mag2013 #2 - Florida Professional Photographers

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Florida Photographer
Is the official publication of
the Florida Professional
Photographers, Inc.
Permission to reprint
contents on this publication is
granted to similar publications
of the photographic industry,
provided that the author and
THE FLORIDA PHOTOGRAPHER
are recognized as the sources.
The opinions expressed in any
article or column are those of
the author and does not necessarily represent the official position of the Florida Professional
Photographers, Inc.
The Florida Professional
Photographers exists solely for
the good of its members.
The association provides tools
and educational opportunities
for its members to achieve their
business and artistic goals. It is
committed to an ongoing
exchange of information and
experiences between all
members in an open and
friendly atmosphere.
publishing editor
advertising and design
Luis Melendi
828 Narragansett Lane
Key Largo, FL 33037
Tel 305.453.5441
Fax 305.453.5448
[email protected]
First Place
Wildlife
In Flight
Elizabeth
Kraker
President’s Message
5
FPP Photo Competition
8
FPP 2013 Convention Update
14
Board Nominations
16
Mentors, Silent Auction, Scholarships
17
Convention Committees
18
Color Correcting Made Easy
20
Natural Light or Flash?
22
Understand Your Client’s Vision
25
Demystifying Painter - part One
26
New FPP Members
28
Membership Corner
28
Join the
Florida Professional Photographers
See Application page 24 or at www.fpponline.org
Florida Photographer 3
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President’s Message
SANDRA PEARCE, FDPE, FSAE, FED
Spring is here. Flowers begin to
bloom and everything is flourishing.As I look at everything
renewing itself, it brings hope and
expectation of things to come. We
had a successful seminar in Tampa
with Alycia Alvarez. A big thank
you to our Chairwoman, Carol
Walker, a job well done!
One of the hardest things I have
found about being your President is
writing an article that is interesting
and helpful to all the FPP members.
I am an artist that paints not an
author that writes. I wrote the
above paragraph and then sat for
thirty minutes thinking, okay what
is next?
Next is hope everyone is gearing up
for Florida School. Marybeth has a
great line-up of speakers (I’m even
one) for you to choose from. I use
to think, can I afford to go?
Then I realized I couldn’t afford not
to go. The week is such a time of
learning as well as making life-long
friends. I have never heard
someone say, wish I hadn’t gone to
Florida School. It is a fantastic week
that you will always cherish. One
thing though, be sure to get
involved. VOLUNTEER!
This is FPP’s 80th Anniversary. A
convention was held in 1933 at the
University of Florida. It was organized by Kodak and some of the
suppliers of photographic equipment and chemistry. The attendees
formed an organization to represent
professional photographers from all
over Florida. Thus the Florida
Photographers Association was
officially formed during that
Convention on May 3rd, 1933.
We started with 30 members with
each paying $2 for their annual
dues. Oh, how we yearn for the
good ‘ole days.
During WWII, due to gas and food
rationing, the FPA did not hold a
Convention for three years (’42’44). Resuming the Convention in
1945 we put ourselves two years
behind our actual age. In the
1950’s we changed our name to the
Florida Professional Photographers
and have continued to educate our
members through conventions,
seminars and schools. In 1985 we
celebrated our 50th Convention
even though we were 52 years old.
See you all at FPP School in
Daytona. Beach Party time!
Thank you Luis for the hard work
you continue to do for the FPP...
Great publication! n
Reach the Florida Market...
Advertise in the Florida Photographer!
Contact Luis Melendi 305.453.5441 ~ [email protected]
Florida Photographer 5
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FPP, Inc.
Board of Directors
PRESIDENT
Sandra Pearce, FDPE, FDAE, FED 2014
1122 SW 15th Street
Okeechobee, FL 34974
863.763.2684
[email protected]
VICE PRESIDENT
Martin Gudz, FSA, FED 2014
6174 SW CR 360
Madison, FL 32340
850.973.6376
[email protected]
SECRETARY TREASURER
Jackson Koontz III, FSA, FED 2015
PO Box 6878
Ocala, FL 34478
352.369.4257
[email protected]
DIRECTORS
Cindy Strickland, FSA, FED 2013
5750 CR 12
Tallahassee, FL 32312
850.545.3110
[email protected]
Gary Hughes 2014
1603 Wilson Ave.
Orlando, FL 32804
321.279.0077
gary@hughesfioretti.com
Britney Kirby Fullgraf, 2013
302 East Belvedere Street
Lakeland, FL 33803
863.686.4980
[email protected]
Carol Walker, FDPE, FSA, FED 2015
7925 4th St. North
St. Petersburg, FL 33702
727.577.5626
[email protected]
Patrick Van Dusen, FSA 2015
3539 Bareback Trail
Ormond Beach, FL 32174
386.677.4897
[email protected]
Past Presid ent
Donna H. Campiz, FSA, FED 2013
2880 Mandarin Meadows Dr N
Jacksonville, FL 32223-2633
904.683.2585
FPP Office - EXECUTIVE DIRECTOR
Kaye Newsome
Florida Professional Photographers, Inc.
11738 North Dale Mabry Hwy.
Tampa, FL 33618
813.760.1933
[email protected]
Florida Photographer 6
FPP SECTION’S WEB SITES
FPP Section Chair: Marty Grivjack, Cr.Photog., FSA
1 7 1 1 4 1 2 3 rd Te rr. N . , J u pit e r, F L 3 3478- 5211
Mobile 561.714.6443 • e Mail [email protected]
B a y – B P P A : w w w . b ppa f l. c o m
F t . M y e rs – S W F P P A : w w w . pps wf .c om
G a in e s v ille – P P N C F : w w w . ppn c f .c om
J a c k s o n v ille – J P P G : w w w . j ppg.org
L a k e la n d – P P G M F : w w w . ppg mf .org
M e lb o u rn e – S C P P : w w w . s pa c e c o a stpp.c om
M ia m i – P P G F : w w w . ppg f . c om
O c a la – O M C P P A : w w w . o m c ppa .c om
O rla n do – P P S C F : w w w . pps c f.c om
P a lm B e a c h – P P G P B : w w w . pro ph o toguild.c om
P e n s a c o la – N W S F P P : w w w . n w s f pp.c om
Ta lla h a s s e e – TP P G : w w w . t ppg . w o r dpre ss.c om
Ta m pa – TA P P A : w w w . t a ppa.org
FP P M A NA G E R S
P P A CO UNCILO R S
Convention - 727.481.9329
Debbie Alcorn
[email protected]
Keely Deuschle
904.403.9553
Kevin Newsome
813.968.2810
Britney Kirby Fullgraf
863.686.4980
Sandra Pearce
863.763.8684
Marybeth Hamberger
954.426.2562
Robin Phillips
863.682.6958
Gary Hughes
321.279.0077
Kim Warmolts
727.934.4456
Trade Show - 305.453.5441
Luis Melendi
[email protected]
School Director - 954.426.2562
Maribeth Hamberger
[email protected]
Our FPP Website - www.fpponline.org
While in Orlando... Stay where we stay!
The Rosen Plaza Hotel
9700 International Drive
Orlando, FL 32819
Special FPP Rates
800.627.8258
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FPP Photo Competition 2013
ROBIN ADAMS, COMPETITION MANAGER
The rules have been finalized for
the 2013 FPP Salon. Please read
them carefully and if you have any
questions, please feel free to
contact the Competition Manager,
Robin Adams.
Please note the deadline for entry is
8 PM on Friday, August 9, 2013.
You must enter all images on line,
whether you are competing digitally
or with prints. Late entries will be
accepted this year with a higher
entry fee, but are due no later than
August 15 at 8 PM. Note that dues
MUST BE PAID before entering and
the entry fees must be paid on line.
Jeff Burton of Proofcast is hosting
the website again this year and will
handle all entries.
Goto: http://printcompetition.com
and log-on to enter.
Print entries used for judging
purposes and Exhibit-Only Prints
must be shipped to Debbie Alcorn
at Reedy Photo to be received by
the deadline of 5 PM Wednesday,
August 14. If you prefer to handdeliver them, they must be received
at the Salon Room, second floor of
the Rosen Plaza Hotel no later than
8:00 AM Saturday, August 17. Print
cases are preferred but cardboard
boxes will be accepted. No loose
prints will be accepted! Jeff will be
handling all the files and you will
receive the appropriate “paperwork” to confirm your entries. In
the case of print entries, you will
receive both the entry forms and
labels to be placed on the back of
all print entries via email. Print
them yourself and attach them as
Florida Photographer 8
required.
Category Changes
There are a few significant changes
this 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 may
submit digital files or prints for
judging in any of the categories
except Albums which must be all
digital files. Exhibit-Only prints may
again be submitted for display in
the Salon Display. So get busy on
your files and prints and plan on
attending what promises to be a
fantastic Convention!
Competition Rules
REGISTRATION DEADLINES
Digital Submissions: Online by
Friday, August 9, 2013. Registration
will be closed at 8 PM. Case fee is
$95.00 per case. Submissions after
8 PM on August 9th will be
charged $125.00 and are due no
later than August 15th at 8 PM.
Fees must be paid online at the
time of registration. No payments
will be accepted with the case.
Dues MUST be current before
registering your case, and through
the end of Convention. If you are in
doubt as to your membership
status, please contact Kaye
Newsome, Executive Director
before registering your case.
Print Submissions: Shipped cases
containing prints must be received
no later than 5 PM, Wednesday
August 14, 2013.
Ship directly to:
Reedy Photo
Attn: Debbie Alcorn
12125 28th St. N.
St. Petersburg, FL 33716.
Hand delivered cases must be
received no later than 8:00 AM,
Saturday, August 17, 2013 at the
Salon Room at the Rosen Plaza.
All images, whether prints or
digital, must be registered online by
August 9 (Early Bird) or August 15
(Late Registration).
Membership Status: All participants must be FPP members, and
have paid their annual dues to enter.
Visit www.fpponline.org to verify
your FPP Membership. Eligible
members for salon competition
include these categories:
Professional, Associate, Honorary
Life, Retired, Non-Resident, Service,
Student, Non-Professional. (Note:
Out-of-State members may enter
prints and earn merits toward their
Florida degrees, but are not eligible
to win any photographic competition awards.)
One to six (1-6) entries are allowed
for each Degree Classification;
Florida Degree of Photographic
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Excellence (FDPE) or Florida
Degree of Artistic Excellence
(FDAE). FDPE and FDAE submissions may contain all photographic
images, or a combination of single
images and albums with no more
than two albums. Each degree’s
entries (FDPE or FDAE) must be
entered in a separate case with a
separate entry fee for each case.
PHOTOGRAPHIC EXHIBITION
The purpose of this competition is
to allow the entrant to demonstrate
their photographic imaging skills
and expertise in pursuit of the FPP
Florida Degree of Photographic
Excellence (FDPE). Both prints or
digital files may be entered in this
competition. All entries will be
judged relative to the 12 Elements
of a Merit Image.
Prints will be judged under standard competition lighting of 75
footcandles of tungsten lighting.
Digital files will be judging on calibrated NEC monitors.
Prints
Print Judging Submission:
Competition prints must be permanently mounted on double-weight
mount board, Competition Mount
Board, Gatorfoam ®, Foamcore ® or
Sintra ®. You may not use masonite,
glass, metal, stretcher frames, or
conventional frames. All prints must
be able to fit in the hangers provided
by the FPP Salon Committee. It is
suggested that thickness not exceed
3/8th inch maximum with a
minimum thickness of 1/8th inch.
Those prints that cannot be hung in
the standard mounting brackets will
be returned to their respective cases
and not on exhibit for public viewing.
Prints of any shape and size are
allowed within the following parameters:
1. A minimum total image size (not
including digital matting) of 80
square inches. This is equivalent to
an 8x10 image but does not have to
be those proportions.
2. Images must be mounted on a
minimum 320 square-inch mount
board (equal to 16x20) up to a
maximum of 576 square-inch
mount board, with the largest
dimension no longer than 24″.
NOTE: For example, this means
you may enter an image 80 sq.in.
or larger image on a 16x20 mount
board (320 sq.in.), or … mounted
on a 13⅓ x24” mount board (320
sq.in.), great for panoramics; or …
up to a mounted 24x24” print (576
square inches), better for including
guide prints on EI submissions.
3. You must register on line, pay
your fees by the deadline and
upload the final version of the
digital file of each image when you
register. The digital files must be
1600 pixels on the longest edge.
They will be used for viewing at the
awards banquet if your image is
selected as an Honor Print.
Digital Judging Submission:
If you submit digital files for
judging, you are not required to
submit a print for the exhibit.
Therefore you will not have a print
on exhibit and will not be considered for print-only awards.
However, you may submit an
“Exhibit-Only” print that will not be
judged for scoring purposes but will
be hung in the exhibit for public
viewing. The submission of the
exhibit-only print is at the option of
the maker. Exhibit-Only Prints may
be of normal density for best
viewing on public display. ExhibitOnly prints must include identification “tabs” at the bottom of each
print. Use two separate tabs, ¾”
high, mounted on a sturdy surface
(similar to the mounting board) and
hung at the bottom right and left
corners with tape. The name of the
maker shall be placed on the left
side and the title of the print placed
on the right side. Leave a minimum
4-inch space between the tabs. The
ID Tabs are not part of the print and
may be removed after competition
for studio/home/location exhibit.
Since the print exhibit will begin
being set up early Saturday morning,
these will be used to help the salon
committee easily identify the image
and maker for corners and ribbons.
Kodak Gallery Awards will be
judged using competition print
submissions only. Peoples’ Choice
Award will be judged using any
print submission and based on
award requirements. See below for
award requirements.
Digital Image Requirements
Images Files: Image files must be
sized so the maximum dimension
in any direction is 1600 pixels
including presentation mats (8
inches at 200 ppi). Each image file
must contain an embedded color
profile of either sRGB or Adobe
RGB1998 and be saved at a JPEG
quality setting of 10. Monitor Settings
will include D65, Brightness of 120
cd/m2 and 2.20 gamma. Total file
size should not exceed 7.32 MB. It
is not the responsibility of the
Competition Committee to make
sure your submissions comply with
the requirements.
Album Files: Album entries must
be submitted online; only Digital
Album submissions will be judged.
Page images should be in a
2560x1600 pixel horizontal format.
Monitor Settings will include D65,
Brightness of 120 cd/m2 and 2.20
gamma. It is not the responsibility
of the Competition Committee to
make sure your submissions comply
with the requirements.
Entries must be “zipped” files with
all pages contained in the one file
to be able to submit them on line.
PHOTOGRAPHIC OPEN RULES
These rules pertain to images
captured electronically with a
digital camera or scanner.
1. Entrant must have captured and
created the original exposure.
2. Any entry which has been reproduced from an existing photograph,
graphic or any other artwork
produced by another person is a
violation of the competition rules
and will not be judged, accepted or
exhibited. If an entry, in the goodfaith opinion of the Competition
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Committee, violates copyright,
trademark or any other applicable
law, that entry shall be disqualified.
3. A maximum of six entries may
be submitted per entrant, with
Social Event albums limited
to two (2).
4. A case may contain a mixture of
both digital and print entries not to
exceed a total of six.
5. No entry will be eligible that has
been made under the supervision of
an instructor or as a class assignment.
6. Entries of the same subject may
be entered. In the portrait/social
event category, they may NOT be
the same setting/background and
clothing. They must be completely
different in content even though the
same subject [person(s)/animal] is in
the image. Special consideration
will be given to wedding gown
portraits regarding clothing.
Commercial entries may be of the
same product or location but with
obviously different treatments.
7. Entry media may be either print
or digital file format.
8. Album entries must be all digital.
No physical albums will be accepted.
1. All makers of a multi-maker
album MUST belong to the FPP.
2. Each maker must pay the appropriate entry fee.
3. Each album entry must have the
official entry form submitted with
the names for each maker.
4. Images in the album must be the
work of the makers, with a
minimum of 20 images per maker.
11. If an image Merits in any category of FPP competition, it may not
be entered again in any other category at any time by any entrant. No
image that receives a Merit may be
entered more than once under any
circumstance. This specifically
includes any image in a merited album.
ALBUM RULES
Only Event Albums will be entered.
Event Albums are defined by time
sensitive social events such as
weddings, bar mitzvahs, parties,
etc. NOTE: In the case of any MultiMaker album entries:
Florida Photographer 10
Major Categories Photographic Open
5. Multi-maker albums will be
judged as one entry.
(See below for specific sub-categories)
Portrait
Illustrative
Commercial
Social Event
Albums
6. There is a limit of two (2) albums
per maker.
Photographic Open Categories
(FDPE Degree)
7. Entries must be titled.
File Naming - Images
File names for images must include
the Category-Maker’s Last NameImage_Title-Judging designation.
The Judging designation specifies
whether the image is for print
judging (using a “P”), digital judging
(using a “D”) or digital judging with
an exhibit-only print (using a “E”).
For example, Sue Miller’s print in
the Portrait of a Child category
named “Eyes of Blue” should be
submitted with the file name as
follows:
9. All entries must be titled.
10. No single image from an album
entered into competition may be
entered in any other category.
be named...A-1-SmithJessica_and_Jeff-P3.jpg. If it is a
multi-maker album with Sue Blake,
title the overall file as...A-1Smith_Blake-Jessica_and_Jeff
and individual pages will be...A-1Smith_Blake-Jessica_and_Jeff-P3.jpg.
P-3-Miller-Eyes_of_Blue-P.jpg using
dashes (-) to separate the category,
name and title and underlining (_)
for spaces in the title. If that image
is to be judged digitally, replace the
“P” with a “D” and if she includes
a exhibit-only print, then replace
the “P” with “E.”
File Naming – Albums
Overall Album/File Names for
submission must include the
Category-Maker(or Makers) Last
Name-Album_Title. Each page will
be individually named according to
the Maker-Title. For example: Bob
Smith’s Event Album will have an
overall file name of A-1-SmithJessica_and_Jeff. Each page must be
titled also. The submitted image for
Page Three of the above album will
PORTAITS
P-1 Portrait of a Man: Man at least
16 years old. May include Figure
Study. Figure Study Portraits must
be of a tasteful, artistic nude subject.
Images deemed inappropriate for
public display will be judged and
returned to their respective cases.
P-2 Portrait of a Woman: Woman at
least 16 years old. May include
Figure Study. Figure Study Portraits
must be of a tasteful, artistic nude
subject. Images deemed inappropriate for public display will be
judged and returned to their
respective cases.
P-3 Portrait of a Child: Male or
female under the age of 16.
P-4 Portrait of a Group: Portrait
must be two or more people. May
include children.
P-5 Environmental Portrait:
Subject(s) on location where the
environment is significant to the
image.
P-6 Portrait of a Pet: Portrait of a
pet(s) under controlled lighting and
a controlled environment, as in a
studio. This also includes outdoor
portraits where the animal is
controlled by the owner or photographer.
ILLUSTRATIVE
I-1 Abstract: Abstract subject matter.
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I-2 Landscape: Scenic image of
landscape, seascape, cityscape with or without people.
I-3 Wild Animals: Images of animals
in a uncontrolled lighting environment. Subjects include wild
animals, birds, reptiles and insects.
Pets are specifically excluded from
this category.
Minimum of 20 images in the album.
A-2 Event Album (Multi-Maker):
Album depicting a single social
event. Each maker must have at
least 20 images in the album.
ELECTRONIC IMAGING RULES
COMMERCIAL
C-1 Advertising Illustration: Image
created to advertise a product or
service. A tear sheet is recommended.
The purpose of this competition is
to allow the maker to demonstrate
their electronic imaging skills and
expertise in pursuit of the FPP
Florida Degree of Artistic Excellence.
Entries will be judged for digital,
artistic and technical proficiency.
Entries must have been sourced,
composited, manipulated and/or
produced by digital means. FPP
members are eligible to achieve FPP
Salon Merits toward the FDAE Degree.
C-2 Architectural: Interior or exterior image of a structure.
These rules pertain to images
entered in the EI Category:
C-3 Industrial: Image created in an
industrial environment.
1. All digital manipulation must
have been performed by the maker.
C-4 Photojournalism: Storytelling,
editorial image produced in a nonstudio environment for use in a
commercial media.
2. Any entry which has been reproduced from an existing photograph,
portrait, graphic or any other
artwork produced by another
person must be accompanied by
written permission from that maker
and pasted on the back of the print
if one is submitted. If a print is not
provided, written permission must
be included in the case. If an entry,
in the good-faith opinion of the
Competition Committee, violates
copyright, trademark or any other
applicable law, that entry shall be
disqualified. This rule does not
apply to entries in the Retouching
and Restoration categories.
I-4 Open: Entry of subject matter
that does not clearly fit into any
other category.
Note: A tear sheet included with
any image should be attached to
the back of the print entry, or
included in the case if the image is
to be judged digitally, in a 9x12
manila or white envelope with the
image that it goes with clearly identified on each envelope.
SOCIAL EVENT
F-1 Social Event Formal Portraiture:
Image of one or more individuals
associated with a social event
captured under controlled lighting
and conditions.
F-2 Social Event Open: Image of
one or more individuals associated
with a social event not captured
under controlled lighting and conditions. Candid shots are appropriate
in this category.
ALBUMS (Limit of two)
A-1 Event Album (Single-Maker):
Album depicting a single social event.
3. Entries are required to be titled.
4. A maximum of six entries may
be submitted per entrant.
5. No entry will be eligible that has
been made under the supervision of
an instructor or as a class assignment.
6. Entries of the same subject may
be entered. They must be
completely different in content even
though the same subject
(person(s)/animal) is in the image.
7. Entries in this competition may
not be and may not have been
entered again in any other category
at any time by any entrant.
8. If an image Merits in any category of FPP competition it may not
be entered again in any other category at any time by any entrant. No
image that receives a Merit may be
entered more than once under any
circumstance. This specifically
includes any image in a merited
album.
Electronic Imaging Judging
and Submissions
1. All entries may include guide
images. It should be noted that
judges are limited to the information available to them on the entry.
Guide images should clearly
demonstrate the artist’s talent in
producing the final image.
2. Un-retouched or un-manipulated
“original” guide images are required
in the EA-1 and EA-2 categories and
are recommended in all categories
to demonstrate the digital expertise
of the maker.
3. If an entry requires guide images,
they must be displayed adjacent to
the finished image in the submitted
print or digital file.
4. Entries without guide images
may be submitted and judged in
certain categories.
5. File names for images must
include the Category-Maker’s Last
Name-Image_ Title-Judging
Designation. The Judging
Designation specifies whether the
image is for print judging (using a
“P”), digital judging (using a “D”) or
digital judging including an exhibitonly print (using an “E”).
For example, Sue Miller’s print in
the Digital Art category named
“Eyes of Blue” should be submitted
with the file name... EA-3-MillerEyes_of_Blue-P.jpg using dashes (-)
to separate the category, name and
title and underlining (_) for spaces
in the title. If that image is to be
judged digitally, replace the “P”
Florida Photographer 11
mag2013 #2 4/5/2013 11:17 AM Page 12
with a “D” and if she includes aN
exhibit-only print, then replace the
“P” with “E.”
6. Entries of the same subject may
be entered. They may NOT be the
same setting/ background and
clothing. They must be completely
different in content even though the
same subject is in the image.
7. Please refer to submission guidelines at the beginning of these rules
for the following:
A) Competition Print Requirements
B) Mounting Requirements
C) Digital Judging File Sizes
D) Exhibit-Only Print Submission
and Identification.
ELECTRONIC IMAGING
CATEGORIES
(FDAE Degree)
ELECTRONIC ART
EA-1 Digital Restoration: Entry in
this category must demonstrate the
ability of the artist to provide digital
restoration services. Entry will be
judged on the restoration, not the
original image. Guide images are
required on all EA-2 entries.
EA-2 Digital Art: Entry in this category should be an artistic image
created using any method a maker
desires, normally Photoshop,
Painter, etc., and is not required to
appear photographic in its final
form. The final image must be
based on photographic originals
that are clearly recognizable in the
final entry.
ELECTRONIC MANIPULATION
EM-1 Digital Illustrative Art: Entry
created with a combination of
photographic images and digital
tools to provide a final creative
image. This category is designed to
allow you to use various digital
tools and software to produce a
final image that gives the impression of a photograph. The final
image MUST appear to be photographic. Any image that is
obviously derived from a “painting”
will not be accepted.
Florida Photographer 12
SCORING
The scoring ranges are as shown
below. Also note that images that
score 78-81 will be reviewed.
Those that score 80-81 will undergo
a thumbs-up/thumbs-down review
with four of the six judges required
to give it a thumbs-up to stay in the
merit category. Those that score 7879 will also undergo a thumbsup/thumbs-down review with four
of the six judges giving it a thumbs
up to bump it up into the merit
category.
Scoring:
100 – 95 Exceptional
94 – 90 Superior
89 – 85 Excellent
84 – 80 Deserving of a Merit
79 – 75 Above Average
74 – 70 Average
69 – 0 Unacceptable
Special Information on Awards:
Kodak Gallery and
Fuji Masterpiece Awards:
The Kodak Gallery Award is
presented by the judges to three
entries scoring 80 or higher in one
of the following categories:
Commercial, Illustrative, Social
Event, or Portrait. Visit:
www.kodak.com/global/en/professional/hub/galleryAward/galleryAwa
rdMain.jhtml for more information.
A printed image that was not made
with Kodak products may be
considered for a Gallery Award.
However, for an image to eligible
for a Gallery Elite Award, the
exhibit print must be printed on any
of the following:
• KODAK PROFESSIONAL
ENDURA Papers or Display Materials
• KODAK PROFESSIONAL
EKTATHERM Media
• KODAK PROFESSIONAL Inkjet
Photo Paper
Note: Kodak Gallery Awards will
be judged using the only the
printed image submitted. When
submitting to the Gallery Awards,
the Kodak label must be signed by
the maker and affixed to your entry
so judges can quickly tell you are
entering the Kodak Gallery competition. Digital entries are not eligible
for Kodak Gallery Awards.
Robert Becker Award for
Creative Photography:
This award will be presented to the
maker whose image is judged to be
the most creative single image in
the overall photographic open category. A minimum score of 85 is
required to be considered for this
prestigious award.
Susan and Stewart Powers Award:
The “Best-of-the-Best” album will be
awarded the “Susan and Stewart
Powers Award“ as determined by
the judges. A minimum score of 85
is required to be considered for this
prestigious award. Both SingleMaker and Multi-Maker albums will
be considered.
People’s Choice:
The People’s Choice award will be
determined by voting of the general
membership with votes accepted
from active members of all membership categories. Judging for the
People’s Choice award will be done
using the prints on display in the
salon print exhibit only (images
displayed digitally do not qualify).n
Date
Action
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
mag2013 #2 4/5/2013 11:17 AM Page 13
Elements of a
Merit Image
1. Impact is the sense one gets upon
viewing an image for the first time.
Compelling images evoke laughter,
sadness, anger, pride, wonder or
another intense emotion.
2. Creativity is the external expression
of the imagination of the maker by
using the medium to convey an idea,
message or thought.
3. Style is defined in a number of
ways as it applies to a creative image.
It might be defined by a specific genre
or simply be recognizable as the characteristics of how a specific artist applies
light to a subject. It can impact an
image in a positive manner when the
subject matter and the style are
appropriate for each other, or it can have
a negative effect when they are at odds.
4. Composition is important to the
design of an image, bringing all of the
visual elements together in concert to
express the purpose of the image.
Proper composition holds the viewer
in the image and prompts the viewer
to look where the creator intends.
Effective composition can be pleasing
or disturbing, depending on the intent
of the image maker.
5. Print Presentation affects an image
by giving it a finished look. The mats
and borders used should support and
enhance the image, not distract from it.
6. Center of Interest is the point or
points on the image where the maker
wants the viewer to stop as they view
the image. There can be primary and
secondary centers of interest.
Occasionally there will be no specific
center of interest, when the entire
scene collectively serves as the center
of interest.
7. Lighting—the use and control of
light—refers to how dimension, shape
and roundness are defined in an
image. Whether the light applied to
an image is manmade or natural,
proper use of it should enhance an image.
8. Subject Matter should always
be appropriate to the story being told
in an image.
9. Color Balance supplies harmony to
an image. An image in which the
tones work together, effectively
supporting the image, can enhance its
emotional appeal. Color balance is not
always harmonious and can be used
to evoke diverse feelings for effect.
10. Technical excellence is the print
quality of the image itself as it is
presented for viewing. Sharpness,
exposure, printing, mounting and
correct color all speak to the qualities
of the physical print.
11. Technique is the approach used to
create the image. Printing, lighting,
posing, film choice, paper selection
and more are part of the technique
applied to an image.
12. Story Telling refers to the image’s
ability to evoke imagination. One
beautiful thing about art is that each
viewer might collect his own message
or read her own story in an image. n
Florida Photographer 13
mag2013 #2 4/5/2013 11:17 AM Page 14
FPP Convention 2013
DEBBIE ALCORN, FSA, FED, FPP CONVENTION MANAGER
Save the Date
August 17-21, 2013
FPP Convention is not just a week
of speakers, a two day Trade Show,
an intense Image Competition, a
great print display, an Awards
Banquet or a couple of fun parties.
It is all that and a week of the best
camaraderie to be found anywhere.
The friendships you will make at
FPP will last a lifetime. The people
you will meet and get to know here
will help you, guide you and just
plain have your back when you
need it. I have been too many
other State Conventions and Florida
is by far the friendliest and most sharing.
That being said, what about the
Trade Show? A
2 day trade
show, with PP
Luis Melendi at
the helm since
1991, starting
Sunday at 11:00
AM till 4:00 PM
and Monday
10:00 AM till
2:00 PM filled
with a variety of
temptations.
Please support
the vendors of
our Trade Show
because without
them there
would not be a
Convention.
What about the parties? Our
“Kick-off Party” is Saturday night at
9:45 in the foyer of ballroom C/D,
no theme here just a great time to
see old friends, make new ones and
plan your week. Our Monday
Night Party is um... Monday night
Florida Photographer 14
7:30 PM - Midnight. This year’s
theme is “Boots and Pearls” so
shine up your boots and dig out
your pearls for a night of good
food, dancing and fun. The guys
don’t have to wear pearls but you
can if you want to! The Presidential
Suite will be open on select nights
for casual get-togethers. All attendees are welcome and help with
clean-up will be greatly appreciated.
Awards Banquet? This year marks
the 80th Anniversary of the
founding of the FPP. Our banquet
will revolve around the many things
that have happened over the many
years of our organization and we
will honor the winners of our
Competition and Service awards.
The banquet is about the only time
I get to dress-up. Come join us.
Watching the judging on Saturday
and Sunday is a huge education.
Check out Competition Manager’s
article for information on the
Proofcast Lounge, really sounds like
a blast to me. Entering digitally
certainly has its advantages but
what about the print display. All
participants are encouraged to bring
regular 16x20 prints to hang in our
display. The more the merrier.
Show off you work!
Camaraderie, well the best way to
make new friends is to join and
work on a committee. Check with
Assistant Committee Chair Cindy
Strickland and Assistant Speaker
Support Chair Britney Kirby Fullgraf,
join in on the fun and get a service
merit to boot.
Speakers? Yes, we have speakers:
Competition!!?? If you have never
competed this is the year to start.
Richard Sturdevant M.Photog.CR,
mag2013 #2 4/5/2013 11:17 AM Page 15
M.Artist
“Loan or Bust” Getting the most out
of your Artistic Prints. A Photo
Shop Guru, Richard will teach us
how to but the touches on Fine Art
prints and Competition prints that
put them over the edge so you can
go Loan and charge more.
Hanson Fong, M.Photog.Cr
The master of posing will show us
how to get the most and best angles
in just minutes. A premier wedding
and portrait photographer willing to
give us all he “secrets”, bring your
cameras as he flows through the poses.
images and how to get the money
you deserve.
Cindy Behnke, M.Photog.Cr
“Maternity and Babies”
From the “glow” of pregnancy
through the toddling & senior years,
Cindy will teach us how to get the
clients and keep them for life. $$$
and an experience that your clients
will never forget and have fun
doing it. Michael will talk and
demonstrate outdoor portraits that
will knock your socks off. A Safari
around the hotel grounds to show
how to use any type of backdrop
and lighting. A must see for
seasoned and novice as well.
Michael Mowbray, M.Photog.Cr
“Shoot to Thrill”
A how to program. Create images
That’s our line-up for now, more to
come. Call me if you have an ideas
or suggestions. 727.481.9329 n
Christine Reynolds, M.Photog.,
CPP, FDPE, FED, MBA
Commercial Photography De Mystified.
Commercial photography creates
images that impact the viewer as an
investment in future sales. Learn
the key to clearly define how the
viewer should be impacted, the
lighting, the composition and how
to get paid what you are worth.
Frank Frost, M.Photog.Cr., CPP
“If It’s Worth Doing, It’s Worth
Doing Right”
With over 25 years running a
successful high-end portrait studio
Frank will guide us through his
methods for merging Old School
principles with the ever-changing
industry. He will cover everything
from marketing, posing and
lighting, to selling and customer
service.
Cheri Frost aka Missy
You are invited to “Missy’s
Clubhouse” were you need to get
ready to laugh, cringe and maybe
learn a thing or two as Missy guides
us through the murky waters of
professional photography.
Bert Behnke, M.Photog.Cr.,
Hon. M.Photog. PPA
“Engagement and Couples Portrait”
Consultation is the key in
producing beautiful portraiture.
Bert will walk us through engagement portraits from start to finish.
Capturing the essence of the couple
to the point that they have tears in
their eyes when they see their
Florida Photographer 15
mag2013 #2 4/5/2013 11:17 AM Page 16
FPP 2013 Board Nominations
DONNA CAMPIZ PAST-PRESIDENT FSA, FED
As your Past President I am
honored to announce that Cindy
Strickland, Britney Fullgraf and
Robin Adams will be up for election for their first three-year term, to
the FPP Board of Directors. Cindy
and Britney are presently serving as
appointees for the FPP board and
have been a tremendous asset to us
all. Robin is currently serving as our
Competition Manager and doing a
fantastic job. Robin has been to our
Board Meetings since becoming our
Competition Manager so we have
seen the leadership quality she has
to offer. Cindy, Britney and Robin
are committed to the FPP membership putting the members first in all
decisions that have been made.
The FPP Board of Directors will
proudly nominate Cindy Strickland,
Britney Fullgraf and Robin Adams
to the FPP membership, at the
General Business meeting, during
our 2013 Convention August 17-21
Now it’s with great pleasure that I
present you with their Bio’s:
Based in Lakeland, Britney was
born and raised all over the state of
Florida. She is Past President of
Professional Photographers of MidFlorida and has served as PPGMF
Board Member, Vice President and
Communications Director as well as
FPP Delegate and as an FPP Mentor.
Britney credits many photography
mentors for her success and says
she has been overwhelmed by help,
support and encouragement since
her entrance into the photography
industry.
Her unique business model and
fresh perspective have attracted the
attention of photographers and
organizations across the country.
She assists a number of photographers in growing their businesses
through her private consulting
services and maintains a busy
speaking schedule.
Britney received the 2009
Distinguished Award for the
Professional Photographer's Guild
of Mid-Florida, based on print
competition.
She serves on the Board of Trustees
for PPA Charities and participates
heavily on the national and state
level with vendors and other
speakers, as they support Operation
Smile. She is on the PPA
International committee and serves
on PPA Council.
Britney Kirby Fullgraf, Cr.Photog., CPP
Florida Photographer 16
12-year-old son, Simon.
Her photography business,
Belvedere Studio, is based in
Central Florida where she is active
in her local community and lives
with her husband, Eric, and their
Cindy Strickland, FED, FSA
“A Moment Captured by Cindy
Strickland” opened in 1998 in
Tallahassee as a portrait studio for
children and families. Cindy creates
studio and environmental portraits.
Most recently, Cindy has added her
love of painting to her studio line
by offering painted portraits.
She previously served for five years
on the board of the Tallahassee
Professional Photographer's Guild,
two years as an FPP Delegate, is an
FPP Mentor, and is completing her
second appointed year on the FPP
Board of Directors.
Continuing education is extremely
important to Cindy who has
attended Florida School for the past
ten years, the past four of which she
also served as class assistant. She
also has been an active participant
mag2013 #2 4/5/2013 11:17 AM Page 17
at the annual convention for the past
eleven years. Cindy has received the
following recognitions and honors:
FED - Florida Education Degree
F S A - F lo r ida Ser vice Awar d
Ed Robinson Scholarship, ‘11 (FPP)
P re sid e nt’s Awar d, ‘12 (TPPG)
Digital Artist of the Year, ‘11 (TPPG)
Digital Artist of the Year, ‘08 (TPPG)
D istin g ushed Ser vice Awar d,
‘0 8 (T PPG) Cindy is a fifthgeneration Floridian and
currently lives in Tallahassee
with her husband, Tim, and their
two boys, Ben and Tyler.
Mentor, Silent Auction
and Scholarships
BETTY MDDONALD, CR., FDAE, FSA, FED
It's time to start thinking about our
FPP Convention 2013. I want to
remind you again of our Mentor
Program and hope you plan on
participating by bidding on the
Mentors of your choice. Also our
Photographic Merchandise.
Most of our members are familiar
with our Mentor Program. Top the
new members who are not, each
year at the Convention we have a
Silent Auction where members can
bid on the photographer they wish
to be their Mentor for a day. The
winning bidders have until June
30, 2014 to claim their day with
the Mentor. The day is chosen at
the convenience of both the
bidders and the Mentors.
Robin Adams
This will be Robin’s first three-year
term on the board. Robin is from the
Tallahassee area and has been
involved in photography for 8 years.
Her specialty is children, family and
pet photography. Robin is a past
president of Tallahassee Professional
Photographers Guild (2012). Robin
has been a member of the FPP for six
years, has served as Assistant
Competition Manager and is the
current Competition Manager for
the FPP.
See you all at the Convention in
August. Remember that your dues
include convention registration, so,
if you can attend a few days or the
entire time, this is an educational
opportunity provided to all of our
members to help improve your
photography and/or business. n
The money we receive from the
auction goes into the FPP
Scholarship Fund. This fund allows
us to give Scholarships each year
to Florida School. These scholarships are awarded at Florida
School and the Convention
Awards Banquet.
This year we are adding new
mentors as well as our mentors
who have volunteered in the past
years. I would like to hear from
members who would like to be a
Mentor or would like to suggest
one of our menbers to be a
Mentor. Please contact me at 205688-2975 or Robin Phillips at 863682-6958. We will contact them to
see if they would like to participate
as a mentor this year. I hope this
year will include some new
mentors as well as those who
continue to give their knowledge
and time to this great cause.
As in the past, our Silent Auction
will include Photographic
Merchandise donated by some of
our Sponsors and Venders. We
will have the merchandise or
photographs on display at the
booth in the Trade Show. As you
visit their booths in the trade show
let them know how much we
appreciate their participation.
Be sure to stop by and check out
our Mentors and Merchandise. We
will available for bids during the
Trade Show hours on Sunday and
Monday. This will give you time to
bid without missing any programs.
At this time a big thanks to all
Mentors, Sponsors and Vendors
who participate in this program. n
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 the
Florida Professional
Photographers
See Application Information
on page 24.
Florida Photographer 17
mag2013 #2 4/5/2013 11:17 AM Page 18
2013 Convention Committees
CINDY STRICKLAND, FSA, FED
What will you get out of Convention this year?
(Clique alert! Ready?) “You get
what you give.” We have all heard
that at every PTA meeting, church
gathering, and volunteer organization. BUT, I challenge you to sit
back and think about that statement
carefully. From personal experience, I can assure you that as
cheesy as it sounds, it really is true.
Make an investment in your
Convention experience, and you
may be surprised by all the things
you gain.
And, finally, let's take an honest
look at the other side of volunteerism. That's simply who we
are... an organization fed by the
volunteer. Without the time and
talents of those serving, we would
not be able to provide the educational 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 the
entertainment and sets the schedule.
Banquet Decor - Decorating for
our 80th Anniversary Celebration
and Semi-formal Awards Banquet.
Chairman: Shannon Black ([email protected])
Door Prizes – Free Stuff! Collect
and give away prizes before each
program. Chairman: To be decided
Flea Market - A place to sell and
buy from each other – everything
from props and backgrounds to
lights and equipment.
Chairman: Kevin Newsome
([email protected])
Information/Promotions Booth - Let
visitors know about FPP, and sell
FPP items to current members at the
Trade Show. Great for someone
who loves to help sell FPP!
Chairman: Robin Phillips ([email protected])
Where do you fit? Where can you
serve? Join the family...
New Members – Spend time
making sure all the newest
members feel welcome.
Chairman: Tammy Czigan
([email protected])
Below is a list of committees along
with a brief description and the
Committee Chair's contact information. We all still need committee
members, so if you see an area of
interest, please contact the chairman!
Photography - Record Convention
the best way we know how...
photography. No excuses on this
one... we all know how to manage
a camera. Chairman: Marti
Newkirk ([email protected])
Florida Photographer 18
Scholarship - Help raise money
through the Mentor and Silent
Auctions to send some lucky
people to Florida School.
Chairman: Betty McDonald
([email protected])
Sergeant of Arms – The rulekeepers! Chairman: Kim
Warmholts ([email protected])
Social Decor – BOOTS and
PEARLS! What a great theme this
year! Chairman: To be decided
Sunday Devotions – Help with our
wonderful Sunday morning devotional service.
Chairman: Rob Moorman
([email protected])
Welcome Committee – Are you a
smiler? Not afraid of making
friends? Want everyone to feel
welcome? This is the committee for
you! Chairman: Susan Black
([email protected])
Nothing a fit? There are more
opportunities! Contact Britney
Kirby Fullgraf ([email protected]) for information on
Speaker Support Committees:
Audio Visual, Host, Props,
Equipment, Speaker Equipment,
Models, Signs, and Photo Safari.
mag2013 #2 4/5/2013 11:17 AM Page 19
Convention FPP 2013 Important
Banquet
Dates to Remember!
HAPPY ANNIVERSARY! This year,
our semi-formal awards banquet
will not only serve to honor the
photo competition winners and
annual recognitions, but we are
also celebrating the 80th
Anniversary of our organization.
Before the banquet, makers will
know if their prints have been
recognized as an “Honor Print”,
but during the evening the
following honors will be revealed:
the First Place images in each
category, who receives the
honored Becker Award and Artist
of the Year Award, and Florida's
Top Ten Photographers.
April 13-16, 2013
SEPPA Convention, Athens, GA
August 21, 2013
FPP Board Wrap Up Meeting
April 28, 2013
FPP Board Meeting, Tampa, FL
September 22, 2013
FPP Board Meeting, Tampa, FL
June 2-6, 2013
Florida School
October 2013 – Contract
committee have contracts
complete prior to Budget mtg.
June 30, 2013
FPP Board Meeting, Tampa,
August 17-21, 2013
FPP Convention, Orlando, FL
August 16, 2013
FPP Board Meeting
August 20, 2013
General Business Meeting
October 20, 2013
Budget Committee Meets
November 3, 2013
Fall Seminar
Daytona State College
November 4, 2013
Board Mtg with delegates
Daytona State College
Join us as we honor the past and
look to the future.
LET'S CELEBRATE!!!
Monday
Night Party
Ye-Haw! Dust off your cowboy
hat, find your favorite boots, polish
your pearls, and join us for this
year's party... BOOTS and PEARLS!
Grab some grub, and dance the
night away during this fun theme
party where we kick back and just
enjoy!
Are you a party goer? Consider
helping on this fun committee!!!
Ya'll come to the party now, ya
hear? n
Florida Photographer 19
mag2013 #2 4/5/2013 11:17 AM Page 20
Color Correcting Made Easy
MARTY GRIVJACK, CR.PHOTOG., FAS - FPP DELEGATE CHAIRMAN
A Primer!
Do you photograph a gray or color
reference at a session? Do you have
a gray reference? Or do you just
guess at what looks correct and
tweak accordingly…letting the lab
color correct your work? Do you
know what the “rules” are so you
can get the images right for output?
It’s not as difficult as you might
think, and you don’t need expensive gear to do it. You just need to
know how!
First, a consideration. To color
balance AFTER you do your shoot
is THE most difficult way to remove
color cast. I repeat the most difficult. This is one of those aspects in
photography where you need to be
your own best friend. Obtain a gray
reference and put it in your
computer bag, TODAY. Then use
it.
The Rules:
Shoot a gray card/reference at every
venue. If you’re inside, shoot a gray
card. Step outside to photograph?
Shoot the gray card again. Change
venues, shoot a gray card shot. No
exceptions. You’ll need them later
to correct each venue’s images.
Don’t have a gray card? Go get
one. They’re not expensive, and
they’re available in a variety of
useful forms. Some are even free!
Name brand paint-chips, for
Florida Photographer 20
example. Contact me and I’ll tell
you my emergi-card paint chip
number.
I use the WhiBal™ plastic card,
made right here in Florida by
Michael Tapes
of Michael
Tapes Design. It
is hardy, can
help you attain
an accurate focus and
settles color
cast problems. I also
use the
Spudz™ lens
cloth by
Alpine
Innovations,
they are 18%
reflectance
exposure, pure
gray, microfiber
lens cleaners and
hang right on your
camera. There’s
also the Delta Zone
System gray card, made of
cardboard. But you see the
problem there…cardboard
and “outside” have
obvious conflicts. You
won’t want to use the
cardboard reference at
the beach or on a rainy
day. The Zone card is designed for
the studio. There’s a gray reference
card built into the back of a lot of
Scott Kelby books. If you’re a Kelby
aficionado then you probably have
a gray card already, just waiting to
be used. It’s perforated so you can
detach and use. However, it also is
cardstock.
The process is simple – shoot a gray
card where you’re photographing.
Import the images into Lightroom (a
shameless plug, I admit) and press
the “W” key to activate the white
balance tool. Navigate to the image
of your gray card
or reference and
dauber on the
gray area.
Instantly, the
color cast is
gone and you’ve
got color
balance. Voila!
Now highlight
all the images
from that
venue,
click
Sync,
select
[x] White
balance
only, and
then click
Synchronize. All done. It couldn’t
be any simpler. You can synchronize hundreds or thousands of
images in seconds.
mag2013 #2 4/5/2013 11:17 AM Page 21
mid-tone exposure
sample. That’s why you
need to understand the
difference between a
gray reference and an
18% exposure reference.
They are two distinctly
different functions. But
when you combine them
into a device that does
both…one that provides
both a proper exposure
reference and a proper
gray reference, like a
gray card or a gray
cloth…now that is a tool
that is useful. Efficient
professionals use effective problem-solving tools.
Above: Before Synchconization
So, what if you forgot to shoot a
gray card and you still need a gray
reference? Find a known neutral
object. Such items: sidewalks, street
pavement, asphalt, aluminum mailboxes, unpainted steel, a tenured (I
didn’t say old) guy’s gray hair (they
tend not to color their gray hair) just
to name a few.
It is important to not reflect direct
light back into the camera, as this
creates a false reference situation
that will not work. Most gray references are pretty much non-reflective to prevent that from happening.
Now a word about 18%. Have you
noticed I’ve not stated “18% gray?”
That is an important distinction and
a bit of a misnomer. Gray is an
equal amount of red, green and
blue color/pigment. But “gray”
could be dark or light as far as luminance is concerned. So let’s revisit
the term “18%.” This is specifically
referring to a proper exposure level.
The proper term is “18% (light)
reflectance.” Your camera or spot
meter 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 can
point your camera at it and gauge
the proper settings for a proper
exposure given the light source at
the time AND
capture the color
cast at the same
time. Shoot it
and adjust your
camera aperture
or shutter speed
so the camera
display
histogram spike
is in the middle.
Then, later, use
that image to
color balance in
the digital lab.
So now, let’s
make it interesting.
You can also use the palm of your
hand or the green side of a dollar
bill (are they green any more?) as a
veritable 18% exposure reference.
CPPs and Barbara London fans
know that trick. However, neither is
obviously a “gray” reference, only a
A word of caution – the
WhiBal product is about
1.5 stops higher as an
exposure reference, so
your “spike” will be to
the right of center for a
proper exposure. See the
graphic.
I won’t leave for a job without
taking a gray reference with me.
They’re tucked in each camera bag,
in about the same location, in the
front pocket. It’s very easy to use
and solves a world of problems
when color correcting images.
Don’t struggle anymore. Get one
now and learn to use it. Contact me
if you’re not getting the results you
are expecting. I’ll be glad to help
you figure out what is causing your
color correction pain. n
Florida Photographer 21
mag2013 #2 4/5/2013 11:17 AM Page 22
Natural Light or Flash?
HANSON FONG, M.PHOTOG.CR, FFPC, XXV
With more than 35 years experience as a Wedding and Portrait
photographer, I am fortunate that
learning innovative photographic
techniques is still a great personal
passion. I enjoy working with my
clients, always searching for
different ideas and techniques to
create my unique photographs. My
main goal is to naturally enhance
my subject(s) and at the same time,
create a timeless art piece.
Objective: The objective of this
article is to demonstrate how to
photograph under any substandard
situations, i.e., difficult lighting,
mixed lighting, bright light, low
light, etc.
Goals: Upon completion of this
discussion, one will understand
what tools have been utilized to
capture a photograph under any
displeasing lighting predicament.
Discussion:
I had been asked to photograph a
guitarist/singer for her new
upcoming CD. We had a one on
one discussion where she requested
photographs for the CD cover. The
guitarist wanted a half-length
outdoor (with green foliage) portrait.
Half-length, Outdoor Environmental:
The session was done in Houston,
Texas, at an affluent shopping
plaza. I walked around the plaza to
scout the best location to photograph this individual. The deciding
factors were a pretty background as
well as optimal lighting to best
Florida Photographer 22
complement the subject. As per the
discretion of the subject, I located a
background that had green foliage.
My goal was to photograph the
subject with incredible sharpness
and at the same time I did not want
the details of the background
andforeground to compete with my
subject. The 70mm-200mm zoom
lens was set at 200mm for telephoto compression. The lens aperture was selected at 5.6 to limit the
depth of field.
The subject is 5’8”, blond, wearing
a white sweater, blue denim jeans. I
determined I could not photograph
her in a standing position because I
did not want to include the shopping plaza in the photograph.
I had the subject sit on my signature
9” EZ step, as a “posing stool.” I
had the subject rest her guitar on
her knees, both arms crossed over
her guitar. By leaning her torso
forward, this created energy and
movement. Her head was tilted to
the feminine pose, which is, tilting
her head to the high shoulder (left),
to create an elegant pose. Standing
on my EZ steps, approximately two
feet from the ground, I tilted the
camera to photograph downwards
to avoid capturing any hint of the
shopping plaza.
Other than the background, I
noticed the sun was bouncing off a
windowpane on the top left. With
sunlight bouncing from the
windowpane, I positioned the
subject where she could be
outlined with hair light (separation
light) from the windowpane. This is
the ideal scenario for three-dimensional lighting from behind the
subject’s head.
The subject’s face did not have
ideal main lighting. To compensate
for that deficiency, I created the
main light by utilizing the ProFoto
600 Acute B flash system. I placed
this system on my right (subject’s
left). I attached the ProFoto soft box
onto the Acute B flash. The soft box
was feathered away from the
subject to create a more even, but
directional light. The portable
studio light was feathered towards
the reflector in order to bounce
back towards the shadow.
The Sekonic L-758 DR meter was
used to read the separation light
(hair light), 1/125th shutter speed at
F4, ISO 100. From my past experiences, all light from behind a
subject is usually one to one and a
half stop less than the main light to
balance the hair light from the main
light. The ProFoto light was
metered at 1/125th at 5.6, ISO 100.
By doing so, perfect hair detail, skin
tone, and even lighting in the
subject’s sweater detail were seen.
The reflector controls the ratio of
shadow to highlight. I generally
prefer to work 3:1. What this means
is that the highlight to the shadow
is one stop apart. The ProFoto flash
was metered at 5.6. Using the
reflector to bounce back the light to
the shadow, which metered at F4. I
generally prefer a soft gold reflector
mag2013 #2 4/5/2013 11:17 AM Page 23
to a silver reflector to create a
warm shadow, which I believe
creates a softer look in a photograph.
I used a wireless transmitter
system, the Pocket Wizard System
Plus, which was attached to my
camera’s hot shoe. This sends a
signal to the ProFoto pack, which
has a built in receiver. By doing
so, I kept things simple and avoided
tangling into sync cords, etc. n
Florida
Photographer
Next Issue
D ead
ea d l i n e
May 15th
Share your
Knowledge,
Write an
Article!
Florida Photographer 23
mag2013 #2 4/5/2013 11:17 AM Page 24
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
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.
‰ $195
Required to submit Sales Tax Certificate Number. Entitled to all FPP benefits and privileges.
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
‰ $135
categories. Entitled to all FPP benefits; Privileges limited to Photographic Awards, & Scholarships.
STUDENT – Currently enrolled full or part-time in an accredited degree/certification program at a postsecondary 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): $___________
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mag2013 #2 4/5/2013 1:53 PM Page 25
Understand Your Client’s Vision
GREGORY DANIEL FDPE, FSA, M.PHOTOG. CR., F-ASP
We are asked often about how we
are able to constantly create large
wall portraits for our clients in such
a difficult period of time. Many
businesses all over the country have
felt the pain of a down economy for
sometime now. Some have
suffered the painful decision to
close their
doors and try
another profession while
others seem to
not only do
well but also
grow during
this event.
How can some
businesses grow
while others fail
in the same
economy and
geographic
location? Our
belief is that it
boils down to
understanding
your client’s
vision.
I find it is necessary to be very clear
and precise on who we are not
confuse our potential clients.
Build a Relationship: Our number
one priority is listening to our
clients needs. It is easy to assume
we know exactly what they need
and this will ultimately push client
The following areas outline our critical concepts for satisfying our
client’s needs.
away. Planning and designing their
portrait to fit their need is a critical
element in our process.
Presentation:
Everyone loves
to be pampered
with
outstanding
service. We
believe packaging can ad the final icing on the
cake if done properly, consistently
and with sincerity.
Business Foundation: Often referred
to as branding, we will attract those
who need our service. Our
marketing revolves around letting
potential clients know we are wall
portrait specialists. The styles and
products we offer may be broader
but our branding focus is narrow.
Sound Photography: We know our
photography and artwork must be
to the highest level possible. This is
why we take the more difficult road
of always learning and improving
our skills in classical art, design,
lighting and now computer post
production. There are so many
Our focus and attention has been to
nurture the critical concepts and
processes that have made us
successful for the past 30 years.
We truly believe strong business
principles applied to client needs is
a lasting combination for a growing
business. n
quality options available today than
ever before. Florida School and
other affiliated schools across the
country bring in the finest instructors with a broad spectrum of
expertise that will most certainly be
a perfect fit for your current educational needs.
Project: Most
people like the
ability to see
what their final
product will
look like prior
to investing in
their personal
art. We project
their art actual
size in our
gallery or in
their home.
Florida Photographer 25
mag2013 #2 4/5/2013 11:17 AM Page 26
Demystifying Painter
JANE CONNER-ZISER, CR.PHOTOG, API
Part One: Choosing Brushes
Painter is indisputably the world’s
most intuitive natural media software. It’s the only software that
allows you to draw and paint as
effortlessly as you do with classic
media – without feeling like you’re
in a software program. Photoshop is
making some good progress with
painting capabilities, but nothing
today compares to the flow and
magic of Corel Painter.
in my online portfolio are class
samples, worked up while teaching,
so you know I didn’t work on them
all day. Painter’s default brushes are
beautifully designed by many of the
top digital painters in the world.
The only adjustments you need to
make are in opacity and size. The
magic is how you move your hand.
There’s a LOT of brushes!!! Thirty
Brush Categories and hundreds of
Brush Variants can look pretty
daunting to a new user, In addition,
many people who teach Painter
give out (or sell) their own brushes
AND the internet is bulging with
brush libraries and options, It’s not
surprising that the biggest question I
get from people is, “How do you
know which ones to use?”
Software does not distinguish
between media. There is no such
thing as an “oil” or “watercolor”.
Just different textures and blends in
the paint. This makes it fun to
experiment with different Brush
Categories and Variants and select
the ones that seem the most
promising to you. Try them out! I
used to keep a written journal of
the brushes I liked for different
purposes, like Hair,
Smooth Blending, Add
Color, etc. If you want
to start simple, I
suggest you use the
Cloner / Soft Cloner,
The Blender / Grainy
Water and the
Airbrush / Digital
Airbrush. By varying
the opacity of the
brushes you can
create classic oil style
paintings as well as
impressionistic watercolor effects.
SO, let me begin by saying “There
are no rules!” You can use what
you want, where you want. I’ll also
share that ALL of my paintings are
created using the default brushes in
Painter and that half of the samples
Once you get comfortable, branch out! I
never rely upon the same brushes
for everything. I love to experiment
and vary my technique – it keeps
me learning and makes me a better
When you first open the program, it
looks KIND OF like Photoshop but
things are different enough that
many people find it hard to get
started. For us photographers, the
first thing to realize is that while
Painter has many tools and functions in common with Photoshop
(that work differently), like shapes,
text, layer blending modes and
special effects, the only thing we
really use heavily is the Brush Tool.
Easy enough.
Florida Photographer 26
artist. The way I experiment is to
make an empty canvas and then
select a Brush Category to play
with. I choose a color and then start
at the top making marks upon the
blank canvas. If I like the way the
brush moves – maybe it looks
“hairy” – I’ll put it on my list to try
the next time I’m painting hair.
When the brush goes into action on
a painting, I will experiment with
different opacities and with
choosing to select my own colors
or clone them from the image. If I
like it, I put a star next to it in my
notebook with any comments I’d
like to remember about it.
Here’s what one of my test canvas’s
might look like; this is the Chalk
and Crayon Category:
I noticed that all of the Crayon
Variants got darker and darker
when I added additional coats, all
the way to black. That doesn’t work
mag2013 #2 4/5/2013 11:17 AM Page 27
for the way I like to paint, so I
know to axe Crayons from my
brush choices. I liked the Chalks,
however, especially the Square
Chalk and the Real Fat Chalk for
adding Color and the Sharp Chalk
for drawing lines, details and edges.
I’ll make a note of this in my notebook. Later, when I actually try to
use them, I’ll experiment with
opacity, layering colors and
blending. I’ll make additional notes,
or cross one out that didn’t work
like I’d hoped. In the end I’ll have a
lot of fun brushes to paint with!
Painter brushes are designed to do
different things. Some brushes will
add colors. Some will move
existing color in traditional ways.
Some will distort existing color in
interesting ways. Blenders will actually blend different colors together
– not just smear or blur them. Look
at the different ways you can
change the look of an airbrushed
line just by using different blenders!
There are three categories to keep
in mind. Two of them create their
own Layer that is only workable
with brushes from the category.
Watercolor and Liquid Ink always
stump the new Painter user because
they don’t understand what has
happened. Watercolor and Liquid
Ink retain in Painter’s memory characteristics that let the colors run
together or drip, even if you close
the file and open it the next day! In
order to do this, Painter creates
special layers for these categories.
The problem arises when someone
wants to change brush categories to
add or blend what is already there –
a dialog box opens that says “Only
Watercolor Brushes Can Be Used
On Watercolor Layers”.
This is a hint to look in the Layers
Window (Window / Layers if you
don’t see it). There will be a layer
for that brush category. If you want
to keep the paint but treat it as the
rest of the colors, choose Layers /
Drop All and you’re ready to go.
Get the Most
Out of the FPP
Programs!
The other Category is Digital
Watercolor. I LOVE this category
for glazing colors and I use it a lot.
However, if I want to blend the
colors I’ve added, I have to choose
Layers / Dry Digital Watercolor in
order to do it.
Do you feel like you're not getting
everything out of programs or seminars as you should? Here are six
ways to maximize your involvement:
1. Arrive early. This gives you the
control to make the seminar work
Another hint for playing with
for you. Arriving early gets you "in
brushes is that if you want to clear
the mood" for learning and helps
your canvas and start over again,
you avoid the stress of rushing in at
choose Select / All and hit the
the last minute.
Backspace (PC) or Delete (Mac)
2. Remove yourself from office
key. The canvas will clear to white
pressures. Nothing's worse than
and you can start experimenting all taking the studio with you everyover again.
where you go. Let the office function without you for one day; ask
I hope this gets you started in your
your assistant to leave messages or
grand experiment with Painter and
make an appointment at a set time
takes the fear out of
to check-in.
searching through
3. Bring business cards. Attending
Brush Categories an educational seminar gives you an
and Variants!
edge, both intellectually and profesJump in
sionally. It's a great place for
and try
networking and you'll want to have
it; you
business cards ready for those
can’t ruin people with whom you'd like to
anything; keep in touch.
it’s just
4. Introduce yourself to at least
software! three people sitting near you.
You obviously have something in
common with them; they all work
in the photographic industry and
they want to learn - there's no better
Jane Conner-ziser is an artist,
way to make new contacts.
photographer, retoucher,
5. Take notes. It helps your
painter, author and instructor
comprehension to make a few
in the professional photognotes, even on the handouts. Write
raphy industry. She lectures at
down questions as they pop up so
photography events, teaches at
you'll remember to ask them later.
schools of professional photog6. Participate in the discussion.
You'll remember more of the materaphy and offers private
rial if you participate in the discustraining for individuals and
sion. If you have a suggestion that
groups. Jane is also a freelance
works or had a similar problem and
retouching artist and painter.
solved it, share that information so
You can see her work and
others can learn from your experience.
check availability for classes at
www.janeconner-ziser.com
Information Source: American
Society of Association Executives. n
Florida Photographer 27
mag2013 #2 4/5/2013 11:17 AM Page 28
New FPP Members
The following people have applied for membership in the FLORIDA
PROFESSIONAL PHOTOGRAPHERS, Inc. Their names are published for
all 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
Laura Biasetti
Max Hunt
Christina Kolke
Booray Perry
Doreen Rapp
Rick Lewis
Jennifer Gerardi
Becky Jordan
Alison Beyer
Carla Parker
Vasileni Balabanova
Luzviminda Rivetz
Marian Krauthamer
Brodie Harvey
Megan Davis
Chrismarie Ruiz
Megan Conley
Jennifer Lloyd
Wendy Carrion
Michelle Almyda
Michael Wilson
Erika Gutierrez
LeJeana Bodo
Erica Csatlos
Franklin Sandoval
Callahan
Tampa
Largo
Jacksonville
Lutz
Wesley Chapel
Lutz
Englewood
St Petersburg
Ft Myers
Land O Lakes
N. Palm Beach
Ocala
St. Petersburg
St. Petersburg Beach
Deerfield Beach
Riverview
Gainesville
Apollo Beach
Tampa
Ocala
St Petersburg Beach
Miami Lakes
Brandon
Land O Lakes
Miami Beach
Professional
Student
Student
Member
Professional
Professional
Professional
Professional
Associate
Professional
Member
Associate
Member
Member
Student
Professional
Student
Professional
Member
Student
Professional
Member
Member
Associate
Student
Member
Our Convention Home
The Rosen Plaza
Hotel
www.rosenplaza.com
Florida Photographer 28
Membership
Corner
BRITNEY KIRBY FULLGRAF
We are thrilled to report that our
recent Florida Professional
Photographer membership drive
was a huge success! We welcome
25 new members to our FPP Family
and would love to thank Carol
Walker for an amazing Spring
Seminar with Alycia Alvarez where
our new members were able to
jump right in with great education
right away!
FPP Convention will be here before
we know it! Did you know the cost
of convention is already covered by
your FPP annual dues? We expect
this year to be one of the best years
ever, so mark your calendars now
for August 17th-21st so you don't
miss a single minute! We'll be at
the Rosen Plaza Hotel in Orlando
with an incredible line-up of
speakers, print competition, parties
and our annual awards banquet,
plus lots of fun surprises! You'll
definitely want to stay right onsite
at the Rosen this year. You get extra
entries to the scholarship drawing
and an extra chance for every doorprize drawing during convention!
Can't wait to see you there!
If you just can't wait for outstanding
print competition and education
from wonderful speakers, SEPPA
Convention is in Athens, Georgia
April 13th-16th. You can get a
jump start on your prints and get
the latest information from a great
line-up of instructors. If you are an
FPP member tuition is only $49!
Watch for more emails and peek in
at the FPP website for updates and
other great information. We are just
thrilled to have you as a part of the
FPP family!
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