Florida Photographer 2013 #2

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Jo in the

Florida Professional PhotographersSee Appl icat ion page 24 or at www.fpponl ine .org

First PlaceWildlifeIn Flight

ElizabethKraker

Florida Photographer 3

Is the official publication ofthe Florida Professional

Photographers, Inc. Permission to reprint

contents on this publication isgranted to similar publicationsof the photographic industry,provided that the author and

THE FLORIDA PHOTOGRAPHERare recognized as the sources.

The opinions expressed in anyarticle or column are those of

the author and does not neces-sarily represent the official posi-tion of the Florida Professional

Photographers, Inc.

The Florida ProfessionalPhotographers exists solely for

the good of its members. The association provides toolsand educational opportunities

for its members to achieve theirbusiness and artistic goals. It is

committed to an ongoingexchange of information and

experiences between allmembers in an open and

friendly atmosphere.

Florida Photographer

Luis Melendi828 Narragansett LaneKey Largo, FL 33037Tel 305.453.5441Fax [email protected]

publishing editoradvertising and design

President’s Message 5FPP Photo Competition 8FPP 2013 Convention Update 14Board Nominations 16Mentors, Silent Auction, Scholarships 17Convention Committees 18Color Correcting Made Easy 20Natural Light or Flash? 22Understand Your Client’s Vision 25Demystifying Painter - part One 26New FPP Members 28Membership Corner 28

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Spring is here. Flowers begin tobloom and everything is flour-ishing.As I look at everythingrenewing itself, it brings hope andexpectation of things to come. Wehad a successful seminar in Tampawith Alycia Alvarez. A big thankyou to our Chairwoman, CarolWalker, a job well done!

One of the hardest things I havefound about being your President iswriting an article that is interestingand helpful to all the FPP members.I am an artist that paints not anauthor that writes. I wrote theabove paragraph and then sat forthirty minutes thinking, okay whatis next?

Next is hope everyone is gearing upfor Florida School. Marybeth has agreat line-up of speakers (I’m evenone) for you to choose from. I use

to think, can I afford to go?Then I realized I couldn’t afford notto go. The week is such a time oflearning as well as making life-longfriends. I have never heardsomeone say, wish I hadn’t gone toFlorida School. It is a fantastic weekthat you will always cherish. Onething though, be sure to getinvolved. VOLUNTEER!

This is FPP’s 80th Anniversary. Aconvention was held in 1933 at theUniversity of Florida. It was orga-nized by Kodak and some of thesuppliers of photographic equip-ment and chemistry. The attendeesformed an organization to representprofessional photographers from allover Florida. Thus the FloridaPhotographers Association wasofficially formed during thatConvention on May 3rd, 1933. We started with 30 members with

each paying $2 for their annualdues. Oh, how we yearn for thegood ‘ole days.

During WWII, due to gas and foodrationing, the FPA did not hold aConvention for three years (’42-’44). Resuming the Convention in1945 we put ourselves two yearsbehind our actual age. In the1950’s we changed our name to theFlorida Professional Photographersand have continued to educate ourmembers through conventions,seminars and schools. In 1985 wecelebrated our 50th Conventioneven though we were 52 years old.

See you all at FPP School inDaytona. Beach Party time!

Thank you Luis for the hard workyou continue to do for the FPP...Great publication! n

SANDRA PEARCE, FDPE, FSAE, FED

President’s Message

Reach the Florida Market...Advertise in the Florida Photographer!Contact Luis Melendi 305.453.5441 ~ [email protected]

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FPP, Inc.Board of DirectorsPRESIDENTSandra Pearce, FDPE, FDAE, FED 20141122 SW 15th StreetOkeechobee, FL [email protected]

VICE PRESIDENTMartin Gudz, FSA, FED 20146174 SW CR 360Madison, FL [email protected]

SECRETARY TREASURERJackson Koontz III, FSA, FED 2015PO Box 6878Ocala, FL [email protected]

DIRECTORSCindy Strickland, FSA, FED 20135750 CR 12Tallahassee, FL [email protected]

Gary Hughes 20141603 Wilson Ave.Orlando, FL [email protected]

Britney Kirby Fullgraf, 2013302 East Belvedere StreetLakeland, FL [email protected]

Carol Walker, FDPE, FSA, FED 20157925 4th St. NorthSt. Petersburg, FL [email protected]

Patrick Van Dusen, FSA 20153539 Bareback TrailOrmond Beach, FL [email protected]

Past Pres identDonna H. Campiz, FSA, FED 20132880 Mandarin Meadows Dr NJacksonville, FL 32223-2633904.683.2585

FPP Office - EXECUTIVE DIRECTORKaye NewsomeFlorida Professional Photographers, Inc.11738 North Dale Mabry Hwy.Tampa, FL [email protected]

Our FPP Websi te - www.fpponline .org

F P P S E C T I O N ’ S W E B S I T E S

Bay – BPPA: www.bppafl .comFt . Myers – SWFPPA: www.ppswf .comGainesvi l le – PPNCF: www.ppncf .com

Jacksonvi l le – JPPG: www.jppg.orgLakeland – PPGMF: www.ppgmf.org

Melbourne– SCPP: www.spacecoastpp.comMiami – PPGF: www.ppgf .com

Ocala – OMCPPA: www.omcppa.comOrlando – PPSCF: www.ppscf .com

Palm Beach – PPGPB: www.prophotogui ld .comPensacola – NWSFPP: www.nwsfpp.com

Tallahassee – TPPG: www.tppg.wordpress .comTampa – TAPPA: www.tappa.org

FPP Section Chair: Marty Grivjack, Cr.Photog., FSA17114 123rd Terr . N. , Jupi ter , FL 33478-5211

Mobile 561.714.6443 • e Mail [email protected]

Keely Deuschle904.403.9553

Britney Kirby Fullgraf863.686.4980

Marybeth Hamberger954.426.2562

Gary Hughes321.279.0077

Kevin Newsome813.968.2810

Sandra Pearce863.763.8684

Robin Phillips863.682.6958

Kim Warmolts727.934.4456

PPA COUNCILORS

Convention - 727.481.9329Debbie Alcorn [email protected]

Trade Show - 305.453.5441Luis Melendi [email protected]

School Director - 954.426.2562Maribeth Hamberger [email protected]

FPP MANAGERS


While in Orlando... Stay where we stay!T h e R o s e n P l a z a H o t e l

9 7 0 0 I n t e r n a t i o n a l D r i v eO r l a n d o , F L 3 2 8 1 9

Special FPP Rates8 0 0 . 6 2 7 . 8 2 5 8

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ROBIN ADAMS, COMPETITION MANAGER

FPP Photo Competition 2013

The rules have been finalized forthe 2013 FPP Salon. Please readthem carefully and if you have anyquestions, please feel free tocontact the Competition Manager,Robin Adams.

Please note the deadline for entry is8 PM on Friday, August 9, 2013.You must enter all images on line,whether you are competing digitallyor with prints. Late entries will beaccepted this year with a higherentry fee, but are due no later thanAugust 15 at 8 PM. Note that duesMUST BE PAID before entering andthe entry fees must be paid on line.Jeff Burton of Proofcast is hostingthe website again this year and willhandle all entries.

Goto: http://printcompetition.comand log-on to enter.

Print entries used for judgingpurposes and Exhibit-Only Printsmust be shipped to Debbie Alcornat Reedy Photo to be received bythe deadline of 5 PM Wednesday,August 14. If you prefer to hand-deliver them, they must be receivedat the Salon Room, second floor ofthe Rosen Plaza Hotel no later than8:00 AM Saturday, August 17. Printcases are preferred but cardboardboxes will be accepted. No looseprints will be accepted! Jeff will behandling all the files and you willreceive the appropriate “paper-work” to confirm your entries. Inthe case of print entries, you willreceive both the entry forms andlabels to be placed on the back ofall print entries via email. Printthem yourself and attach them as

required.

Category ChangesThere are a few significant changesthis year:

1. We have deleted the category of Retouching.

2. We have eliminated the category of Non-Event Album.

3. Figure Study will now be included in Portrait of a Man or Portrait of a Woman. All the same rules apply to Figure Study (a tasteful, artistic nude – see below for a more detailed description).

As we did last year, you maysubmit digital files or prints forjudging in any of the categoriesexcept Albums which must be alldigital files. Exhibit-Only prints mayagain be submitted for display inthe Salon Display. So get busy onyour files and prints and plan onattending what promises to be afantastic Convention!

Competition RulesREGISTRATION DEADLINES

Digital Submissions: Online byFriday, August 9, 2013. Registrationwill be closed at 8 PM. Case fee is$95.00 per case. Submissions after8 PM on August 9th will becharged $125.00 and are due nolater than August 15th at 8 PM.Fees must be paid online at thetime of registration. No paymentswill be accepted with the case.Dues MUST be current beforeregistering your case, and throughthe end of Convention. If you are in

doubt as to your membershipstatus, please contact KayeNewsome, Executive Directorbefore registering your case.

Print Submissions: Shipped casescontaining prints must be receivedno later than 5 PM, WednesdayAugust 14, 2013.

Ship directly to: Reedy PhotoAttn: Debbie Alcorn12125 28th St. N.St. Petersburg, FL 33716.

Hand delivered cases must bereceived no later than 8:00 AM,Saturday, August 17, 2013 at theSalon Room at the Rosen Plaza.

All images, whether prints ordigital, must be registered online byAugust 9 (Early Bird) or August 15(Late Registration).

Membership Status: All partici-pants must be FPP members, andhave paid their annual dues to enter.Visit www.fpponline.org to verifyyour FPP Membership. Eligiblemembers for salon competitioninclude these categories:Professional, Associate, HonoraryLife, Retired, Non-Resident, Service,Student, Non-Professional. (Note:Out-of-State members may enterprints and earn merits toward theirFlorida degrees, but are not eligibleto win any photographic competi-tion awards.)

One to six (1-6) entries are allowedfor each Degree Classification;Florida Degree of Photographic

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Excellence (FDPE) or FloridaDegree of Artistic Excellence(FDAE). FDPE and FDAE submis-sions may contain all photographicimages, or a combination of singleimages and albums with no morethan two albums. Each degree’sentries (FDPE or FDAE) must beentered in a separate case with aseparate entry fee for each case.

PHOTOGRAPHIC EXHIBITIONThe purpose of this competition isto allow the entrant to demonstratetheir photographic imaging skillsand expertise in pursuit of the FPPFlorida Degree of PhotographicExcellence (FDPE). Both prints ordigital files may be entered in thiscompetition. All entries will bejudged relative to the 12 Elementsof a Merit Image.

Prints will be judged under stan-dard competition lighting of 75footcandles of tungsten lighting.Digital files will be judging on cali-brated NEC monitors.

Prints Print Judging Submission:Competition prints must be perma-nently mounted on double-weightmount board, Competition MountBoard, Gatorfoam ®, Foamcore ® orSintra ®. You may not use masonite,glass, metal, stretcher frames, orconventional frames. All prints mustbe able to fit in the hangers providedby the FPP Salon Committee. It issuggested that thickness not exceed3/8th inch maximum with aminimum thickness of 1/8th inch.Those prints that cannot be hung inthe standard mounting brackets willbe returned to their respective casesand not on exhibit for public viewing.

Prints of any shape and size areallowed within the following para-meters:

1. A minimum total image size (notincluding digital matting) of 80square inches. This is equivalent toan 8x10 image but does not have tobe those proportions.

2. Images must be mounted on a

minimum 320 square-inch mountboard (equal to 16x20) up to amaximum of 576 square-inchmount board, with the largestdimension no longer than 24″. NOTE: For example, this meansyou may enter an image 80 sq.in.or larger image on a 16x20 mountboard (320 sq.in.), or … mountedon a 13⅓ x24” mount board (320sq.in.), great for panoramics; or …up to a mounted 24x24” print (576square inches), better for includingguide prints on EI submissions.

3. You must register on line, payyour fees by the deadline andupload the final version of thedigital file of each image when youregister. The digital files must be1600 pixels on the longest edge.They will be used for viewing at theawards banquet if your image isselected as an Honor Print.

Digital Judging Submission:If you submit digital files forjudging, you are not required tosubmit a print for the exhibit.Therefore you will not have a printon exhibit and will not be consid-ered for print-only awards.However, you may submit an“Exhibit-Only” print that will not bejudged for scoring purposes but willbe hung in the exhibit for publicviewing. The submission of theexhibit-only print is at the option ofthe maker. Exhibit-Only Prints maybe of normal density for bestviewing on public display. Exhibit-Only prints must include identifica-tion “tabs” at the bottom of eachprint. Use two separate tabs, ¾”high, mounted on a sturdy surface(similar to the mounting board) andhung at the bottom right and leftcorners with tape. The name of themaker shall be placed on the leftside and the title of the print placedon the right side. Leave a minimum4-inch space between the tabs. TheID Tabs are not part of the print andmay be removed after competitionfor studio/home/location exhibit.Since the print exhibit will beginbeing set up early Saturday morning,these will be used to help the saloncommittee easily identify the image

and maker for corners and ribbons.

Kodak Gallery Awards will bejudged using competition printsubmissions only. Peoples’ ChoiceAward will be judged using anyprint submission and based onaward requirements. See below foraward requirements.

Digital Image RequirementsImages Files: Image files must besized so the maximum dimensionin any direction is 1600 pixelsincluding presentation mats (8inches at 200 ppi). Each image filemust contain an embedded colorprofile of either sRGB or AdobeRGB1998 and be saved at a JPEGquality setting of 10. Monitor Settingswill include D65, Brightness of 120cd/m2 and 2.20 gamma. Total filesize should not exceed 7.32 MB. Itis not the responsibility of theCompetition Committee to makesure your submissions comply withthe requirements.

Album Files: Album entries mustbe submitted online; only DigitalAlbum submissions will be judged.Page images should be in a2560x1600 pixel horizontal format.Monitor Settings will include D65,Brightness of 120 cd/m2 and 2.20gamma. It is not the responsibilityof the Competition Committee tomake sure your submissions complywith the requirements.Entries must be “zipped” files withall pages contained in the one fileto be able to submit them on line.

PHOTOGRAPHIC OPEN RULESThese rules pertain to imagescaptured electronically with adigital camera or scanner.

1. Entrant must have captured andcreated the original exposure.

2. Any entry which has been repro-duced from an existing photograph,graphic or any other artworkproduced by another person is aviolation of the competition rulesand will not be judged, accepted orexhibited. If an entry, in the good-faith opinion of the Competition

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Committee, violates copyright,trademark or any other applicablelaw, that entry shall be disqualified.

3. A maximum of six entries maybe submitted per entrant, withSocial Event albums limitedto two (2).

4. A case may contain a mixture ofboth digital and print entries not toexceed a total of six.

5. No entry will be eligible that hasbeen made under the supervision ofan instructor or as a class assignment.

6. Entries of the same subject maybe entered. In the portrait/socialevent category, they may NOT bethe same setting/background andclothing. They must be completelydifferent in content even though thesame subject [person(s)/animal] is inthe image. Special considerationwill be given to wedding gownportraits regarding clothing.Commercial entries may be of thesame product or location but withobviously different treatments.

7. Entry media may be either printor digital file format.

8. Album entries must be all digital.No physical albums will be accepted.

9. All entries must be titled.

10. No single image from an albumentered into competition may beentered in any other category.

11. If an image Merits in any cate-gory of FPP competition, it may notbe entered again in any other cate-gory at any time by any entrant. Noimage that receives a Merit may beentered more than once under anycircumstance. This specificallyincludes any image in a merited album.

ALBUM RULESOnly Event Albums will be entered.Event Albums are defined by timesensitive social events such asweddings, bar mitzvahs, parties,etc. NOTE: In the case of any Multi-Maker album entries:

1. All makers of a multi-makeralbum MUST belong to the FPP.

2. Each maker must pay the appro-priate entry fee.

3. Each album entry must have theofficial entry form submitted withthe names for each maker.

4. Images in the album must be thework of the makers, with aminimum of 20 images per maker.

5. Multi-maker albums will bejudged as one entry.

6. There is a limit of two (2) albumsper maker.

7. Entries must be titled.

File Naming - ImagesFile names for images must includethe Category-Maker’s Last Name-Image_Title-Judging designation.The Judging designation specifieswhether the image is for printjudging (using a “P”), digital judging(using a “D”) or digital judging withan exhibit-only print (using a “E”).

For example, Sue Miller’s print inthe Portrait of a Child categorynamed “Eyes of Blue” should besubmitted with the file name asfollows:

P-3-Miller-Eyes_of_Blue-P.jpg usingdashes (-) to separate the category,name and title and underlining (_)for spaces in the title. If that imageis to be judged digitally, replace the“P” with a “D” and if she includesa exhibit-only print, then replacethe “P” with “E.”

File Naming – AlbumsOverall Album/File Names forsubmission must include theCategory-Maker(or Makers) LastName-Album_Title. Each page willbe individually named according tothe Maker-Title. For example: BobSmith’s Event Album will have anoverall file name of A-1-Smith-Jessica_and_Jeff. Each page must betitled also. The submitted image forPage Three of the above album will

be named...A-1-Smith-Jessica_and_Jeff-P3.jpg. If it is amulti-maker album with Sue Blake,title the overall file as...A-1-Smith_Blake-Jessica_and_Jeffand individual pages will be...A-1-Smith_Blake-Jessica_and_Jeff-P3.jpg.

Major Categories -Photographic Open (See below for specific sub-categories)Portrait IllustrativeCommercial Social EventAlbums

Photographic Open Categories(FDPE Degree)PORTRAITSP-1 Portrait of a Man: Man at least16 years old. May include FigureStudy. Figure Study Portraits mustbe of a tasteful, artistic nude subject.Images deemed inappropriate forpublic display will be judged andreturned to their respective cases.

P-2 Portrait of a Woman: Woman atleast 16 years old. May includeFigure Study. Figure Study Portraitsmust be of a tasteful, artistic nudesubject. Images deemed inappro-priate for public display will bejudged and returned to their respective cases.

P-3 Portrait of a Child: Male orfemale under the age of 16.

P-4 Portrait of a Group: Portraitmust be two or more people. Mayinclude children.

P-5 Environmental Portrait:Subject(s) on location where theenvironment is significant to theimage.

P-6 Portrait of a Pet: Portrait of apet(s) under controlled lighting anda controlled environment, as in astudio. This also includes outdoorportraits where the animal iscontrolled by the owner or photog-rapher.

ILLUSTRATIVEI-1 Abstract: Abstract subject matter.

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I-2 Landscape: Scenic image oflandscape, seascape, cityscape -with or without people.

I-3 Wild Animals: Images of animalsin a uncontrolled lighting environ-ment. Subjects include wildanimals, birds, reptiles and insects.Pets are specifically excluded fromthis category.

I-4 Open: Entry of subject matterthat does not clearly fit into anyother category.

COMMERCIALC-1 Advertising Illustration: Imagecreated to advertise a product orservice. A tear sheet is recom-mended.

C-2 Architectural: Interior or exte-rior image of a structure.

C-3 Industrial: Image created in anindustrial environment.

C-4 Photojournalism: Storytelling,editorial image produced in a non-studio environment for use in acommercial media.

Note: A tear sheet included withany image should be attached tothe back of the print entry, orincluded in the case if the image isto be judged digitally, in a 9x12manila or white envelope with theimage that it goes with clearly iden-tified on each envelope.

SOCIAL EVENTF-1 Social Event Formal Portraiture:Image of one or more individualsassociated with a social eventcaptured under controlled lightingand conditions.

F-2 Social Event Open: Image ofone or more individuals associatedwith a social event not capturedunder controlled lighting and condi-tions. Candid shots are appropriatein this category.

ALBUMS (Limit of two)A-1 Event Album (Single-Maker):Album depicting a single social event.

Minimum of 20 images in the album.

A-2 Event Album (Multi-Maker):Album depicting a single socialevent. Each maker must have atleast 20 images in the album.

ELECTRONIC IMAGING RULES The purpose of this competition isto allow the maker to demonstratetheir electronic imaging skills andexpertise in pursuit of the FPPFlorida Degree of Artistic Excellence.Entries will be judged for digital,artistic and technical proficiency.Entries must have been sourced,composited, manipulated and/orproduced by digital means. FPPmembers are eligible to achieve FPPSalon Merits toward the FDAE Degree.

These rules pertain to imagesentered in the EI Category:

1. All digital manipulation musthave been performed by the maker.

2. Any entry which has been repro-duced from an existing photograph,portrait, graphic or any otherartwork produced by anotherperson must be accompanied bywritten permission from that makerand pasted on the back of the printif one is submitted. If a print is notprovided, written permission mustbe included in the case. If an entry,in the good-faith opinion of theCompetition Committee, violatescopyright, trademark or any otherapplicable law, that entry shall bedisqualified. This rule does notapply to entries in the Retouchingand Restoration categories.

3. Entries are required to be titled.

4. A maximum of six entries maybe submitted per entrant.

5. No entry will be eligible that hasbeen made under the supervision ofan instructor or as a class assignment.

6. Entries of the same subject maybe entered. They must becompletely different in content eventhough the same subject(person(s)/animal) is in the image.

7. Entries in this competition maynot be and may not have beenentered again in any other categoryat any time by any entrant.

8. If an image Merits in any cate-gory of FPP competition it may notbe entered again in any other cate-gory at any time by any entrant. Noimage that receives a Merit may beentered more than once under anycircumstance. This specificallyincludes any image in a meritedalbum.

Electronic Imaging Judgingand Submissions1. All entries may include guideimages. It should be noted thatjudges are limited to the informa-tion available to them on the entry.Guide images should clearlydemonstrate the artist’s talent inproducing the final image.

2. Un-retouched or un-manipulated“original” guide images are requiredin the EA-1 and EA-2 categories andare recommended in all categoriesto demonstrate the digital expertiseof the maker.

3. If an entry requires guide images,they must be displayed adjacent tothe finished image in the submittedprint or digital file.

4. Entries without guide imagesmay be submitted and judged incertain categories.

5. File names for images mustinclude the Category-Maker’s LastName-Image_ Title-JudgingDesignation. The JudgingDesignation specifies whether theimage is for print judging (using a“P”), digital judging (using a “D”) ordigital judging including an exhibit-only print (using an “E”). For example, Sue Miller’s print inthe Digital Art category named“Eyes of Blue” should be submittedwith the file name... EA-3-Miller-Eyes_of_Blue-P.jpg using dashes (-)to separate the category, name andtitle and underlining (_) for spacesin the title. If that image is to bejudged digitally, replace the “P”

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with a “D” and if she includes aNexhibit-only print, then replace the“P” with “E.”

6. Entries of the same subject maybe entered. They may NOT be thesame setting/ background andclothing. They must be completelydifferent in content even though thesame subject is in the image.

7. Please refer to submission guide-lines at the beginning of these rulesfor the following:A) Competition Print RequirementsB) Mounting RequirementsC) Digital Judging File SizesD) Exhibit-Only Print Submissionand Identification.

ELECTRONIC IMAGING CATEGORIES(FDAE Degree)

ELECTRONIC ARTEA-1 Digital Restoration: Entry inthis category must demonstrate theability of the artist to provide digitalrestoration services. Entry will bejudged on the restoration, not theoriginal image. Guide images arerequired on all EA-2 entries.

EA-2 Digital Art: Entry in this cate-gory should be an artistic imagecreated using any method a makerdesires, normally Photoshop,Painter, etc., and is not required toappear photographic in its finalform. The final image must bebased on photographic originalsthat are clearly recognizable in thefinal entry.

ELECTRONIC MANIPULATIONEM-1 Digital Illustrative Art: Entrycreated with a combination ofphotographic images and digitaltools to provide a final creativeimage. This category is designed toallow you to use various digitaltools and software to produce afinal image that gives the impres-sion of a photograph. The finalimage MUST appear to be photo-graphic. Any image that is obviously derived from a “painting”will not be accepted.

SCORINGThe scoring ranges are as shownbelow. Also note that images thatscore 78-81 will be reviewed.Those that score 80-81 will undergoa thumbs-up/thumbs-down reviewwith four of the six judges requiredto give it a thumbs-up to stay in themerit category. Those that score 78-79 will also undergo a thumbs-up/thumbs-down review with fourof the six judges giving it a thumbsup to bump it up into the meritcategory.

Scoring:100 – 95 Exceptional

94 – 90 Superior89 – 85 Excellent84 – 80 Deserving of a Merit79 – 75 Above Average74 – 70 Average69 – 0 Unacceptable

Special Information on Awards:Kodak Gallery and Fuji Masterpiece Awards:The Kodak Gallery Award ispresented by the judges to threeentries scoring 80 or higher in oneof the following categories:Commercial, Illustrative, SocialEvent, or Portrait. Visit:www.kodak.com/global/en/profes-sional/hub/galleryAward/galleryAwardMain.jhtml for more information.

A printed image that was not madewith Kodak products may beconsidered for a Gallery Award.However, for an image to eligiblefor a Gallery Elite Award, theexhibit print must be printed on anyof the following:• KODAK PROFESSIONAL

ENDURA Papers or Display Materials• KODAK PROFESSIONAL

EKTATHERM Media• KODAK PROFESSIONAL Inkjet

Photo PaperNote: Kodak Gallery Awards willbe judged using the only theprinted image submitted. Whensubmitting to the Gallery Awards,the Kodak label must be signed bythe maker and affixed to your entryso judges can quickly tell you areentering the Kodak Gallery compe-tition. Digital entries are not eligiblefor Kodak Gallery Awards.

Robert Becker Award for Creative Photography: This award will be presented to themaker whose image is judged to bethe most creative single image inthe overall photographic open cate-gory. A minimum score of 85 isrequired to be considered for thisprestigious award.

Susan and Stewart Powers Award: The “Best-of-the-Best” album will beawarded the “Susan and StewartPowers Award“ as determined bythe judges. A minimum score of 85is required to be considered for thisprestigious award. Both Single-Maker and Multi-Maker albums willbe considered.

People’s Choice: The People’s Choice award will bedetermined by voting of the generalmembership with votes acceptedfrom active members of all mem-bership categories. Judging for thePeople’s Choice award will be doneusing the prints on display in thesalon print exhibit only (imagesdisplayed digitally do not qualify).n


Aug 9th 8 PM Early Bird entries due $95 at http://printcompetition.com

Aug 14th 5 PM Print entries for judging and Exhibit-Only Prints must

be received by Debbie Alcorn at Reedy Photo

Aug 15th 8 PM Late entries due $125 at http://printcompetition.com

Aug 17th 8 PM All print entries for judging and Exhibit-Only Prints

must be received in Salon Room

Aug 17 8:30 PM Judging Begins

Date Action

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1. Impact is the sense one gets uponviewing an image for the first time.Compelling images evoke laughter,sadness, anger, pride, wonder oranother intense emotion.

2. Creativity is the external expressionof the imagination of the maker byusing the medium to convey an idea,message or thought.

3. Style is defined in a number ofways as it applies to a creative image.It might be defined by a specific genreor simply be recognizable as the char-acteristics of how a specific artist applieslight to a subject. It can impact animage in a positive manner when thesubject matter and the style areappropriate for each other, or it can havea negative effect when they are at odds.

4. Composition is important to thedesign of an image, bringing all of thevisual elements together in concert toexpress the purpose of the image.Proper composition holds the viewerin the image and prompts the viewerto look where the creator intends.Effective composition can be pleasingor disturbing, depending on the intentof the image maker.

5. Print Presentation affects an imageby giving it a finished look. The matsand borders used should support andenhance the image, not distract from it.

6. Center of Interest is the point orpoints on the image where the makerwants the viewer to stop as they viewthe image. There can be primary andsecondary centers of interest.Occasionally there will be no specificcenter of interest, when the entirescene collectively serves as the centerof interest.

7. Lighting—the use and control oflight—refers to how dimension, shapeand roundness are defined in animage. Whether the light applied toan image is manmade or natural,

proper use of it should enhance an image.8. Subject Matter should alwaysbe appropriate to the story being toldin an image.

9. Color Balance supplies harmony toan image. An image in which thetones work together, effectivelysupporting the image, can enhance itsemotional appeal. Color balance is notalways harmonious and can be usedto evoke diverse feelings for effect.

10. Technical excellence is the printquality of the image itself as it ispresented for viewing. Sharpness,exposure, printing, mounting andcorrect color all speak to the qualitiesof the physical print.

11. Technique is the approach used tocreate the image. Printing, lighting,posing, film choice, paper selectionand more are part of the techniqueapplied to an image.

12. Story Telling refers to the image’sability to evoke imagination. Onebeautiful thing about art is that eachviewer might collect his own messageor read her own story in an image. n

Elements of aMerit Image

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FPP Convention is not just a weekof speakers, a two day Trade Show,an intense Image Competition, agreat print display, an AwardsBanquet or a couple of fun parties.It is all that and a week of the bestcamaraderie to be found anywhere.The friendships you will make atFPP will last a lifetime. The peopleyou will meet and get to know herewill help you, guide you and justplain have your back when youneed it. I have been too manyother State Conventions and Floridais by far the friendliest and most sharing.

That being said, what about theTrade Show? A2 day tradeshow, with PPLuis Melendi atthe helm since1991, startingSunday at 11:00AM till 4:00 PMand Monday10:00 AM till2:00 PM filledwith a variety oftemptations.Please supportthe vendors ofour Trade Showbecause withoutthem therewould not be aConvention.

What about the parties? Our“Kick-off Party” is Saturday night at9:45 in the foyer of ballroom C/D,no theme here just a great time tosee old friends, make new ones andplan your week. Our MondayNight Party is um... Monday night

7:30 PM - Midnight. This year’stheme is “Boots and Pearls” soshine up your boots and dig outyour pearls for a night of goodfood, dancing and fun. The guysdon’t have to wear pearls but youcan if you want to! The PresidentialSuite will be open on select nightsfor casual get-togethers. All atten-dees are welcome and help withclean-up will be greatly appreciated.

Awards Banquet? This year marksthe 80th Anniversary of thefounding of the FPP. Our banquetwill revolve around the many thingsthat have happened over the many

years of our organization and wewill honor the winners of ourCompetition and Service awards.The banquet is about the only timeI get to dress-up. Come join us.

Competition!!?? If you have nevercompeted this is the year to start.

Watching the judging on Saturdayand Sunday is a huge education.Check out Competition Manager’sarticle for information on theProofcast Lounge, really sounds likea blast to me. Entering digitallycertainly has its advantages butwhat about the print display. Allparticipants are encouraged to bringregular 16x20 prints to hang in ourdisplay. The more the merrier.Show off you work!

Camaraderie, well the best way tomake new friends is to join andwork on a committee. Check withAssistant Committee Chair Cindy

Strickland and Assistant SpeakerSupport Chair Britney Kirby Fullgraf,join in on the fun and get a servicemerit to boot.

Speakers? Yes, we have speakers:

Richard Sturdevant M.Photog.CR,

DEBBIE ALCORN, FSA, FED, FPP CONVENTION MANAGER

FPP Convention 2013

Save the DateAugust 17-21, 2013

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M.Artist “Loan or Bust” Getting the most outof your Artistic Prints. A PhotoShop Guru, Richard will teach ushow to but the touches on Fine Artprints and Competition prints thatput them over the edge so you cango Loan and charge more.

Hanson Fong, M.Photog.Cr The master of posing will show ushow to get the most and best anglesin just minutes. A premier weddingand portrait photographer willing togive us all he “secrets”, bring yourcameras as he flows through the poses.

Christine Reynolds, M.Photog.,CPP, FDPE, FED, MBACommercial Photography De Mystified.Commercial photography createsimages that impact the viewer as aninvestment in future sales. Learnthe key to clearly define how theviewer should be impacted, thelighting, the composition and howto get paid what you are worth.

Frank Frost, M.Photog.Cr., CPP“If It’s Worth Doing, It’s WorthDoing Right”With over 25 years running asuccessful high-end portrait studioFrank will guide us through hismethods for merging Old Schoolprinciples with the ever-changingindustry. He will cover everythingfrom marketing, posing andlighting, to selling and customerservice.

Cheri Frost aka MissyYou are invited to “Missy’sClubhouse” were you need to getready to laugh, cringe and maybelearn a thing or two as Missy guidesus through the murky waters ofprofessional photography.

Bert Behnke, M.Photog.Cr., Hon. M.Photog. PPA“Engagement and Couples Portrait”Consultation is the key inproducing beautiful portraiture.Bert will walk us through engage-ment portraits from start to finish.Capturing the essence of the coupleto the point that they have tears intheir eyes when they see their

images and how to get the moneyyou deserve.

Cindy Behnke, M.Photog.Cr“Maternity and Babies”From the “glow” of pregnancythrough the toddling & senior years,Cindy will teach us how to get theclients and keep them for life. $$$

Michael Mowbray, M.Photog.Cr“Shoot to Thrill”A how to program. Create images

and an experience that your clientswill never forget and have fundoing it. Michael will talk anddemonstrate outdoor portraits thatwill knock your socks off. A Safariaround the hotel grounds to showhow to use any type of backdropand lighting. A must see forseasoned and novice as well.

That’s our line-up for now, more tocome. Call me if you have an ideasor suggestions. 727.481.9329 n


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As your Past President I amhonored to announce that CindyStrickland, Britney Fullgraf andRobin Adams will be up for elec-tion for their first three-year term, tothe FPP Board of Directors. Cindyand Britney are presently serving asappointees for the FPP board andhave been a tremendous asset to usall. Robin is currently serving as ourCompetition Manager and doing afantastic job. Robin has been to ourBoard Meetings since becoming ourCompetition Manager so we haveseen the leadership quality she hasto offer. Cindy, Britney and Robinare committed to the FPP member-ship putting the members first in alldecisions that have been made.The FPP Board of Directors willproudly nominate Cindy Strickland,Britney Fullgraf and Robin Adamsto the FPP membership, at theGeneral Business meeting, duringour 2013 Convention August 17-21 Now it’s with great pleasure that Ipresent you with their Bio’s:

Britney Kirby Fullgraf, Cr.Photog., CPP

Based in Lakeland, Britney wasborn and raised all over the state ofFlorida. She is Past President ofProfessional Photographers of Mid-Florida and has served as PPGMFBoard Member, Vice President andCommunications Director as well asFPP Delegate and as an FPP Mentor.

Britney credits many photographymentors for her success and saysshe has been overwhelmed by help,support and encouragement sinceher entrance into the photographyindustry.

Her unique business model andfresh perspective have attracted theattention of photographers andorganizations across the country.She assists a number of photogra-phers in growing their businessesthrough her private consultingservices and maintains a busyspeaking schedule.

Britney received the 2009Distinguished Award for theProfessional Photographer's Guildof Mid-Florida, based on printcompetition.

She serves on the Board of Trusteesfor PPA Charities and participatesheavily on the national and statelevel with vendors and otherspeakers, as they support OperationSmile. She is on the PPAInternational committee and serveson PPA Council.

Her photography business,Belvedere Studio, is based inCentral Florida where she is activein her local community and liveswith her husband, Eric, and their

12-year-old son, Simon.

Cindy Strickland, FED, FSA

“A Moment Captured by CindyStrickland” opened in 1998 inTallahassee as a portrait studio forchildren and families. Cindy createsstudio and environmental portraits.Most recently, Cindy has added herlove of painting to her studio lineby offering painted portraits.

She previously served for five yearson the board of the TallahasseeProfessional Photographer's Guild,two years as an FPP Delegate, is anFPP Mentor, and is completing hersecond appointed year on the FPPBoard of Directors.

Continuing education is extremelyimportant to Cindy who hasattended Florida School for the pastten years, the past four of which shealso served as class assistant. Shealso has been an active participant

DONNA CAMPIZ PAST-PRESIDENT FSA, FED

FPP 2013 Board Nominations

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at the annual convention for the pasteleven years. Cindy has received thefollowing recognitions and honors:FED - Florida Education Degree FSA - Flor ida Service Award Ed Robinson Scholarship, ‘11 (FPP) President’s Award, ‘12 (TPPG) Digital Artist of the Year, ‘11 (TPPG) Digital Artist of the Year, ‘08 (TPPG) Dist ingushed Service Award,‘08 (TPPG) Cindy is a fifth-generation Floridian andcurrently lives in Tallahasseewith her husband, Tim, and theirtwo boys, Ben and Tyler.

Robin Adams

This will be Robin’s first three-yearterm on the board. Robin is from theTallahassee area and has beeninvolved in photography for 8 years.Her specialty is children, family andpet photography. Robin is a pastpresident of Tallahassee ProfessionalPhotographers Guild (2012). Robinhas been a member of the FPP for sixyears, has served as AssistantCompetition Manager and is thecurrent Competition Manager forthe FPP.

See you all at the Convention inAugust. Remember that your duesinclude convention registration, so, if you can attend a few days or theentire time, this is an educationalopportunity provided to all of ourmembers to help improve yourphotography and/or business. n

It's time to start thinking about ourFPP Convention 2013. I want toremind you again of our MentorProgram and hope you plan onparticipating by bidding on theMentors of your choice. Also ourPhotographic Merchandise.

Most of our members are familiarwith our Mentor Program. Top thenew members who are not, eachyear at the Convention we have aSilent Auction where members canbid on the photographer they wishto be their Mentor for a day. Thewinning bidders have until June30, 2014 to claim their day withthe Mentor. The day is chosen atthe convenience of both thebidders and the Mentors.

The money we receive from theauction goes into the FPPScholarship Fund. This fund allowsus to give Scholarships each yearto Florida School. These scholar-ships are awarded at FloridaSchool and the ConventionAwards Banquet.

This year we are adding newmentors as well as our mentorswho have volunteered in the pastyears. I would like to hear frommembers who would like to be aMentor or would like to suggestone of our menbers to be aMentor. Please contact me at 205-688-2975 or Robin Phillips at 863-682-6958. We will contact them tosee if they would like to participateas a mentor this year. I hope thisyear will include some newmentors as well as those whocontinue to give their knowledgeand time to this great cause.

As in the past, our Silent Auctionwill include PhotographicMerchandise donated by some ofour Sponsors and Venders. Wewill have the merchandise orphotographs on display at thebooth in the Trade Show. As youvisit their booths in the trade showlet them know how much weappreciate their participation.

Be sure to stop by and check outour Mentors and Merchandise. Wewill available for bids during theTrade Show hours on Sunday andMonday. This will give you time tobid without missing any programs.

At this time a big thanks to allMentors, Sponsors and Vendorswho participate in this program. n

BETTY MDDONALD, CR., FDAE, FSA, FED

Mentor, Silent Auctionand Scholarships

If you want. . .Prestige, Knowledge, Business

Development, Continuing

Education, Personal Growth,

Degrees, Development of

Ethics, Friends and

Fellowship, Fun, Awards,

Leadership Development,

Annual Convention and

Trade Show, Award Winning

Publication, Photographic

Competition, Seminars, PPA

Affiliate School and more!

Join theFlorida ProfessionalPhotographers

See Application Information on page 24.

mag2013 #2 4/5/2013 11:17 AM Page 17


CINDY STRICKLAND, FSA, FED

2013 Convention Committees

(Clique alert! Ready?) “You getwhat you give.” We have all heardthat at every PTA meeting, churchgathering, and volunteer organiza-tion. BUT, I challenge you to sitback and think about that statementcarefully. From personal experi-ence, I can assure you that ascheesy as it sounds, it really is true.Make an investment in yourConvention experience, and youmay be surprised by all the thingsyou gain.

And, finally, let's take an honestlook at the other side of volun-teerism. That's simply who weare... an organization fed by thevolunteer. Without the time andtalents of those serving, we wouldnot be able to provide the educa-tional opportunities we can today.Think of it as a family reunion...someone brings the main dish,someone brings the paper goods,and someone else arranges theentertainment and sets the schedule.

Where do you fit? Where can youserve? Join the family...

Below is a list of committees alongwith a brief description and theCommittee Chair's contact informa-tion. We all still need committeemembers, so if you see an area ofinterest, please contact the chairman!

Banquet Decor - Decorating forour 80th Anniversary Celebrationand Semi-formal Awards Banquet.Chairman: Shannon Black ([email protected])

Door Prizes – Free Stuff! Collectand give away prizes before eachprogram. Chairman: To be decided

Flea Market - A place to sell andbuy from each other – everythingfrom props and backgrounds tolights and equipment. Chairman: Kevin Newsome([email protected])

Information/Promotions Booth - Letvisitors know about FPP, and sellFPP items to current members at theTrade Show. Great for someonewho loves to help sell FPP!Chairman: Robin Phillips ([email protected])

New Members – Spend timemaking sure all the newestmembers feel welcome. Chairman: Tammy Czigan([email protected])

Photography - Record Conventionthe best way we know how...photography. No excuses on thisone... we all know how to managea camera. Chairman: MartiNewkirk ([email protected])

Scholarship - Help raise moneythrough the Mentor and SilentAuctions to send some luckypeople to Florida School.Chairman: Betty McDonald([email protected])

Sergeant of Arms – The rule-keepers! Chairman: KimWarmholts ([email protected])

Social Decor – BOOTS andPEARLS! What a great theme thisyear! Chairman: To be decided

Sunday Devotions – Help with ourwonderful Sunday morning devo-tional service. Chairman: Rob Moorman([email protected])

Welcome Committee – Are you asmiler? Not afraid of makingfriends? Want everyone to feelwelcome? This is the committee foryou! Chairman: Susan Black([email protected])

Nothing a fit? There are moreopportunities! Contact BritneyKirby Fullgraf ([email protected]) for information onSpeaker Support Committees:

Audio Visual, Host, Props,Equipment, Speaker Equipment,Models, Signs, and Photo Safari.

What will you get out of Convention this year?

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HAPPY ANNIVERSARY! This year,our semi-formal awards banquetwill not only serve to honor thephoto competition winners andannual recognitions, but we arealso celebrating the 80thAnniversary of our organization.

Before the banquet, makers willknow if their prints have beenrecognized as an “Honor Print”,but during the evening thefollowing honors will be revealed:the First Place images in each category, who receives the honored Becker Award and Artistof the Year Award, and Florida'sTop Ten Photographers.

Join us as we honor the past andlook to the future.

LET'S CELEBRATE!!!

Ye-Haw! Dust off your cowboyhat, find your favorite boots, polishyour pearls, and join us for thisyear's party... BOOTS and PEARLS!Grab some grub, and dance thenight away during this fun themeparty where we kick back and justenjoy!

Are you a party goer? Considerhelping on this fun committee!!!

Ya'll come to the party now, yahear? n

ConventionBanquet

MondayNight Party

April 13-16, 2013 SEPPA Convention, Athens, GA

April 28, 2013 FPP Board Meeting, Tampa, FL

June 2-6, 2013 Florida School

June 30, 2013FPP Board Meeting, Tampa,

August 17-21, 2013 FPP Convention, Orlando, FL

August 16, 2013FPP Board Meeting

August 20, 2013General Business Meeting

August 21, 2013 FPP Board Wrap Up Meeting

September 22, 2013FPP Board Meeting, Tampa, FL

October 2013 – Contractcommittee have contractscomplete prior to Budget mtg.

October 20, 2013Budget Committee Meets

November 3, 2013Fall Seminar Daytona State College

November 4, 2013Board Mtg with delegatesDaytona State College

FPP 2013 ImportantDates to Remember!

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Do you photograph a gray or colorreference at a session? Do you havea gray reference? Or do you justguess at what looks correct andtweak accordingly…letting the labcolor correct your work? Do you

know what the “rules” are so youcan get the images right for output?It’s not as difficult as you mightthink, and you don’t need expen-sive gear to do it. You just need toknow how!

First, a consideration. To colorbalance AFTER you do your shootis THE most difficult way to removecolor cast. I repeat the most diffi-cult. This is one of those aspects inphotography where you need to beyour own best friend. Obtain a grayreference and put it in yourcomputer bag, TODAY. Then useit.

The Rules:Shoot a gray card/reference at everyvenue. If you’re inside, shoot a graycard. Step outside to photograph?Shoot the gray card again. Changevenues, shoot a gray card shot. Noexceptions. You’ll need them laterto correct each venue’s images.

Don’t have a gray card? Go getone. They’re not expensive, andthey’re available in a variety ofuseful forms. Some are even free!Name brand paint-chips, for

example. Contact me and I’ll tellyou my emergi-card paint chipnumber.

I use the WhiBal™ plastic card,made right here in Florida by

Michael Tapesof MichaelTapes Design. Itis hardy, canhelp you attain

an accurate focus andsettles colorcast prob-lems. I alsouse theSpudz™ lenscloth byAlpineInnovations,they are 18%reflectanceexposure, puregray, microfiberlens cleaners andhang right on yourcamera. There’salso the Delta ZoneSystem gray card, made ofcardboard. But you see theproblem there…cardboardand “outside” haveobvious conflicts. Youwon’t want to use thecardboard reference atthe beach or on a rainyday. The Zone card is designed forthe studio. There’s a gray referencecard built into the back of a lot ofScott Kelby books. If you’re a Kelbyaficionado then you probably havea gray card already, just waiting tobe used. It’s perforated so you can

detach and use. However, it also iscardstock.

The process is simple – shoot a graycard where you’re photographing.Import the images into Lightroom (ashameless plug, I admit) and pressthe “W” key to activate the whitebalance tool. Navigate to the image

of your gray cardor reference anddauber on thegray area. Instantly, thecolor cast isgone and you’vegot colorbalance. Voila!Now highlightall the images

from thatvenue,

clickSync,

select[x] Whitebalanceonly, andthen click

Synchronize. All done. It couldn’tbe any simpler. You can synchro-nize hundreds or thousands ofimages in seconds.

MARTY GRIVJACK, CR.PHOTOG., FAS - FPP DELEGATE CHAIRMAN

Color Correcting Made Easy

A Primer!

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Above: Before Synchconization

So, what if you forgot to shoot agray card and you still need a grayreference? Find a known neutralobject. Such items: sidewalks, streetpavement, asphalt, aluminum mail-boxes, unpainted steel, a tenured (Ididn’t say old) guy’s gray hair (theytend not to color their gray hair) justto name a few.

It is important to not reflect directlight back into the camera, as thiscreates a false reference situationthat will not work. Most gray refer-ences are pretty much non-reflec-tive to prevent that from happening. Now a word about 18%. Have younoticed I’ve not stated “18% gray?”That is an important distinction anda bit of a misnomer. Gray is anequal amount of red, green andblue color/pigment. But “gray”could be dark or light as far as lumi-nance is concerned. So let’s revisitthe term “18%.” This is specificallyreferring to a proper exposure level.The proper term is “18% (light)reflectance.” Your camera or spotmeter is designed to look for 18%reflectance for proper exposure. If a

Below: After Synchconization

gray reference is also a good 18%exposure reference, then you canpoint your camera at it and gaugethe proper settings for a proper exposure given the light source at the time ANDcapture the colorcast at the sametime. Shoot it and adjust yourcamera apertureor shutter speedso the cameradisplayhistogram spikeis in the middle.Then, later, usethat image tocolor balance inthe digital lab.So now, let’smake it interesting.

You can also use the palm of yourhand or the green side of a dollarbill (are they green any more?) as averitable 18% exposure reference.CPPs and Barbara London fansknow that trick. However, neither isobviously a “gray” reference, only a

mid-tone exposuresample. That’s why youneed to understand thedifference between agray reference and an18% exposure reference.They are two distinctlydifferent functions. Butwhen you combine theminto a device that doesboth…one that providesboth a proper exposurereference and a propergray reference, like agray card or a graycloth…now that is a toolthat is useful. Efficientprofessionals use effec-tive problem-solving tools.

A word of caution – theWhiBal product is about1.5 stops higher as anexposure reference, soyour “spike” will be tothe right of center for aproper exposure. See thegraphic.

I won’t leave for a job withouttaking a gray reference with me.They’re tucked in each camera bag,in about the same location, in thefront pocket. It’s very easy to use

and solves a world of problemswhen color correcting images.Don’t struggle anymore. Get onenow and learn to use it. Contact meif you’re not getting the results youare expecting. I’ll be glad to helpyou figure out what is causing yourcolor correction pain. n

mag2013 #2 4/5/2013 11:17 AM Page 21

With more than 35 years experi-ence as a Wedding and Portraitphotographer, I am fortunate thatlearning innovative photographictechniques is still a great personalpassion. I enjoy working with myclients, always searching fordifferent ideas and techniques tocreate my unique photographs. Mymain goal is to naturally enhancemy subject(s) and at the same time,create a timeless art piece.

Objective: The objective of thisarticle is to demonstrate how tophotograph under any substandardsituations, i.e., difficult lighting,mixed lighting, bright light, lowlight, etc.

Goals: Upon completion of thisdiscussion, one will understandwhat tools have been utilized tocapture a photograph under anydispleasing lighting predicament.

Discussion:I had been asked to photograph aguitarist/singer for her newupcoming CD. We had a one onone discussion where she requestedphotographs for the CD cover. Theguitarist wanted a half-lengthoutdoor (with green foliage) portrait.

Half-length, Outdoor Environmental:The session was done in Houston,Texas, at an affluent shoppingplaza. I walked around the plaza toscout the best location to photo-graph this individual. The decidingfactors were a pretty background aswell as optimal lighting to best

complement the subject. As per thediscretion of the subject, I located abackground that had green foliage.My goal was to photograph thesubject with incredible sharpnessand at the same time I did not wantthe details of the backgroundandforeground to compete with mysubject. The 70mm-200mm zoomlens was set at 200mm for tele-photo compression. The lens aper-ture was selected at 5.6 to limit thedepth of field.

The subject is 5’8”, blond, wearinga white sweater, blue denim jeans. Idetermined I could not photographher in a standing position because Idid not want to include the shop-ping plaza in the photograph. I had the subject sit on my signature9” EZ step, as a “posing stool.” Ihad the subject rest her guitar onher knees, both arms crossed overher guitar. By leaning her torsoforward, this created energy andmovement. Her head was tilted tothe feminine pose, which is, tiltingher head to the high shoulder (left),to create an elegant pose. Standingon my EZ steps, approximately twofeet from the ground, I tilted thecamera to photograph downwardsto avoid capturing any hint of theshopping plaza.

Other than the background, Inoticed the sun was bouncing off awindowpane on the top left. Withsunlight bouncing from thewindowpane, I positioned thesubject where she could beoutlined with hair light (separation

light) from the windowpane. This isthe ideal scenario for three-dimen-sional lighting from behind thesubject’s head.

The subject’s face did not haveideal main lighting. To compensatefor that deficiency, I created themain light by utilizing the ProFoto600 Acute B flash system. I placedthis system on my right (subject’sleft). I attached the ProFoto soft boxonto the Acute B flash. The soft boxwas feathered away from thesubject to create a more even, butdirectional light. The portablestudio light was feathered towardsthe reflector in order to bounceback towards the shadow.

The Sekonic L-758 DR meter wasused to read the separation light(hair light), 1/125th shutter speed atF4, ISO 100. From my past experi-ences, all light from behind asubject is usually one to one and ahalf stop less than the main light tobalance the hair light from the mainlight. The ProFoto light wasmetered at 1/125th at 5.6, ISO 100.By doing so, perfect hair detail, skintone, and even lighting in thesubject’s sweater detail were seen.

The reflector controls the ratio ofshadow to highlight. I generallyprefer to work 3:1. What this meansis that the highlight to the shadowis one stop apart. The ProFoto flashwas metered at 5.6. Using thereflector to bounce back the light tothe shadow, which metered at F4. Igenerally prefer a soft gold reflector

HANSON FONG, M.PHOTOG.CR, FFPC, XXV

Natural Light or Flash?


mag2013 #2 4/5/2013 11:17 AM Page 22

to a silver reflector to create awarm shadow, which I believecreates a softer look in a photo-graph.

I used a wireless transmittersystem, the Pocket Wizard SystemPlus, which was attached to mycamera’s hot shoe. This sends asignal to the ProFoto pack, whichhas a built in receiver. By doingso, I kept things simple and avoidedtangling into sync cords, etc. n

F l o r i d aF l o r i d aP h o t o g r a p h e rP h o t o g r a p h e rNext IssueDeadl ineDeadl ineMay 15thMay 15th

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mag2013 #2 4/5/2013 11:17 AM Page 23

MEMBERSHIP CATEGORIES & DUES (check one) All Membership Dues include the 2013 Convention Registration Fee! All members are of Legal Age and are entitled to all the Benefits of the FPP. Certain Privileges are restricted based on Type of Membership Florida residency required for Professional, Associate, and Non-Professional Membership Types

Benefits include: Attend Activities and Service (fees may apply as determined by the Board); Service on Committees; Participation in Photographic Competition; Ability to earn Degrees; & Web site ‘Member Directory’ Listing Privileges may include: Voting rights; Holding office; FPP Logo use; Photographic Awards; Scholarships; & Web Site ‘Photographer Search’ Listing

$210 PROFESSIONAL – Operates/Employed by a legally established photography business in Florida. Required to submit Sales Tax Certificate Number. Entitled to all FPP benefits and privileges.

$195 ASSOCIATE – Employed by a FPP Professional or Life member. Entitled to all FPP benefits; Privileges limited to Voting rights, Holding office, Photographic Awards, & Scholarships.

$210 MEMBER – Individuals who do not yet meet the requirements for any of the other categories. Entitled to all FPP benefits; Privileges limited to Photographic Awards, & Scholarships.

$135 STUDENT – Currently enrolled full or part-time in an accredited degree/certification program at a post- secondary school. Does not include continuing education courses or non-degree seeking students. Proof of enrollment required. Entitled to all FPP benefits; Privileges limited to Photographic Awards, & Scholarships.

$205 SERVICE – Individual or business that offers services and/or sales to professional photographers. Entitled to all FPP benefits; Privileges limited to FPP Logo use, Photographic Awards, & Scholarships.

$195 NON-RESIDENT – Employed outside of Florida. Entitled to all FPP benefits; Privileges limited to FPP Logo use, & Scholarships.

FPP Bylaws; Article III - Membership

LAST NAME FIRST NAME MI TELEPHONE

BUSINESS or SCHOOL NAME

FAX

MAILING ADDRESS

EMAIL

CITY/STATE/ZIP

WEBSITE

SALES TAX # (Required for Professional members)

PPA #, if applicable

CHECK SPECIALTIES Aerial Advertising Animals Arts AV B&W Commercial Children Digital Equine Events

Environmental Family Glamour High School Seniors Industrial Lab Maternity Nature Photoshop

Portrait Restoration Sales Service Specialist Schools Stock Sports Video Wedding NILMDTS CODE OF ETHICS: Upon being accepted into membership in Florida Professional Photographers, Inc., I do hereby subscribe without reservation to this Code of Ethics and do solemnly agree that: 1. I will endeavor to enhance and ennoble the status of the photographic profession by maintaining a dignity of manner in my behavior, in the presentation of my photography and photographic services, in the appearance of my studio or place of business, and in all other forms of public contact. 2. I will observe the highest standard of honesty in all my transactions, avoiding the use of false titles, confusing or inaccurate technical terms or descriptions and misleading terms or claims. 3. I will at all times endeavor to produce only those types of photographs and photographic services that will enhance the prestige of the profession, to apply my best efforts on behalf of the public, and to play my part in raising the general standard of photographic craftsmanship. 4. I will show a friendly spirit of cooperation with my fellow professional photographers and assist them whenever possible should they be in difficulty. 5. I will assist and give of my knowledge to the members of my profession and will encourage them individually and collectively so that the quality of photography may constantly be raised to higher standards. 6. In all matters relating to the interpretation of the Code, I will recognize the authority of the Florida Professional Photographers, Inc., and agree to hold harmless the Board of Directors in any decision made on behalf of the corporation.

SIGNATURE OF ACCEPTANCE_______________________________________________________________________________ DATE_________________________ Enclose a CHECK made payable to “FPP” or include credit card information. Card type_____________ CC# ______________________________________________________ Exp. Date: ______/______ Auth Code: ___________

AMOUNT enclosed (please include $10 APPLICATION FEE): $___________

REQUIRED SIGNATURE: ________________________________________________________ (Membership application invalid without signature)

FLORIDA PROFESSIONAL PHOTOGRAPHERS, INC. 11738 N. Dale Mabry Hwy., Tampa, FL 33618

www.fpponline.org 813-760-1933 fax 813-333-0452 APPLICATION FOR: NEW MEMBERSHIP

mag2013 #2 4/5/2013 11:17 AM Page 24


GREGORY DANIEL FDPE, FSA, M.PHOTOG. CR., F-ASP

Understand Your Client’s Vision

We are asked often about how weare able to constantly create largewall portraits for our clients in sucha difficult period of time. Manybusinesses all over the country havefelt the pain of a down economy forsometime now. Some havesuffered the painful decision toclose theirdoors and tryanother profes-sion whileothers seem tonot only dowell but alsogrow duringthis event.How can somebusinesses growwhile others failin the sameeconomy andgeographiclocation? Ourbelief is that itboils down tounderstandingyour client’svision.

The following areas outline our crit-ical concepts for satisfying ourclient’s needs.

Business Foundation: Often referredto as branding, we will attract thosewho need our service. Ourmarketing revolves around lettingpotential clients know we are wallportrait specialists. The styles andproducts we offer may be broaderbut our branding focus is narrow.

I find it is necessary to be very clearand precise on who we are notconfuse our potential clients. Build a Relationship: Our numberone priority is listening to ourclients needs. It is easy to assumewe know exactly what they needand this will ultimately push client

away. Planning and designing theirportrait to fit their need is a criticalelement in our process.

Sound Photography: We know ourphotography and artwork must beto the highest level possible. This iswhy we take the more difficult roadof always learning and improvingour skills in classical art, design,lighting and now computer postproduction. There are so many

quality options available today thanever before. Florida School andother affiliated schools across thecountry bring in the finest instruc-tors with a broad spectrum ofexpertise that will most certainly bea perfect fit for your current educa-tional needs.

Project: Mostpeople like theability to seewhat their finalproduct willlook like priorto investing intheir personalart. We projecttheir art actualsize in ourgallery or intheir home.

Presentation:Everyone lovesto be pamperedwithoutstandingservice. Webelieve pack-

aging can ad the final icing on thecake if done properly, consistentlyand with sincerity.

Our focus and attention has been tonurture the critical concepts andprocesses that have made ussuccessful for the past 30 years.We truly believe strong businessprinciples applied to client needs isa lasting combination for a growingbusiness. n

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JANE CONNER-ZISER, CR.PHOTOG, API

Demystifying Painter

Painter is indisputably the world’smost intuitive natural media soft-ware. It’s the only software thatallows you to draw and paint aseffortlessly as you do with classicmedia – without feeling like you’rein a software program. Photoshop ismaking some good progress withpainting capabilities, but nothingtoday compares to the flow andmagic of Corel Painter.

When you first open the program, itlooks KIND OF like Photoshop butthings are different enough thatmany people find it hard to getstarted. For us photographers, thefirst thing to realize is that whilePainter has many tools and func-tions in common with Photoshop(that work differently), like shapes,text, layer blending modes andspecial effects, the only thing wereally use heavily is the Brush Tool.Easy enough.

There’s a LOT of brushes!!! ThirtyBrush Categories and hundreds ofBrush Variants can look prettydaunting to a new user, In addition,many people who teach Paintergive out (or sell) their own brushesAND the internet is bulging withbrush libraries and options, It’s notsurprising that the biggest question Iget from people is, “How do youknow which ones to use?”

SO, let me begin by saying “Thereare no rules!” You can use whatyou want, where you want. I’ll alsoshare that ALL of my paintings arecreated using the default brushes inPainter and that half of the samples

in my online portfolio are classsamples, worked up while teaching,so you know I didn’t work on themall day. Painter’s default brushes arebeautifully designed by many of thetop digital painters in the world.The only adjustments you need tomake are in opacity and size. Themagic is how you move your hand.

Software does not distinguishbetween media. There is no suchthing as an “oil” or “watercolor”.Just different textures and blends inthe paint. This makes it fun toexperiment with different BrushCategories and Variants and selectthe ones that seem the mostpromising to you. Try them out! Iused to keep a written journal ofthe brushes I liked for differentpurposes, like Hair,Smooth Blending, AddColor, etc. If you wantto start simple, Isuggest you use theCloner / Soft Cloner,The Blender / GrainyWater and theAirbrush / DigitalAirbrush. By varyingthe opacity of thebrushes you cancreate classic oil stylepaintings as well asimpressionistic water-color effects.

Once you get comfort-able, branch out! Inever rely upon the same brushesfor everything. I love to experimentand vary my technique – it keepsme learning and makes me a better

artist. The way I experiment is tomake an empty canvas and thenselect a Brush Category to playwith. I choose a color and then startat the top making marks upon theblank canvas. If I like the way thebrush moves – maybe it looks“hairy” – I’ll put it on my list to trythe next time I’m painting hair.When the brush goes into action ona painting, I will experiment withdifferent opacities and withchoosing to select my own colorsor clone them from the image. If Ilike it, I put a star next to it in mynotebook with any comments I’dlike to remember about it.

Here’s what one of my test canvas’smight look like; this is the Chalkand Crayon Category:

I noticed that all of the CrayonVariants got darker and darkerwhen I added additional coats, allthe way to black. That doesn’t work

Part One: Choosing Brushes

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for the way I like to paint, so Iknow to axe Crayons from mybrush choices. I liked the Chalks,however, especially the SquareChalk and the Real Fat Chalk foradding Color and the Sharp Chalkfor drawing lines, details and edges.I’ll make a note of this in my note-book. Later, when I actually try touse them, I’ll experiment withopacity, layering colors andblending. I’ll make additional notes,or cross one out that didn’t worklike I’d hoped. In the end I’ll have alot of fun brushes to paint with!

Painter brushes are designed to dodifferent things. Some brushes willadd colors. Some will moveexisting color in traditional ways.Some will distort existing color ininteresting ways. Blenders will actu-ally blend different colors together– not just smear or blur them. Lookat the different ways you canchange the look of an airbrushedline just by using different blenders!

There are three categories to keepin mind. Two of them create theirown Layer that is only workablewith brushes from the category.Watercolor and Liquid Ink alwaysstump the new Painter user becausethey don’t understand what hashappened. Watercolor and LiquidInk retain in Painter’s memory char-acteristics that let the colors runtogether or drip, even if you closethe file and open it the next day! Inorder to do this, Painter createsspecial layers for these categories.The problem arises when someonewants to change brush categories toadd or blend what is already there –a dialog box opens that says “OnlyWatercolor Brushes Can Be Used

On Watercolor Layers”. This is a hint to look in the LayersWindow (Window / Layers if youdon’t see it). There will be a layerfor that brush category. If you wantto keep the paint but treat it as therest of the colors, choose Layers /Drop All and you’re ready to go.

The other Category is DigitalWatercolor. I LOVE this categoryfor glazing colors and I use it a lot.However, if I want to blend thecolors I’ve added, I have to chooseLayers / Dry Digital Watercolor inorder to do it.

Another hint for playing withbrushes is that if you want to clearyour canvas and start over again,choose Select / All and hit theBackspace (PC) or Delete (Mac)key. The canvas will clear to whiteand you can start experimenting allover again.

I hope this gets you started in yourgrand experiment with Painter and

takes the fear out ofsearching through

Brush Categoriesand Variants!

Jump inand tryit; youcan’t ruinanything;it’s justsoftware!

Jane Conner-ziser is an artist,photographer, retoucher,painter, author and instructorin the professional photog-raphy industry. She lectures atphotography events, teaches atschools of professional photog-raphy and offers privatetraining for individuals andgroups. Jane is also a freelanceretouching artist and painter.You can see her work andcheck availability for classes atwww.janeconner-ziser.com

Do you feel like you're not gettingeverything out of programs or semi-nars as you should? Here are sixways to maximize your involve-ment:

1. Arrive early. This gives you thecontrol to make the seminar workfor you. Arriving early gets you "inthe mood" for learning and helpsyou avoid the stress of rushing in atthe last minute. 2. Remove yourself from officepressures. Nothing's worse thantaking the studio with you every-where you go. Let the office func-tion without you for one day; askyour assistant to leave messages ormake an appointment at a set timeto check-in. 3. Bring business cards. Attendingan educational seminar gives you anedge, both intellectually and profes-sionally. It's a great place fornetworking and you'll want to havebusiness cards ready for thosepeople with whom you'd like tokeep in touch. 4. Introduce yourself to at leastthree people sitting near you.You obviously have something incommon with them; they all workin the photographic industry andthey want to learn - there's no betterway to make new contacts. 5. Take notes. It helps yourcomprehension to make a fewnotes, even on the handouts. Writedown questions as they pop up soyou'll remember to ask them later. 6. Participate in the discussion.You'll remember more of the mate-rial if you participate in the discus-sion. If you have a suggestion thatworks or had a similar problem andsolved it, share that information soothers can learn from your experience.

Information Source: AmericanSociety of Association Executives. n

Get the MostOut of the FPPPrograms!

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The following people have applied for membership in the FLORIDA PROFESSIONAL PHOTOGRAPHERS, Inc. Their names are published forall members to review in accordance with the membership rules. If no objections are received within thirty days of this publication, these individuals will be accepted pending approval from the FPP Board of Directors.

NAME CITY STATUS

Cliff Addy Callahan ProfessionalLaura Biasetti Tampa StudentMax Hunt Largo StudentChristina Kolke Jacksonville MemberBooray Perry Lutz ProfessionalDoreen Rapp Wesley Chapel ProfessionalRick Lewis Lutz ProfessionalJennifer Gerardi Englewood ProfessionalBecky Jordan St Petersburg AssociateAlison Beyer Ft Myers ProfessionalCarla Parker Land O Lakes MemberVasileni Balabanova N. Palm Beach AssociateLuzviminda Rivetz Ocala MemberMarian Krauthamer St. Petersburg MemberBrodie Harvey St. Petersburg Beach StudentMegan Davis Deerfield Beach ProfessionalChrismarie Ruiz Riverview StudentMegan Conley Gainesville ProfessionalJennifer Lloyd Apollo Beach MemberWendy Carrion Tampa StudentMichelle Almyda Ocala ProfessionalMichael Wilson St Petersburg Beach MemberErika Gutierrez Miami Lakes MemberLeJeana Bodo Brandon AssociateErica Csatlos Land O Lakes StudentFranklin Sandoval Miami Beach Member

New FPP Members

We are thrilled to report that ourrecent Florida ProfessionalPhotographer membership drivewas a huge success! We welcome25 new members to our FPP Familyand would love to thank CarolWalker for an amazing SpringSeminar with Alycia Alvarez whereour new members were able tojump right in with great educationright away!

FPP Convention will be here beforewe know it! Did you know the costof convention is already covered byyour FPP annual dues? We expectthis year to be one of the best yearsever, so mark your calendars nowfor August 17th-21st so you don'tmiss a single minute! We'll be atthe Rosen Plaza Hotel in Orlandowith an incredible line-up ofspeakers, print competition, partiesand our annual awards banquet,plus lots of fun surprises! You'lldefinitely want to stay right onsiteat the Rosen this year. You get extraentries to the scholarship drawingand an extra chance for every door-prize drawing during convention!Can't wait to see you there!

If you just can't wait for outstandingprint competition and educationfrom wonderful speakers, SEPPAConvention is in Athens, GeorgiaApril 13th-16th. You can get ajump start on your prints and getthe latest information from a greatline-up of instructors. If you are anFPP member tuition is only $49!

Watch for more emails and peek inat the FPP website for updates andother great information. We are justthrilled to have you as a part of theFPP family!

MembershipCornerBRITNEY KIRBY FULLGRAF

Our Convention HomeThe Rosen Plaza

Hotelwww.rosenplaza.com

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Documents

Florida Photographer 2013 #2