PPGH Viewfinder March 2016 by The Viewfinder

Photo by: Sherry Piche, CPP

2 MAR 2016

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CONTENTS New Members PPGH Mee ngs/Events PPGH Image Compe

Regional Events Publisher Tom Hathcock Editor Theresa Campbell Copy Editor & TPPA Rep Nicki Evans Simpson Proof Readers Dixie Dobbins, M. Photog., Cr., CPP Karen, Bu s, M. Photog., CPP Hallie Keller, CPP Kevin Falcon Teresa Casillas Kathy Scalf

Teri

Photographers Kevin Falcon Denzal Love

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MAR 2016 1

PRESIDENT’S MESSAGE

From Our Members

Gree ngs fellow PPGH members! I hope you are all doing well and ge ng into the swing of 2016. Do you some mes feel stagnant in the progress Teri Whi aker, CPP of your technical abili es and your crea ve vision? I know this is the case with me. I have always felt my photographic growth has been very slow. Image compe on has helped me greatly and I can see the improvement in my images since I started compe ng; however, this year I began par cipa ng in a 366 Project (one image a day for 366 days…since it is leap year). I have seen others do this, but I always thought I couldn’t commit to it. On our way to Imaging USA in Georgia this year, a friend encouraged me to par cipate. I am loving it! I haven’t missed a day since I started, and no ma er how red I am, I don’t go to bed before I take my shot. The project has me con nually evalua ng my backgrounds, considering my light, using features on my camera I have not previously used, looking at everyday objects with fresh eyes and learning new ways to accomplish things in Photoshop and Painter. I know I am going to come out the other side of this project a be er photographer because a er only 60 days in this project I already see a diﬀerence in my work. I know commi ng to a 366 Project might not be a reasonable undertaking for you in this season of your life, but I would encourage you to find a crea vity project that will work for you. Perhaps a 52 Project would work for you…where you set a day (or morning) aside each week for crea vity, or if one day a week is s ll too much to ask, do a 12 Project and set aside one day a month to explore with your camera. I look forward to seeing you all at the next mee ng!

PROFESSIONAL PHOTOGRAPHERS GUILD OF HOUSTON 2016 BOARD OF DIRECTORS To contact your oﬃcers or director, just click on their name.

Chairman of the Board Belinda Stanford, M.Photog.,Cr.,CPP

Execu ve Director Tom Hathcock M.Photog.,CPP, PPGH-Past President

President Teri Whi aker, CPP

Vice-President Aileen Harding M.Photog., CPP

Director Sherry Piché, CPP

Director Orpha Garcia-Labohm

Director Alison Carlino

Director - Membership Laura Mansur, CPP

Secretary Kevin Falcon,CPP

Treasurer Nikky LaWell, CPP

PPGH COMMITTEE MEMBERS Audit Chairman: Greta Jacobs-Mee, CPP Bylaws Chairman: Tom Hathcock, M.Photog., CPP Dixie Dobbins, M.Photog., Cr., CPP Alvin Gee, M.Photog., Cr., CPP Hallie Keller, CPP Kelly Willis Clean Up Board Liaison: Teri Whi aker, CPP Ethics Chairman: Dixie Dobbins, M. Photog., Cr., CPP Mindy Harmond, CPP Hallie Keller, CPP Curley Marshall, Cr., CPP Belinda Stanford, M. Photog., CR., CPP

2 MAR 2016

Fellowship Chairman: Teri Whi aker, CPP Image CompeƟƟon Board Liaison: Sherry Piche´, CPP Chairman: Vera Brock Sandy Buller Blair Haynie, CPP Librarian Chairman: Curley Marshall, Cr., CPP Booker Shelton Membership: Chairman: Laura Mansur, CPP Sandy Buller Karen Bu s, M. Photog., CPP Kevin Falcon, CPP, Kathy Kinser, Hallie Keller, Kim Christensen, Mentor Program /CerƟficaƟon Chairman: Curley Marshall, Cr., CPP

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NominaƟng Chairman: Tom Hathcock, M. Photog., CPP Karen Bu s, M. Photog., CPP Dixie Dobbins, M. Photog.,Cr.,CPP Alvin Gee, M. Photog., Cr., CPP Kim Hartz, M. Photog., CPP Hallie Keller, CPP PPGH Workshop Series Board Liaison: Tom Hathcock, M.Photog., CPP Chairman: Teresa Casillas Procedures and Controls Board Liaison: Teri Whi aker, CPP Vicki Longoria Social Media Board Liaison and Chairman: Kevin Falcon,CPP

Telephone Board Liaison: Orpha GarciaLabohmn Karen Bu s, M. Photog., CPP, Mary Blackwell, Vera Brock, Kim Christensen, Blanca Duran Kevin Falcon, CPP, Irma Furnish, Aileen Harding, M. Photog., CPP Kathy Kinser, Nikky LaWell, CPP, Sherry Piché, CPP, Teri Whi aker, CPP Web Site Board Liaison: Kevin Falcon,CPP Web Master: Duane Blocker Marvin Labohm Welcoming Board Liaison: Curley Marshall, Cr., CPP

WHY I LIKE TO USE OFF CAMERA FLASH OUTSIDE | By Laura Mansur, CPP I admire the roman c and ethereal feel of an engagement session that is done in the golden hour with a gorgeous se ng sun. Flat ligh ng is the rage right now. There are so many customers who pursue photographers with that style. I cannot argue with an en re genera on of young photographers who are making a living at doing just that. But I ques on what will they do when that golden sun has disappeared. It’s possible to make golden sunshine with the oﬀ camera flash, if you have that knowledge. That takes forethought and planning. Hauling around a red wagon with a light stand and modifier is really quite worth the eﬀort, especially when the sky returns to its true shade of blue.

FROM OUR MEMBERS

This holiday season, I was busy photographing families for their Christmas cards. I asked myself several mes, “Is it worth the effort of hauling around my red wagon and stand with modifier?” Some mes I would look curiously at those natural light photographers , envious of how easy it is to show up to a session with just a camera. I would ask myself, “Are they ge ng light in the eyes of those faces ?” In my mind, the dilemma of natural light verses off camera flash wages on. Should I make it easier on myself and show up to my session with only my camera and reflector? But then I wonder, who is going to hold that reflector? And is it big enough to hit the faces of a family? And so I’ve come to my personal conclusion: off camera flash with a modifier is the only way to go for my personal style. It’s all about the blue sky, the rich tones of brown leaves, green grass and white blouses -which are truly white. Blow out the sky? Never! Not in my session! That happens when the ba ery is dead on my triggers, and I am no longer able to use my flash. I like to see a catch light in the eye, a shadow of the side of the face and a smooth transi on from shadows to highlights.

In the image on the le , the flash misfired and there is no light on the face. In the image on the right, the off camera flash fired and there is light on his face.

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MAR 2016 3

FROM OUR MEMBERS

UPCYCLING NEWBORN ATTIRE | By Karen Bu s, M.Photog., CPP Recently, I taught a mini workshop for PPGH and the experience took me back to my childhood. HISTORY As I reminisce about my childhood, I can visualize clothing that my mom made for my sister and me. She was an excellent seamstress. Easter Sunday, we always had special li le dresses with new Easter bonnets, ny white gloves and patent, leather shoes. One of my winter coats was fashioned from one of my mom’s worn out coats. She was so very crea ve! My mom, grandmother and great grandmother were upcycling before it was the trendy thing to do! My grandmother lived next door in a two bedroom house with a dirt floor in the basement and raised eight children during the depression. She had to be very frugal and was probably a seamstress out of necessity. She saved every scrap of fabric from her sewing projects, eventually making something useful from them such as warm quilts used to snuggle under during the cold, Wyoming winters, and aprons made out of old dresses used to keep her current dress clean to save on the laundry. My great grandmother, undoubtedly taught my grandmother to sew. Go figure! As a child, I remember visi ng her on the family homestead, a ranch seven miles out of town on Salt Creek on the edge of the Black Hills of South Dakota (home of Mount Rushmore). Going to the ranch seemed like a big trip to me. Mind you, seven miles was a long way when you lived in a town with one stop light on the two-block

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main street. One of the things about that ranch that made an impression on me, besides having to use the outhouse, which housed spiders and pages of the Sears and Roebuck catalog, were the ny, children’s stools that my sister and I would love to sit on while visi ng. These clever stools were fashioned out of four large metal juice cans which were covered with le over scraps of fabric. I would imagine that several layers of fabric were used to pad the seat, with the less colorful fabric hidden underneath so nothing went to waste! The stools sort of looked like calico, fourleafed clovers with li le looped handles for easy mobility. I also remember playing with a handmade, child sized barn. All of the animals inside were carved out of scrap lumber and were embellished with le over paint. Upstairs, the brass feather beds were adorned with hand-s tched quilts and embroidered tea towels hung in the kitchen. Once a week, my great uncle Harley would drive his pickup truck with a water tank in the back end to town to fill it with water and then haul it back to the ranch (seven miles, mind you)! The water was then carried by the bucke ul into the house to be stored in a crock. From there it was heated on the stove so dishes and li le faces could be washed. Not a drop of water was wasted nor was anything else. I am so grateful that my mom passed her gi of sewing on to me! At the tender age of seven, she introduced me to my first sewing project and it wasn’t an easy one! It was a blouse with a yoke, piping, set-in sleeves, cuﬀs, a collar and bu on holes. On top of that, it was plaid, no less! When cu ng out the pa ern, you had to carefully plan the placement, making sure that your plaids matched at the side seams and lined up ver cally, too. This project was quite challenging for a seven year old! I wonder if it looked as good as it did in my mind?! LOL! As a teenager, I made a lot of my

own clothing, because I could get more for less. I received a lot of handme-downs from an aunt who was about eight years older than me. Of course, they were out of style by the me I grew into them, so, I would take the clothing, cut it up and remake it into something more trend se ng. Growing up in a small town in Wyoming, there were no malls or chain stores, let alone a bridal shop. So of course, I made my wedding dress, too. I con nued to sew all of my life, including making clothing for myself and my daughter and even made jams for my boys. I also made drapes, pillows and other items for our home. I remember making a patchwork dress out of scraps when I was pregnant with my first child. I also made a patchwork vest out of my husband’s outdated silk es. When my daughter was a gymnast, I made her leotards to save money. Her teammates loved them, so “Leapin’ Leos” was born; a li le business which featured custom, fit leotards. So, I guess I come by upcycling quite naturally. Upcycling isn’t a new thing to me, at all! In the past, I upcycled to be thri y, but now I do it to help save the planet and enjoy the thrill of the challenge!

WORKSHOP Recently, I taught an all-day PPGH workshop to seven guild members, some were old friends and some were new members. I thoroughly enjoyed spending the day bonding with these lovely ladies and witnessing their joy as they worked on their crea ons. It must have been similar to a quil ng bee from days gone by. As the day progressed I began to realize what a gi my ancestors had given me! Making these miniature crea ons

just came naturally to me, beginning with the thrill of the hunt through the brainstorming process of crea ng the final design. Teaching this workshop made me realize how much I had learned from my ancestors. There was so much to teach and so li le me in the all day workshop, that I wanted to share more of my knowledge to the workshop attendees and other guild members.

UPCYCLING ELEMENTS

UPCYCLING TIPS

usually suggests that it is dry cleaned or hand washed in cool water, I like to wash it in hot water and then dry it in the dryer to inten onally shrink the fabric. This also causes the wool to “felt.” The fibers will then cling more ghtly to each other and become stronger and less likely to fray. The sweater will also become thicker and take on a diﬀerent appearance. • TEXTURE AND THICKNESS: The texture of the garment will impact your composi on. If it is a large cable knit or other design, it will have a lot of dimension and create shadows and highlights which will become part of the design. Some sweaters will be too thick for a ny newborn. Others will be delicate and open-weaved which will make it necessary to photograph the baby without a disposable diaper as it will show through the open weave. You will definitely be washing your set a er the session! • DESIGNING YOUR OUTFIT: Before cu ng, lay out your diﬀerent pa ern

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FROM OUR MEMBERS

THE HUNT: I thoroughly enjoy this journey. It gets me out of the house and away from edi ng in Photoshop or pain ng in Corel Painter. Frequen ng Goodwill stores and garage sales are just a few of the places where I find pieces of clothing that I can upcycle into a li le ou it for a newborn. There are several things that one must consider when selec ng a garment of clothing for this transforma on. • COLOR AND SHEEN: Search for solid colors that will work well with your favorite color pale es. Variegated yarns tend to be too busy. It is a good idea to take your background or basket stuﬀer along with you when you are shopping for garments to try and make sure the colors coordinate. For newborns, I recommend neutrals and so pastel color pale es. If you like living on the edge, you can go vibrant, but be careful! Stay away from fabric and yarn that has a sheen! The surface will reflect the light and be distrac ng in your image. You may want to take a look at my Pinterest page (h ps://www. pinterest.com/karen_bu s1/) and study my boards on color harmony, color schemes (such as triadic and complementary), composi on, upcycled newborn props and other newborn ideas. • FIBER CONTENT: Before you purchase the garment, take a look at the fiber content listed on the tag. The piece of clothing should be washable for obvious reasons. I always wash the garment before I create the newborn a re! If the sweater is wool, the tag

pieces to see what parts of the sweater will work best for you garment. Consider the decorave design of the sweater. If you plan well, you can make li le pants or bib overalls, several hats, and have enough le over for a mini blanket or a “doughnut cover.” Whenever possible, use the finished edge of the sweater for the finished edge of the bo om of the pants. Some mes you may want to turn it upside down and use the finished edge for the top of your garment. Don’t forget about using the sleeves! You can usually fashion a pair of pants out of the sleeves. • CONSTRUCTION: Be sure and place your pattern on the straight of the grain as it will aﬀect the finished garment. If it is not cut straight, it will tend to twist. It is important to analyze your fabric to see how much it might unravel. If it unravels easily, use a finishing s tch that will help bind the seams together and prevent it from unraveling. • INSPIRATION: Keep an open mind and let the garment “speak to you” to help you with your crea on. Save the spare pieces for making embellishments such as a ny flower for a matching headpiece. Don’t let your crea vity stop with newborn a re. There are a lot of other things that you can make for yourself by upcycling such as hats, leggings scarves, vests jackets, and mi ens to name just a few. You can also see more ideas for yourself on my Pinterest page. Have fun and help save the planet!

FROM OUR MEMBERS

THE HOME STUDIO | By Nicky LaWell, B.F.A., CPP

THE HOME STUDIO. It conjures many cozy ideas for people who are thinking about leaving office space. Before you decide, there are some things to think all the way through. Office space, shared space and home space all have their pros and cons. However, the home studio can become very personal. Everything about your home is silently cri qued by your clients. The style of the house, size, loca on, landscaping and of course, the decor. Customer service must be top notch to aid in removing any hesita ons about quality they might have. You’re kidding yourself if you think you can keep your living space separate from work space unless you have a separate building (garage apartment, etc.). A por on of my work is of large families. O en they are overflowing into my living room, and the children are coloring at the breakfast table during the break downs. This isn’t a bad thing. Just remember to discuss the meline and where everyone will wait in your consulta on. My clients love being in a home environment, and I play up the posi ves. One of the posi ves is a homey feel, not similar to a doctor’s office or office building. A long me ago, I worked in one of those buildings. We were always figh ng traffic to get there for sessions. They had a security guard, ample parking, maintenance, landscaping and a cleaning crew, awww, the cleaning crew. I do miss the cleaning crew, and that’s something to seriously consider, as you will now become the waste management CEO, translater, trash detail, etc.. There’s also KP, “kitchen patrol.” Be careful not to cook certain foods before sessions. Garlic and onion might be great for Emeril’s new recipe, but it doesn’t fit in with warm cookies baking or a comfor ng vanilla fragrance. Let’s see, trash patrol, kitchen patrol, next is pet patrol, if you have the cri ers. Marbles, our hamster, was an escape ar st. He was found behind the backdrops

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in the camera room, on top of the dishwasher and then in my daughter’s chest of drawers. Fortunately, a client never saw him scurrying about. Then there are the badly behaving dachshunds, Sampson and Peanut, to contend with. Sampson made it past the barricade into the camera room and promptly pooped at the feet of my client to protest being exiled to the backyard. Thankfully they (s ll) are long me clients and dog lovers, who laughed at the incident. Besides the pets, there are the humans that live there to think about. My daughter is older now and we’ve passed some of the growing pains of a home studiosharing your home with people all the me. She has learned the rou ne of keeping her shared bathroom and the living room clean. When she was younger, we did have a learning curve. She had to learn not to interrupt a session, unless it was blood or fire. If she interrupted, she had to face the client and apologize. One day she ran in, looked at the client, apologized for interrup ng and then looked at me and cried, “blood.” Sure enough, a bike fall had le a gash and a stream of blood running down her leg. Over the years, there have been a moth invasion and a call to the exterminator, an ant invasion and another call garbage disposal repair by an unhappy repairman yelling in Russian, backed up toilets while families are pulling in the driveway, and a call to a different plumber, and lots of miscellaneous crazy homeowner things that have happened. Overall, home studios aren’t all bad. I have fresh flowers from my garden for sessions- just make sure they don’t have bugs, most li le girls don’t appreciate spiders popping out. The commute to my office is right across the hall. I get to work on produc on in my robe and slippers, while drinking lots of coffee. I save on gas and dry cleaning! For me, the best part of a home studio is being with my daughter, although she might prefer a building with a cleaning crew.

WELCOME JEANIE GALVANNI

I am a native Houstonian who attended private school and graduated from Incarnate Word Academy High School. I received a scholarship to Houston Baptist University where I pursued a nursing career. After leaving HBU, I transferred to University of Houston to study graphic arts and photography. I was fascinated with what could be done with a camera, light, developing film, and at that time, the process of developing paper. After graduation, I worked at both in-store photography studios and graphic studios. I later transferred into sales and production, working with my dad in his printing company. When my dad retired, he left me as part owner of his printing company, which I ran for 10 years before deciding to move to another company that allowed more freedom with my time. For 15 years, I worked for that company as a sales account manager, specifically with the graphic art and advertising industry. Throughout my career, I still carried my camera with me at all times and studied photography. I was also busy raising four kids. I have three children that are grown and out of college and a 13-year-old in seventh grade. My husband and I had been working toward me taking my love of photography on as a full time job. I had been photographing sports action photography with the little league for several years, as well as some small weddings and family portraits, and seemed to be getting busier. I was laid off last June and we decided if not then, when was the better time to give it a go? So here I am, Photography by Julia. I have been encouraged and inspired by Alison Carlino, and I believe I have taken every class she has offered. She really encouraged me to believe in myself. Thank you Alison! I love Julia Kelleher's work with newborns. I am still deciding on my exact genre of photography. I am inspired by the innocence of childhood and the sweetness of a baby’s smile. I love colors and seeing the response on people’s faces when they see the love I have captured in an image. I love telling stories in my images.

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NEW MEMBERS

FAITH. Health issues at an early age taught me how important time is. Had it not been for Systemic Sclerosis, I would not be the person I am today. The condition has a name, but has not labeled me, “life over.” Although Scleroderma has taken many abilities from me, it has given a great deal more – strength and courage. And it is with this badge, I endeavor new experiences and goals. DEDICATION. It has taken much work and time, but my CV is brilliant. I have lived and worked in London as a picture researcher with an International Photo Library (Imagestate), I have had internships at some of the biggest museums in London (The Tate Modern, Victoria & Albert Museum), and Istudied abroad in Puebla Mexico (through full scholarship from undergraduate school), and I recently left a position at the University of Texas Health Science Center in Houston, after eight years as a graphic designer to complete my graduate studies degree (with an emphasis in photography). I have two undergraduate degrees in Fine Arts (photography and advertising graphic design) at Sam Houston State University. Currently, I am a graduate student at the University of Houston Clear Lake, enrolled in the Digital Media Studies Masters Program (DMST). I have grown so much as an artist in the past few years, expanding my knowledge of various medias including – illustration, 3D modeling, video, animation, and my long love, photography. FUTURE. What is sought? I believe new experiences are vital to creating fresh and exciting work. I feel fortunate that the last few years have included travels to Ireland, Italy, England, Scotland, Chicago, and New York and that these experiences have allowed creation of new pieces. With health issues that arise, travel is a bit more planned, but that could never be given up. Steps taken now are a bit shakey at times, but art allows my spirit flight.

JULIA GARZA

PPGH MEETINGS & EVENTS 8 MAR 2016

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PPGH MEETINGS & EVENTS

March 15, 2016 5:00 - 9:30 pm First Unitarian Universalist Church 5200 Fannin St., Houston, TX 77004 Register at www.ppgh.org THE VIEWFINDER

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PPGH MEETINGS & EVENTS 10 MAR 2016

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PPGH MEETINGS & EVENTS

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MAR 2016 11

JANUARY IMAGE COMPETITION WINNERS

First Place Master Evangeline by Karen Bu s, M. Photog., CPP 12 MAR 2016

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JANUARY IMAGE COMPETITION WINNERS

Second Place Master The Boss Wants to See You by Dixie Dobbins, M.Photog., Cr., CPP

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JANUARY IMAGE COMPETITION WINNERS

Third Place Master My Security Bucket by Karen Bu s, M. Photog., CPP

14 MAR 2016

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JANUARY IMAGE COMPETITION WINNERS

First Place Ac ve Say What!? by Kim Kuhlman, CPP

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JANUARY IMAGE COMPETITION WINNERS

Second Place Ac ve ( e) A Hard Life in Peru by Laura Mansur, CPP

16 MAR 2016

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JANUARY IMAGE COMPETITION WINNERS

Second Place Ac ve ( e) What are YOU Looking At? by Kim Kuhlman, CPP THE VIEWFINDER

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JANUARY IMAGE COMPETITION WINNERS

Third Place Ac ve D’Artagnan by Sherry Piche, CPP 18 MAR 2016

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