hisimages and imagine him in the vastwilderness, hiking for hours laden withhis equipment to reach the spot withperfect light. He’s done that too but justas often his images are made more closeto home. “People think that this isinaccessible and it really isn’t.”

It isn’t, provided you have theeye of a photographer such as G. SteveJordan who will be the Print Group’sspeaker on February 4th. I hope to seeyou all there.

along one of those small pads that gar-deners use when kneeling for long peri-ods. I’ve found that a revealing point ofview when photographing flowers is toget low and actually shoot up into agroup of flowers. I will also scan alongthe top of a bed of flowers, looking forone that is a different height, or slightlydifferent color. I then use a telephoto lensto separate this flower from others, andthen work into a composition that pro-vides an out-of-focus background againstwhich to isolate and contrast the mainsubject.

Digital Tools

A number of creative effects – useful inflower photography and tricky to employin the field – can be created after theshoot in the digital darkroom. These in-clude double exposure and soft focus.Generally speaking, digital cameras donot allow double exposures to be made‘in camera’. These can be created in thedigital darkroom with greater controland precision. During my February presentation forthe digital group, I’ll illustrate the abovetechniques, and present a brief slideshow of flower photographs using theSmoothShow ™ software that some SPSmembers are employing to create theirmultimedia slide shows.

Flower photographycontinued from page 2

page 4

SPS Focus

SPS SPS Focus February 2004

Make Hunt’s Your Source for 1,000’s Of Different Films, FromSlide Film, Print Film, Black & White Film, & Infrared Film,All From Leading Manufacturers! - We Carry Over 100,000Different Items, Making Us One Of The Largest PhotographicWarehouses in The Country! - Hunt’s Can Satisfy All Of Your Needs For Photographic Equipment, Video & Digital Needs! - No Item Too Large or Too Small!

For Camera Club Incentives & Specials:

100 Main Street - Melrose, MA 02176 781-662-8822 FAX 781-662-6524

Mon-Thurs 8AM-7PMFri & Sat 8AM-4:30PMMail Order Hours:

N. Sukumar

While this question is posed nowadaysin the context of the film/digital conflict,it is worth bearing in mind that theearliest cameras used neither lenses norfilm. The camera obscura has been inuse since ancient times, to form imagesthrough a pinhole on the walls of adarkened room. Due to the non-permanent nature of the image, I doubtthat we would call these photographstoday. Lenses became prevalent in the16th and 17th centuries. Silver entered thepicture (again no pun intended) in 1727,when Prof. Schulze created the firstphotosensitive compound by mixingchalk, nitric acid and silver in a flask andnoticed darkening on the side of the flaskexposed to sunlight. In 1816 NicéphoreNiépce combined the camera obscurawith photosensitive paper and in 1822 hemade a contact print (of a portrait of PopePius VII) on a glass plate. In 1825 Niépceetched his images on copper, then on tinin 1826. In 1834 Henry Fox Talbotcreated permanent (negative) imagesusing paper soaked in silver chloride andfixed with a salt solution. In 1837 LouisDaguerre created images on silver-platedcopper, coated with silver iodide anddeveloped in warm mercury and patentedthe daguerrotype process. Talbotpatented his process under the namecalotype in 1841. Glass plates, gumbichromate and paper negatives continuein use to this day, but are now definitelyconsidered “alternative process.” GeorgeEastman set up the Eastman Dry PlateCompany in Rochester in 1880 and itwas only in 1889 that improved Kodakcameras came out with roll film insteadof paper. Film is thus a relatively recentdevelopment (no pun intended) on thephotographic scene, but it was thiscritical technical innovation that enabledphotography to move out beyond therealm of artists and photographers andto capture the mass consumer market.

Just such a technical advance has takenplace with the digital revolution and,while I doubt that silver gelatin film willever truly disappear in our lifetimes, itis very likely that it will soon become“alternative process.” Every other daysome other old-time photographerdiscovers these market realities anddeclares with great pomp and finalitythat “film is dead!”

Most photographers, publishers andcamera clubs have now, sometimesgrudgingly, conceded the point thatdigital prints and digitally-capturedimages are legitimate photographs. Butthere is still considerable resistance todigitally-manipulated images. So whenis a digitally-manipulated image aphotograph? It is possible to createphotograph-like images entirely in thecomputer using programs like Bryce®with sometimes very realistic-looking(and at other times very surreal)landscapes; obviously these cannot beconsidered photographs. At the other endare images that obviously started out asphotographs, but have been tweakeddigitally in much the same way that aphotographer would in the darkroom:namely, by burning and dodging,cropping, using contrast filters oradjusting color balance and spotting outspecks and scratches. Do these negate thephotographic content of the image?Before you answer, consider that if youare using an auto-anything film camera,there is a silicon chip in there that

automatically performs somemanipulations before the photons evenstrike the film surface. Furthermore, ifyou hand your film over to a drugstoreor mail it in to Kodak, the concentrationsand temperature of the chemicals andprocessing times are computer-controlled. You can even opt to foregochemical prints altogether and to haveyour film scanned onto CD. Then youcan send those files (with or withoutdigital manipulations) to a lab to beprinted chemically on real photographicpaper. Where does that leave us? Talkabout complicating the issue!

Many digital shooters are content to staywith kinds of digital manipulations wejust discussed. Others choose to use thedigital process to exercise their creativity.But just as photography is not theexclusive domain of the film shooter,neither is creative manipulation theexclusive domain of the digital artist.The images of Jerry Uelsmann, FreemanPatterson and André Gallant, to namejust a few, are instances in point. In onecase the composites or montages arecreated in the darkroom, in the othercase, they are done in the camera. SinceI want to learn to take (not just make)better pictures, I personally try to resistthe temptation to use Photoshop® tosimply correct flaws in my photos. Butthen should all digital manipulations ofphotographs be acceptable as

When is a

photograph a

photograph?

Please see Photograph page 6

page 5

SPS Focus

SPS SPS Focus February 2004

January Competition Results

Prints Color 29 Entries

Slides

Schenectady PhotographicSociety

is a member of thePhotographic Society of

America

* Jessica Hohenstein Balloon Festival 1Tony Hilferty Up on the Roof 2Tom Barber Tracy Ann 3Barb Lawton Last Dance 4Ken Deitcher Classic Cars HMBob Warner Three of a Kind HMPat Albano Untitled HM

Assigned Boats 35 EntriesJennifer Harvey Tugs 1Bill Delanney Red Boat 2John Tobison Outward Bound 3Luba Ricket Red, White and Blue 4Kevin Sarsfield Crystal Lake ‘03 5Bob Gough Herreshoff Detail #1 HMPat Albano Trawler HMBill Delanney Misplaced Boat HMDavid Lilac Chicago Boatyard HMDavid Lilac Fishing in the Morning Fog HM

Monochrome 19 Entries ** F. Bumbardatore Broken Lamp 1

Bob Gough Portobello 2Ran Henrikson A Statement Being Made 3Ray Henrikson Old Gears HMMax Tiller Putting Down RootsHMJeff Perkins Jack’s Foot HM

Judge Curt Miller

Program Sandy Noyes / Industrial Archeologist

Winner’s Notes: *Jessica used a Canon Rebel 2000, a 28-80 mm lens with Fuji Reala film. It was taken in Glens Falls at 6:00 a.m. at the Adirondack Balloon Festival.

**Frank found this lamp in a customer’s rental apartment after the last tenant had moved out and he was called in to repair the bathroom faucet. He used a Canon 10D camera with a Canon 28-135 IS USM lens and a 90’ optical viewfinder. The camera was set on the floor using the camera bag as a brace.

General 37 Entries * Ken Deitcher Nude Contemplaing 1

Her ImageJeff Plant Dark Trees by a Lake 2Ken Deitcher The Portrait 3F. Bumbardatore Bike Race 4F. Bumbardatore Old Horse 5Connie F. Houde Reflection HMKim KozaWaiting for the Bus HMWarren Burton Untitled HMDavid Lilac Glenville Serengeti HMJake Amsler Deep Thought HM

Assigned Music 13 Entries ** Luba Ricket Mandolin 1

H. Johannessen Untitled 2Ken Deitcher Woodwind 3Bob Gough Guitar HM

Judge Tom Knight

Program Teri Conroy / Childrens photography

Winner’s Notes:*This photo was originally taken with a Canon A1 camera and a28- 135mm lens on Fujichrome film. The model was taken at afigure study workshop I attended over 20 years ago.The slide was scanned into my computer with an Epson 2450flatbed scanner. The image was desaturated and then given asepia tone in Photoshop. A second, third and fourth copy wasmade and each sized and placed into subsequent smaller images. Aborder was applied and a slight texture applied.

**Luba took this winner with a Nikon camera on a tripod, aTamron lens and Kodak slide film. The light was getting low plusshe hid some of the light with a red lace curtain which she hungfrom a ceiling fan and could rotate. She set the mandolin upagainst mylar and draped a yellow tablecloth over herself foranother color. The red lace curtain reflected in the mylar also. Shedid this on a cold winter weekend - nice winter activity as timeand film go quickly.

page 6

SPS Focus

SPS SPS Focus February 2004

PR

INT

S F

RO

M S

LID

ES

PH

OT

OS

ON

CD

If it’s aboutpictures...Chances arewe do it!

MOTOPHOTO671 New Loudon RdLatham, NY 12110

783-0076

1558 Central AvenueColonie, NY 12205

456-2680

We are proud to offer theSchenectady PhotographicSociety a 20% OffDiscount Off All TheServices in this Ad!

E-6 Slide Processing B&W ProcessingPrints from Slides Photo RestorationPhotos on CD Club MOTO MembershipCopy Negatives Photo Greeting CardsColor or B&W EnlaregmentsDigital Prints from slides, prints, CD,

or digital media cards!

The best place for pictures...guaranteed!

photographs? I feel that this needs to beanswered on a case-by-case basis. Theintent of the image is, to me, a primeconsideration. Most newspapers andnews agencies have policies that strictlyforbid all but the most innocuousmanipulation of journalisticphotographs. And remember, peoplehave been “doctoring” photos longbefore the computer. The PSA NatureDivision has a similar policy forbiddingmanipulation of images for naturecompetitions. For a creative competition,this stricture obviously does not apply.The operative principle in either caseseems to be one of honesty: of notaltering the content of the image withintent to deceive.

Then there is the question of fairness forthe purpose of competition. Do digitalmanipulations make things easier for thedigital artist? You bet they do! At leastfor many kinds of manipulation, if youknow what you are doing and how to goabout it. But then an experienced printerwill find many things easier in the wetdarkroom. It still takes me less test printsto get a good monochrome chemicalprint in the darkroom than to calibratemy monitor, software, printer, paper andinks and get a decent inkjet print. Anddoes getting your film processed and/orprinted at a custom lab not give you an

advantage over the photographers whoprocess and print their own images?Perhaps so, for “straight shooters”, butprobably not for creative printers.Ultimately photography is all about whatyou want your images to say andchoosing the right tools for the task, bethat a fish-eye lens or a Photoshop®filter. And for every purist who sees thefilm/digital divide in terms of “realphotography” versus digital, there areten new converts every day who see thesame issue as one of photography versus“alternative process” (yes, read: film!)

Photographcontinued from page 4

Local artistcontinued from page 1

Photo ImagesTowne Center 518-399-910019 Glenridge Rd Glenville, NY 12302Services:1 hr processing for 35mm and APSEnlargementsE-6 ProcessingKodak Picture CD or DiskKodak digital prints from printsprints from digital cameras

20% off photo-digital services10% off frames and albums5% off cameras and filmCannot be used with coupons

Tues Wed Fri 10-6 Mon & Thurs 10-8 Saturday 10-4

Closed Saturdays July and August

exposing the truth. I discovered mycamera pointed in another directiontowards revealing the smaller strugglesand beauties of the world found allaround me, both near and far. My role as mother has inspired me towork on several projects including threechildren’s books illustrated withphotographs. In the past my work hasbeen shown in some of the local galleries,including the Fulton Street Gallery andis scheduled for exhibition at theSaratoga Arts Council. Also, I have beena freelance writer for variousnewspapers. For many years, I workedas a resident organizer at a publichousing site and employment counselorfor refugees. My experience is variedfrom secretary to sheep farmer, andrecently I became active in the GreenParty, seeing politics as important

towards shaping the future.Creating art for me has been challengingand a whole lot fun. It is something thatis hard to do, and hard not to do at thesame time. In myself as in the darkroomtray, I look forward to the images thatmagically appear upon the blankwhiteness of the paper.

Artist’s statement about the project/presentation Worcester State Hospital, GardnerMental Institute, Asylum for Lunatics arethe many names for the fortress for thementally ill built in 1833 and is now inashes. Having spent years empty, itseemed abandoned as if in a hurry;leaving behind patient files and traces ofthe insane like confused ghosts. The glass plates used in these imagesare patients from the early days of theAsylum. They are married tophotographs of the buildings before thosebuilding were burned down. Thehospital’s history is long and detailed,but the faces seem to call out theinexplicable history of mental illness thatis timeless.

Plan to be with us on Wednesday,February 11 for this interestingpresentation.

Photo Grab Bag to be heldon February 25th. See page

7for details

page 7

SPS Focus

SPS SPS Focus February 2004

News You Can Use

Frank Bumbardatore

Plumbing & Heating(518) 372-5038

Licensed & Insured

March Focus

The Focus’ asistant editor, Debra VanDeusen, is taking over the helm of thenewsletter for the month of March.Please send your articles, stories, news,etc. to Debra at debradigaphoto@aol.com

Save the dateThe banquet will be

June 2nd

Photo Grab Bag tobe held in February

The photo grab bag will be heldthis year in February with the judging tobe on Wednesday, February 25. Entrieswill be accepted and materials given outon Print night, Wednesday, February 4with an entry fee of $15.

Each entrant will be given asingle roll of slide film and thecompetition assigned topic. Entrants willhave one week to expose their film whichwill be collected on Slide nightWednesday, February 11 for processing.The slides will then be returned to theentrants on the 25th when they will selecttheir best images to be judged in thecompetition.

This is always a fun event andwe hope to have many entries this year.Cash prizes will be awarded to thewinners.

26th Photo Regional callfor submissions

The photo regional is open to photog-raphers within the 150 miles radius ofthe Capital Region more than 18 yearsof age. Artists may submit slides of upto five works or JPEGs. Original worknot accurately represented by asubmitted slide may be declined at thediscretion of the juror, Tanya Marcuse.

Calendar

· March 19 by 7 p.m.: Deadlinefor receipt of entries and fees

· April 2–4: Receipt of acceptedworks during regular galleryhours

· April 8, 5:30–6:30 p.m.:Juror’s Lecture at BestWestern, Troy 6:30-8:30:Opening reception

· April 8–May 15: Exhibition

· May16 noon–5 p.m.: Pick-upof works

Cash prizes will be awarded.

A completed entry form and checkmust accompany each submission. Astamped self-addressed envelope forreturn of slides also must be included.Entry fee is $25 ($20 with validstudent ID) for up to five slides.

Submission by JPEG

JPEG files may be submitted via e-mailto info@fultonstreetgallery.org as analternative to submitting slides. Up tofive jpeg files may be submitted asattachments to a single e-mail. The filesize of each jpeg attachment shall notexceed 75 KB. For each imagesubmitted, the body of the e-mail mustclearly list (1) the title, (2) the lengthand width of the photo (in inches), (3)the photographic process used; (4) thefilename of the JPEG attachment; andthe name and address of the artist.

Further information may be obtainedfrom the Fulton Street Gallery, 408Fulton St., Troy, NY 12180 at 518-274-8464. Or E-mailinfo@fultonstreetgallery.org.

Schenectady Photographic SocietyLinda Buckman

3749 St. Highway 30AFultonville, New York 12072

families. The Focus newsletter is included in themembership dues. SPS meets at the First UnitedMethodist Church, 603 State Street, Schenectady,New York. Parking and entrances are on ChapelStreet, a one way street off Nott Terrace. Guests arewelcome at all regular meetings.

The Focus is published nine times a year by theSchenectady Photographic Society. The organiza-tion meets each Wednesday at 7:30 p.m. from Octo-ber through May to promote and present informa-tive programs, activities and competitions in thephotographic arts for photographers throughoutthe Capital District. Members range from novice toexpert. Annual dues are $30.00 for individuals and

2003-2004 Board of Directors

February Calendar

Wednesday, February 4 Print group: The Gunks / G. Steve JordonAssigned: Macro at Home

Wednesday, February 11* Slide group: Loacal artist / Deyva ArthurAssigned: Contrasts

Wednesday, February 18 Digital: Flower photography / Jim CranerAssigned: Flowers

Wednesday, February 25 Photo Essay/Photo Grab Bag: Setting music to a slide essayand the showing of the photo grab bag entries.

Meetings are at 7:30 p.m.*Board meetings are at 6:30 p.m.

President N. Sukumar 283-6958Vice President Linda Wroble 372-0091Treasurer Linda Heim 439-1507Recording Secretary Dale Winsor 437-0207Corresponding Secretary Linda Buckman 922-7011Directors at Large Linda Heim 439-1507 Linda Buckman 922-7011

Newsletter Editor Ruby Gold 463-1674 Assistant Editor Debra Van Deusen 882-5188 Contributing Editor Allison Scott 393-7848

Print Group Chair Bob Gough 393-9562 Assistants Ray Henrikson Kim Koza 393-2943 Adrian Kivort 399-2950 Tom Mack 377-5935 Bob Warner 377-3831Slide Group Co-Chairs Jeff Plant 452-1933 Dave Lilac 393-4805 Assistants Luba Ricket 869-6940 Bob Scribner 399-4659PhotoEssay Co-Chairs Connie Houde 465-0582 Howie JohannessenMentoring Chair Frank Bumbardatore 372-5038 Assistant Sue Gersten 489-1511Digital Group Chair Bob Riccardo 767-2193 Assistants Ken Deitcher 489-7678 Max Tiller 869-7721Membership Chair Jay Freud 383-3421

Web Master N. Sukumar 283-6958

Refreshment Coordinators Judy Breslau 356-3805 John Ogden 456-2993

Web Page Address

www.schenectadyphotographicsociety.com