DARKROOM DOORTHROUGH THE

March 2005 Cleveland Photographic Society

In This Issue:

CPS to Vote on New Clubroom Location

Geoff Powers on Helicopter Videography

Joe Polevoi’s Column “The Keyword: Observing”

Kolman Rosenberg’s Exhibit and Artist’s Statement

Bob Dachalet of Minneapolis on Camera Club Judging

Competition Results, Standings and Photos

www.clevelandphoto.org

“Orchids Now and Later” by Ed Rynes

Through the Darkroom Door

©2004 Cleveland Photographic Society1549 Superior Ave., Cleveland, OH 44114216-781-1533

Correspondence address:PO Box 202651Shaker Heights, OH 44120-8127

All Rights Reserved. All photographs hereinare protected by copyright law and may notbe reproduced without the express writtenconsent of the photographer.

Editor: Tom Flemingtefleming77@comcast.net440-617-9887

CPS Officers:Vic Evcic, PresidentJoe Kunzman, Vice PresidentElaine Kukral, SecretaryGeoff Powers, Treasurer

Website: www.clevelandphoto.org

Membership Chairman: Fred Reingold,areingold@sbcglobal.net

Deadline for articles: 18th of the month

Advertising rates (per issue):Eighth page $20Quarter page: $40Half page: $75Full page: $150

CPS is an affiliate of the PhotographicSoceity of America (PSA)

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At this year’s Annual Meet-ing on March 18th, CPS Memberswill get a chance to discuss a move toBroadview Heights and the issue willlikely be put to a vote. The proposednew clubroom is located at theBroadview Hts. Recreation Center onBroadview Rd. just South of Rt. 82.It is in a large complex of buildingsowned by the city near the intersec-tion of Broadview and Oakes Rd.

A dozen or so CPS memberstoured the facility last month at an“open house” to which all clubmembers were invited. At the openhouse, club members were able toview a similarly configured spacethat is adjacent to and connected tothe proposed CPS facility. It is usedby the city for police training and issimilar to what the proposed CPSclubroom would eventually becomeafter the city finishes remodeling.Reactions of the club members whoattended the open house weregenerally very favorable.

The facility was also dis-cussed at last month’s board meet-ing. Key elements of the proposedmove are financial viability, conve-

nient access for club members, andfeasibility for our school of photog-raphy. All CPS members are encour-aged to attend the Annual Meeting tovoice opinions and vote on thisimportant issue.

The interior of the facilitywould be built-out to our specifica-tions. It is approximately 42 x 30feet, rectangular in shape, and haswindows on three exterior walls.There is access to common arearestrooms. Currently, there are wallsin place that divide the space intoseveral rooms. The city of BroadviewHeights plans to take down thosewalls and rebuild the interior. Astorage room and a darkroom couldthen be built off of the main room.Certain details of the lease are still innegotiation,but it appears that theterm will be in the range of three tofive years with renewal options. Therent would be slightly more than CPSpays at the current location.

The Broadview HeightsRecreation Center is about a fiveminute drive from the Rt. 82 exit offof I-77. It is about 17 miles from ourcurrent location. TF

CPS To Vote on New Location DISCUSSION AND VOTING AT MARCH 18th ANNUAL MEETING

Proposed CPS facility at Broadview Hts. Rec Center. Proposed CPSclubroom on left, police training facility on right.

Interior of police training facility, similar to space proposed for CPS clubroom.

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I retired last June, havingspent thirty-five years as a teacherand guidance counselor in theCleveland and Warrensville Heightsschool districts. After about sixmonths of bad golf and TurnerClassic Movies, I was becomingbored with the retirement that I hadlooked forward to.

In December I received a callfrom a friend who told me about anemployment opportunity throughone of his acquaintances. PrecisionHelicopter, a local helicopter pilotschool and charter service that alsoprovided aerial video services toNewsChannel 5, was looking for anadditional videographer. I had beeninvolved in video taping ShakerHigh School’s hockey team for thepast 12 years (something my friendknew about because our sons playedhockey together), and he thought Imight be a good fit for the position.

After several meetings atPrecision, I was offered a position asa backup aerial videographer! Ijumped at the chance to get paid toride in a helicopter (somethingpeople pay money to do) and learnhow to operate the gyroscope-balanced, belly-mounted, $250,000skycam. The control panel for thecamera is about the size of aMonopoly game box, with a joystickand switches, dials, buttons galore.The camera operator places it acrossthe lap. To view the camera’s images,there is a 5x7 LCD panel mounted inthe middle of the rear passengerarea.

My first “flight” never leftthe hangar. I was given an inserviceon each of the controls and how itworks. The rest of the time wasspent getting used to panning,zooming, setting white balance,changing sensitivity settings, andjust getting the hang of the thing.

No problem, I thought. If I couldtape a hockey puck ricochetingaround a rink, I could certainly dothis. Wrong.

I soon learned that thecamera reacts very differently whenit’s up in the air, attached to ahelicopter going about 100 miles anhour, bucking a 17 mile per hourcrosswind. The camera controlsbecome much more sluggish againstthe wind and lightning quick with it.It’s also very, very easy to getdisoriented because the up/down,left/right controls don’t always meanwhat you think, because the cameramay not be “traveling” on the sameaxis. Zooming in on a toolbox in ahangar is a lot easier than framing ashot of evacuees in a rubber raft whoare fleeing the flood waters whichhave surrounded their farm.

If operating the cameraweren’t hard enough, it’s also thevideographer’s responsibility tomaintain communications with thepilot and with Channel 5’s newsdesk.So with one hand on the camera’scontrols and the other on theIntercom/Newsdesk toggle, thevideographer has to use a third handto depress the “talk” button to speakwith the news people back at thestation. All of this is going on whilethe belly is enjoying a Cedar Pointride about 1,700 feet up in the air.Did I forget to mention that thevideo recording machine is alsomounted below the videographer?

All the markings read upside down.“On” is down and “Off” is up Youhave to remember that tape mark6606 looks like 9099—somethingthat becomes important to the videoeditors later on, since post-production marking of the tape isanother responsibility of thevideographer. It took me three triesto properly insert a tape because Ikept trying to put it in upside down.

I did receive one piece ofadvice which I wish I’d paid moreclose attention to: “Don’t ever letthe camera point straight down.” Ifyou let go of the controls, thecamera’s nose points straight down.The gyroscope goes a little crazy atthat point and starts trying to orientitself by spinning around. If youlook at the monitor inside the cabin,you see the ground below whirling.This is not a good thing for thosewho tend to get airsick. Your eyessee the horizon through thehelicopter window and also take inthe psychedelic gyrations on themonitor at the same time. The first(and, I hope, last) time thishappened to me I had to use thelittle bag. And then fly fromEastlake to Burke Lakefront Airportwith an open cabin window inDecember. My pilot was notpleased.

Our helicopter will be out ofservice for February. It is being re-painted in its beautiful, newNewschopper 5 design and is beingfitted with new broadcast gear,including cabin “lipstick” cameras soreporters who go up can do live, on-camera reports. I can hardly wait togo back up.

If you happen to seeNewsChopper5 up in the air, look inthe back window. It might be melooking down at you.

GP

Helicopter Video: The View From Up ThereGeoff Powers

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The Keyword: ObservingJoe Polevoi

observe more of the world aroundus. Something special catches oureye that seems worthy of capturingin our cameras. In the current issueof Popular Photography, Joel Greydescribes what interests him inphotography. “Mystery, like whatam I looking at here? And why isthis? ...Something that really puts aquestion in my mind or a sense ofawe. And I try to capture thatmoment. All I have is experienceand intuition and my eye.” What awonderful way to describe hismethod of observing.

Lately, with the conve-nience of the digital format, we canexperiment more without theconcern of wasting film. We may beaiming at the same subjects, but wecan explore more in those subjectsand I think more visual surprisesare appearing in our competitionsbecause of that extra effort. As faras I know, CPS is the only club inthe Cleveland area that motivates itsmembers to discover more byhaving a Creative Competitioncategory. I especially enjoy the newimaginative entries submitted frommembers who in the past, producedpleasant and predictable composi-tions. The recent issues of our clubnewsletter are full of differentrefreshing observations in thewinning photos. This kind of workshould attract future members who

have grown up in this visual age ofoff- the- wall thinking.

It seems to me that somejudges hesitate more before com-menting on off-beat creative entries.The old rules like “tack sharp andrule of thirds” need to be revised toallow more latitude in consideringwinning photos. Artists have notbeen restricted by such rules as theymade their artistic statements, butphotography competitions have beenunbending regarding what consti-tutes acceptable photography..

I see so much of the main-stream subjects when I visit otherlocal clubs. As a judge, I can usuallyanticipate most of the entries beforethe competitions begin. Certainlythe photos are examples of goodphotography, but I don’t feel thephotographers are challenged orencouraged enough to look at theirsubjects from different viewpoints.

The more we use our abilityto observe, the more artistic webecome. Our creative output willfascinate viewers because we are notlocked into repeating what has beendone so much in the past.

Take that extra moment tofully OBSERVE your subject beforeyou take that shot! JP

I like to thinkfolks who dabblein the visual arts... photogra-phers, artists,etc. are endowedwith an extrasense ... theability to

Spring 2005 Course Schedule

Fundamentals of GoodPhotography, March Sessions:

Mar. 2 Photo TipsNight Photography

Mar. 6 Field Trip 9:30 am (Sun.)Mar. 9 Basic PortraitureMar. 16 Introduction to Digital Creative

PhotographyMar. 23 Introduction to Digital CamerasMar. 30 Course Review

CPS ScheduleMarch 20054 Creative Workshop6 Field Trip with Fundamentals

class, 9:30am. Meet at CPSclubroom.

8 Board Meeting11 Nature Competition #418 Annual Meeting25 No Meeting

April 20051 Pictorial Competition #58 Creative Competition #412 Board Meeting15 Program to be announced22 Night Time field trip29 Digital Program by Steve

Manchook and GlennPetranek

29 Slides and Prints due forYear-End Competition

“Designs in the Kitchen” by Joe Polevoi

“Auto Artistry” by Joe Polevoi

Last year, while workingwith a colleague in Salt Lake City, Ilearned that he was an artist. Hementioned that he painted and Iasked him what type of paintings heproduced. He quickly pulled out anartist’s statement that conciselyexplained his artistic philosophy andserved as his “mission statement” asit pertained to his work. Working inthe realm of organizationalimprovement and leadershipdevelopment, I was familiar withmission statements for organizationsand for personal use, but I had neverseen one to define one’s artisticphilosophy.

I often struggled when askedto describe the type of photographythat I concentrate on, so on theplane trip home, I decided to draftmy own photographic artist’sstatement. After producing anumber of drafts and getting somefeedback from friends to insureclarity, I came up with the followingstatement:

Artist’s Statement

“My station in life is to capture theaction of life, the life of the world, its

humor, its tragedies, in otherwords, life as it is. A true pictureunposed and real.”

W. Eugene Smith1918-1978

The camera serves as a portal forme to view common sites in anuncommon way. It enables me tosee, and point out to others, thebeauty, irony, interest, humor andsometimes the ugliness of the worldwe live in. I hope my images bringa realization to others that commonthings in life are often worth morethan a glance, they draw a secondglance.My interest in photography beganas a college newspaper andyearbook photographer during thestormy 1960s and 1970s. I wasinfluenced by many of the greatphotojournalists and documentaryphotographers such as W. EugeneSmith, Walker Evans, DorotheaLange, Ansel Adams, MargaretBourke-White and other black andwhite photographers of LifeMagazine and the earlier FarmSecurity Administration in its effortto assist poor farmers during theDust Bowl and Great Depression.Though many of thesephotographers documented thehorrors of war and the plight ofpoverty, they also showed me thedignity and adaptability of humanbeings in their desire to prevail.

My images will provide you withthat second glance of the mundane,humorous, common-place, andsometimes ugly or painful aspectsof our world with the intent ofhelping you also take the time tonotice the dignity, beauty andadaptability that is evident in each.

Having this artist’sstatement has helped me focus onthe type of subjects that I truly loveto photograph. It doesn’t limit mefrom taking other types of photos,

but it keeps me stimulated andalways looking for thosecommonplace people, places andthings that deserve a second glance.

The artist’s statement hasalso encouraged me to truly seemyself as an artist and to seek outlocal galleries willing to exhibit mywork. Much to my delight, aftervisiting a gallery in Chardon, OH,explaining my philosophy andshowing my portfolio to theproprietor, Marie Cartor, she agreedto exhibit 6 of my photos and tooffer them for sale. My 6 framedprints are now hanging at “TheCorner of Art and Function” and willhang until March 31st. The gallery islocated at 209 Center Street, Rt. 44,Chardon, OH 44024. This gallery isopen on Tue., Wed., and Fri. from10:00 to 6:00, Thu. from 10:00 to8:00, and Sat. from 10:00 to 5:00.The gallery is closed on Sundays andMondays. The Corner of Art andFunction displays many differentforms of art and is well worth thevisit, so if you want to take a nicedrive out to Geauga County, stop byand visit the gallery.

The writing of an artist’sstatement has had a major impacton my work and on my selfperception as an artist. I stronglyrecommend drafting an artist’sstatement of your own. KR

Artist’s Statement Leads to ExhibitKolman Rosenberg

“Ellis Island Imigrant View” by Kolman Rosenberg

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“Commerce” by Kolman Rosenberg

Ten years as a camera clubmember, eight years as camera clubprint coordinator, six years ofinfrequent judging, plus two classesin how to evaluate images hasallowed me to observe the strengthsand weaknesses of camera clubjudging. Judges vary in quality andability to articulate their opinionsalmost as much as the images varyin quality and feelings conveyed.What I have attempted to do here isto assemble some thoughts on whatit means to be a camera club judge;what the club/members shouldexpect from a judge and vice versa;plus a list of considerations thatcould or should be referred to whenan image is being judged.

My recent class in judgingbegan with the question “Whatmakes a good judge?” I ended upwith a definition of a JUDGE as:ONE LEARNED IN THE STYLESAND TECHNIQUES OFPHOTOGRAPHY WHO IS ABLE TOFAIRLY AND DECISIVELY RULEON THE RELATIVE MERITS OFIMAGES AND WHO IS ABLE TOARTICULATE IN AN INSTRUCTIVEMANNER THE REASONS FORHIS/HER DECISIONS ANDOPINIONS.

First of all to be a judge oneshould be knowledgeable about notonly the technical aspects ofphotography but also know aboutdifferent styles of photography.Many judges focus on some singletechnical aspect (image must be tacksharp front to back) or style(monochrome street photography isreal photography) and miss thegestalt of the image. The true valueof any artistic work is the message itconveys as a whole. Technique issimply the medium by which anartist conveys his/her message.

Technique, however, lets us knowthat the photographer understandshis/her art and has mastered thecraft.

A good case can be made forgiving the technical aspects of agiven image less weight in scoringand giving the message the mostweight is scoring. Today there areinnumerable technically superbimages available for viewing but it isusually the emotive/challenging/original image that we rememberwhether or not it follows all the rulesof composition, is tack sharp, and ispresented well.

Secondly a judge must befair and decisive. In the end ajudge’s opinions are alwayssubjective and personal but judgesshould not allow personalpreferences (I like photojournalism)or personal biases (I hate cats) toinfluence their decisions. Judgingclub competitions is like judging thefinals at Westminster Kennel Clubdog show where different breeds arejudged against each other. The judgemust understand the differentstyles/techniques of photographyand be able to rank each imageagainst standards for that style/technique and then be able to pickout the image which best measuresup to standards of excellence for it tobe chosen as “Best of Show”.

Thirdly, a judge must beable to articulate in an instructivemanner why they chose a certainimage for a high or low score. If thejudge has access to the images for aperiod of time before the clubmeeting then the judge should makenotes with specific comments onimages so that nothing is missedduring the presentation. If the judgeis presented with images at the clubmeeting then the judge’s comments

would be expected to be lessthorough and organized. Somecamera club members come tocompete and enjoy the race to seewho accumulates the most pointsduring the club year. A member willbe left wondering if the judge is notable to explain why a certain imageimage scored high or low. If animage scores high, then a good judgeoffers more of an explanation than “Ireally liked this.” Other memberscome to learn and are not onlylooking for reasons why an imagescored high/low but also want to beinstructed in how to improve theirimages.

Camera club members varyin experience and artistic abilityalmost as much as the images varyin quality. A judge is generally at adisadvantage in not knowing whomade the image and at what skilllevel the maker is. Judges shouldrecognize effort when an imageappears to have been taken for aparticular competition topic or if animage was taken before dawn farfrom the nearest road at great risk tothe photographer. The judge shouldbe constructive, encouraging andinformative. All members have anemotional investment in their workin addition to the time, energy, andexpense extended to capture/print/present the image being judged. Anew member might be discouragedby harsh criticism whereas anexperienced member might ignorethe judge’s comments recognizingthat judging can be very subjectiveor believing he/she knows morethan the judge. Neither is anappropriate response.

Judging can be somewhat ofan ego trip. A good judge realizesthat camera club members do notattend meetings to listen to longharangues about the judge’spersonal experiences taking photosor about how he/she would havetaken the photo underconsideration.

It is not the judge’s job tofind and to point out every fault animage might have. Judges shouldjudge the merits of images they arepresented with and not try toreimagine the image as their own bysuggesting a radically different

Camera Club JudgingBob Dachelet, Menneapolis Photographic Society

Editor’s Note: We all appreciate the difficulty of judging photgraphs in our competitions.This article is written by an experienced photographer, camera club member, instruc-tor and judge. I hope you will find it as insightful as I did in addressing the issuesinvolved. It is reprinted here with the author’s permission and can also be found onthe Minneapolis Photgraphic Society website www.mplsphoto.com.

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technique, cropping, style, etc. Onthe other hand, members shouldlisten to the judge’s suggestions onhow to improve an image and nottake criticism personally. Membersshould recognize that the judge istrying to help all members of theclub with suggestions on how toimprove a given image. A goodjudge’s criticism should be based onsound technical experience andknowledge that the judge is trying toshare with the audience.

In fairness to the judge thecamera club should instruct thejudge in what is expected. Mostclubs have competition rules thatshould be conveyed to the judge.When a club competition has atopic, the judge should be given thesame definition of the topic as theclub members received. The judgeshould know what to do if a givenimage is entered in topic and doesnot fit the definition; is the imagejudged with open images, or is theimage eliminated from judging, or isthe image simply disqualified fromreceiving an award? Judges shouldhave a name/number to contact ifsuch an issue arises before themeeting.

Judging is not easy.Members should be respectful of thejudge’s comments and should beopen to constructive criticism. Apicture might be worth a thousandwords but most of us can barely find10 or 100 words to articulate why welike/dislike a particular image.When most of us are able to sayanything about an image, it isusually a comment about what istechnically not perfect in the image.Members should listen carefully andtry to understand what the judge issaying. For a critique to besuccessful the photographers shouldbe open and willing to trysuggestions offered. Seeing howothers react to our image shouldhelp us grow as artists andtechnicians, i.e. grow asphotographers.

The accompanying list of“Competition Judging Bullets” wasput together to provide a list ofdiscussion topics for a judge to usein commenting on club images.

BD

Topic• If the judge does not feel an image fits the topic definition for salon (both judge

and club members must be using the same definition) then is the image: 1) notjudged, 2) judged with open images, or 3) judged but not eligible for an award?

• Are there other club rules regarding matting, size, etc. which would disqualify animage?

Impact; Story-telling; Evocative; Staying Power• Does the image have impact to catch your eye and be considered for an award?• If the image has impact to get noticed, then does it have staying power (story/

originality/composition/technique/presentation) maintain interest or to win?• Is the message so important (photojournalism) that minor technical details seem

unimportant?• Was the image taken at the decisive moment?• Does the image stir emotion or convey sense of place?

Originality• Does the image challenge the viewer?• Does the image reflect a personal style?• Is the subject new? If the subjective is ordinary, is it handled in an interesting or

new way?• Is the perspective or point of view new or unusual?

Composition• If the image breaks generally accepted rule of composition, does it benefit?• Does the image have a center of interest?• Does the image allow the eye to travel around and stay in the

frame?• Is the subject emphasized by placement, contrast, framing, simple background, or

by vectors and leading lines that draw the eye to the subject?• Does the subject fill the frame?• Are there any distracting merges of subject with foreground/background/edge of

frame?• Are there any extraneous distracting elements in the image?• Is the image balanced re weight/color/contrast/symmetry?• Is the subject looking at the viewer or at something in the image?• If the subject is moving, is there room within the frame for

subject to move and stay within the frame?• Is the use of negative space appropriate?• Is the image dynamic or is it static?• Do colors/textures/patterns enhance or overpower the image?

Technique• Was the photographer’s choice of film/digital/lens/depth of field/exposure

length appropriate?• Is the lighting/time of day unusual/dramatic/appropriate?• Is motion conveyed by panning/long exposure, or implied by zooming during

exposure?• Is the aperture chosen appropriate to achieve a depth of field appropriate for the

subject?• Is the horizon level and at the appropriate level to emphasize the subject?• If the image was altered from “reality” in the camera/darkroom/Photoshop, does

the change enhance or not change the image?• Is the color and tonal scale realistic or appropriate?• If all or part of the image is blurry, was it intentional and does it work?

Presentation• Does the choice of printing medium influence the image?• Does print size/format influence presentation?• Is the print/slide quality good?• Is matting/framing appropriate?

Competition Judging BulletsBob Dachelet

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8

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COLOR SLIDES CLASS A1st Bob Stone Floating Sculpture2nd Ed Rynes Special Effect Heron2nd Jim Kunkel Lower Antelope Canyon3rd Ed Rynes Red Anthureum3rd Bob Stone Death Valley Scenic3rd Susan Swope Euclid Epworth Church

COLOR SLIDES CLASS B1st Bob Frye Fall Village2nd Mary Rynes Sunset & Foliage

BLACK & WHITE PRINTS CLASS A1st Ron Wilson The Embrace1st Ed Rynes Rock Hall 57862nd Tom Fleming Pomponio Beach, California

BLACK & WHITE PRINTS CLASS B1st Mary Rynes Haloed Mary1st Mary Rynes Tree and Birds

COLOR PRINTS CLASS A1st Ed Rynes Orchids Now and Later2nd Ron Wilson Horse Drive 35223rd Jim Kunkel Airborne3rd Jim Kunkel Spider Rock at Canyon De ChelleyHM Fred Reingold StonehengeHM Ed Rynes 1935 Auburn CabrioletHM Chris Dixon Relaxing at the LakeHM Diane Funk WelcomeHM Ron Wilson CarnivalHM Tom Fleming Camera

COLOR PRINTS CLASS B1st Mary Rynes Now and Future Roses2nd Mary Rynes LSU Farm Scene

COMMERCIAL PRINTS1st Tom Fleming Fence and Covered Bridge2nd Pam Messuri Stadium

Pictorial Competition Results February 4, 2005

Creative Competition Results February 18, 2005SLIDES

1st Ed Rynes Heron and Moon

2nd Mary Rynes Imprints

3rd Maria Kaiser Exit

3rd Mary Rynes Scattered Images

3rd Ed Rynes Intricate Tiles

BLACK & WHITE PRINTS

1st Chris Dixon Handcrab

2nd Kolman Rosenberg Old Point Loma Light

3rd Ed Rynes Woodland Creature

3rd Kolman Rosenberg Around the Bend

3rd Ed Rynes Rorschach 23

COLOR PRINTS

1st Joe Polevoi Designs in the Kitchen

2nd Kolman Rosenberg Oak - Maple

3rd Ed Rynes Ohio City Fantasy House

3rd Bob Stone PBL

HM Joe Polevoi Auto Artistry

HM Diane Funk Cold Day in Andy Worhol’s World

HM Mary Rynes Yarns Drying on Crossbeam

HM Diane Funk Okay Tracy, Who Will Lead

“Horse Drive 3522” by Ron Wilson

BLACK & WHITE PRINT CLASS AEd Rynes 24Tom Fleming 14Ron Wilson 10Jim Frier 4Kolman Rosenberg 3

BLACK & WHITE PRINT CLASS BMary Rynes 10Cliff Eller 5Geoff Powers 5

COLOR PRINTS CLASS AEd Rynes 33Ron Wilson 15Jim Kunkel 14Bob Stone 6Elaine Kukral 4Joe Polevoi 3Bob Malek 2Fred Reingold 2Chris Dixon 2Diane Funk 2Tom Fleming 2

COLOR PRINTS CLASS BMary Rynes 19Bob Frye 10Goeff Powers 4

COMMERCIAL PRINTSTom Fleming 26Bill Gance 8Joe Kunzman 7Max Aynik 7Elaine Kukral 6Pam Messuri 6Alex Boehm 2Vic Evcic 2

COLOR SLIDES CLASS AJoe Polevoi 19Bill Gance 18Susan Swope 17Ed Rynes 14Bob Stone 12Jim Kunkel 11Maria Kaiser 10Ron Wilson 7Bert Klein 7Diane Funk 6Gerry Juskenas 6Elaine Kukral 3Ken Kukral 3

COLOR SLIDES CLASS BBob Frye 22Mary Rynes 11Alex Boehm 9Geoff Powers 7Russell Purnell 5

Pictorial Accumulated Points as of February 28, 2005

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PRINTS, BLACK & WHITEEd Rynes 15Kolman Rosenberg 10Mary Rynes 9Ron Wilson 7Chris Dixon 5

PRINTS, COLORBob Stone 17Joe Polevoi 16Ed Rynes 15Mary Rynes 13Kolman Rosenberg 8Diane Funk 7Ron Wilson 5Jim Kunkel 4Chris Dixon 3

SLIDESEd Rynes 17Joe Polevoi 13Bert Klein 12Mary Rynes 11Paul Mathiellis 9Maria Kaiser 7Bill Gance 4Gerry Juskenas 4Ron Wilson 4

Creative Accumulated Points as of February 28, 2005

“Okay Tracy, Who Will Lead” by Diane Funk

“Euclid Epworth Church” by Susan Swope

“Scattered Images” by Mary Rynes

“Special Effect Heron” by Ed Rynes

“1935 Auburn Cabriolet” by Ed Rynes

CPS Gallery

“Fence and Covered Bridge” by Tom Fleming

Reminder: This Year’s AnnualMeeting is on Friday, March 18th,7:30pm at the CPS clubroom. Seearticle on page 2.

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“Oak - Maple” by Kolman Rosenberg

“Yarns Drying on Crossbeam” by Mary Rynes

“Cold Day in Andy Worhol’s World” by Diane Funk

“LSU Farm Scene” by Mary Rynes

“Pomponio Beach, California” by Tom Fleming

“Ohio City Fantasy House” by Ed Rynes

“Woodland Creature” by Ed Rynes

“Imprints” by Mary Rynes

“Red Anthureum” by Ed Rynes

“Heron and Moon” by Ed Rynes

CPS Gallery

“The Embrace” by Ron Wilson

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PRINTS, CLASS A, COLORRon Wilson 21Jim Kunkel 16Ed Rynes 9Bob Stone 4

PRINTS, CLASS B, COLORBob Frye 23Mary Rynes 10

PRINTS, B&WRon Wilson 15Ed Rynes 10

PRINTS, COMMERCIALAugust Costlow 5Jim Frier 5Bill Trent 5Tom Fleming 4Mike McNeely 4Bill Gance 3

SLIDES, CLASS A GENERALBob Stone 25Jim Kunkel 18Bill Gance 7Maria Kaiser 4Ed Rynes 4Elaine Kukral 3

SLIDES, CLASS A ZOOLOGYBob Stone 13Ed Rynes 12Bill Gance 7Jan Holkenborg 4Elaine Kukral 4Jim Kunkel 4Joe Polevoi 4

SLIDES, CLASS B GENERALRussell Purnell 10Bill Trent 10

SLIDES, CLASS B ZOOLOGYMary Rynes 15Russell Purnell 5

Nature Accumulated Points as of February 28, 2005

People Competition Accumulated Points as of February 28, 2005

BLACK & WHITE PRINTSEd Rynes 22Kolman Rosenberg 10Ron Wilson 9Jim Frier 5Paul Mathiellis 5Chris Dixon 3

COLOR PRINTSEd Rynes 19Mary Rynes 13Kolman Rosenberg 12Jim Frier 9Bill Gance 9Ron Wilson 9Tatyana Denisova 7Diane Funk 7Elaine Kukral 6Bill Trent 5

COMMERCIAL PRINTSPam Messuri 5

SLIDESMary Rynes 16Bill Gance 13Elaine Kukral 12Joe Polevoi 12Ed Rynes 8Ron Wilson 5Diane Funk 4Pam Messuri 4Gerry Juskenas 3

“Rorschach 23” by Ed Rynes

“Old Arcade” by Kolman Rosenberg

“Rock Hall 5786” by Ed Rynes

“Now and Future Roses” by Mary Rynes “Haloed Mary” by Mary Rynes

“Handcrab” by Crhis Dixon

The Cleveland Photographic Society1549 Superior AvenueCleveland, OH 44114

First Class Mail

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The Cleveland Photographic Society

The Cleveland Photographic Society (CPS) was formed in 1887 and has operated continuously since thattime, making it the second oldest camera club in uninterrupted operation in North America. We are one ofonly a few clubs in the country to have our own permanent clubroom and a darkroom. These facilities allowCPS to conduct a Photo School every Fall and Spring, featuring sessions on fundamentals, darkroom workand digital techniques.

Visitors are welcome to attend, at no charge, any scheduled meeting to learn more about our programs andcompetitions. Most meeting are on Friday evenings at 7:30 pm. We are located upstairs at 1549 SuperiorAvenue in downtown Cleveland, Ohio. The annual membership fee is $45 for individuals, $57 for couples,and $35 for students.

In addition to programs and competitions, CPS sponsors special showings, workshops, and field trips toprovide ideas, opportunities and inspiration. We also hold a number of social events and an annual auction.

This newsletter, Through The Darkroom Door, is printed and emailed to members, friends of CPS and othersubscribers every month at no charge. For members without email, a printed copy is mailed through theU.S. Postal Service. The email version is in pdf format and is in color. To subscribe to this newsletter,please email the editor, Tom Fleming, at tefleming77@comcast.net with your request.