A publication of the GCA Photography Committee | January 2021 | Volume 55
January 2021 . page 2 In This Issue Photography Committee Remarks . . . . . . . . 2 Table of Contents . . . . . . . . . . . . . . . . . . . . . 2 Imagine the Possibilities! 2021 GCA Photo Conference . . . . . . . . . . . . 3 Focus Contest Recap . . . . . . . . . . . . . . . . . . . 3 FYI: Attchable Lenses for Smartphone Cameras . . . . . . . . . . . . . . . . . 33 Focal Pointers . . . . . . . . . . . . . . . . . . . . . . . 70
2020 Focus Contest Winners . . . . . . . . . . . . 3 Nurture, GCA Zone Show VII . . . . . . . . . . . 40 Pizzazz, GCA Zone Show V . . . . . . . . . . . . . 50 Club Shows: Best in Show Winners . . . . . . . 64
As we joyously leave 2020 behind and snuggle in during the cold days of January, I hope that this issue of Focus brings you warmth and delight as you savor the gorgeous winning images from the Focus contest plus club and zone photography shows. When the pandemic set in and almost all photography shows were cancelled, I worried about how we would fill the pages of future issues. But l should not have worried; GCA clubs quickly adapted to the ‘new normal’ and successfully held virtual shows. Photography judges also adapted and judged the shows on Zoom or conference calls. The judges often had the opportunity to study the images carefully before collaborative judging began which sped up the process. As always, we have terrific articles that will stimulate your creativity and enhance your skills. So, sit back and lose yourself in the beauty of the images created by your fellow GCA members.
Cover Photo: Susan Hilpert Monadnock GC, Zone I
Debbie Laverell Editor, Focus Magazine
Index of Photographers . . . . . . . . . . . . . . . . 72 Submissions to Focus . . . . . . . . . . back cover Features Minimalism in Photography, by Vance Lewis . . . . . . . . . . . . . . . . . . . . . . 34 Learning to See Creatively, by Shelley Galloway . . . . . . . . . . . . . . . . . . 37 Long Exposure Photography, by Jean Jarvis . . . . . . . . . . . . . . . . . . . . . . . 45 More Creative Techniques, by Debbie Laverell . . . . . . . . . . . . . . . . . . . 57 How to Calibrate a Monitor, by Kimberly De Camp . . . . . . . . . . . . . . . . . 62 Flower Show Photographs
In a year that definitely needed brightening, Debbie Laverell came through for the GCA by creating ‘America the Beautiful,’ a fabulous photography contest open to all. This issue showcases the winners, but I especially want to congratulate Debbie for the generosity of time and dedication she devoted to imagining and managing the contest. From crafting the inventive schedule, to organizing judging panels for 12 classes, to tabulating results, she ran the show, and what a show it is! In addition to showcasing the contest winners, there is so much in this issue to read and enjoy. I hope that you will take your time with it, savor the photos, read through the articles, and come back to it time and again. There is a wealth of information and inspiration within these pages to get your 2021 photography year off to a great start! Chris Wood Chairman of the Photography Committee
January 2021 . page 3
GCA PHOTOGRAPHY CONFERENCE Thursday, January 21: 11:00 a.m. - 1:00 p.m. Eastern - Morning Session 3:30 p.m. - 5:45 p.m. Eastern - Afternoon Session
phones we carry with us. Magic can happen with a camera in our hands, and our speakers will show you how.
What to Expect In this first ever GCA Photography Conference, we will showcase the power of the lens to capture our natural world and hope to inspire you to find your own vision through your own lens. Though photography is a two-dimensional art form, it has the capacity to bring to life the multi-dimensional world we live in. It is a technical medium, yet virtually all of us now have access to it through the
We will travel to the Great Plains with the GCA’s first national photography medalist. We will see how book arts, poetry, and photography can combine to create a meaningful personal project. We will learn how to make images that express what we are seeing, thinking, and feeling. Our own GCA speakers will answer the often-asked question: “How did she do that?” At the end of the day, we truly want you to “Imagine the Possibilities”! Registration is free and open to all GCA club members!
Click here to register
‘America the Beautiful’ Focus Contest Results
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e are delighted to present the winning images of the 2020 contest. Among our winning photographers may be names that are familiar to you, but there are also many new participants, some entering for the very first time! The winners all share one thing in common: well composed, creative approaches to the classes they entered. Tabulating the contest scores produced some interesting results as we had five dead-heat ties: for Best in Show, first place in Class 11, third place in Class 12, and HM in Classes 2 and 6. We are happy to be able to recognize and celebrate both winners in each of these ties. This year we had record breaking interest in the contest:
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In less than 30 days, all classes were filled. There were 219 entrants from 96 GCA clubs, representing all 12 GCA zones. 870 GCA members cast votes. There were ties in four of the classes, and also for Best in Show; the two BIS winners each received 43% of the vote in their respective classes.
Now sit back and enjoy viewing the amazing winning photographs from GCA’s talented photographers!
January 2021 . page 4 TIED for BEST IN SHOW: ‘America the Beautiful’ Focus Contest 2020
Best in Show Jean Jarvis Piedmont GC Zone XII Class 3: Purple mountain majesties
January 2021 . page 5 TIED for BEST IN SHOW: ‘America the Beautiful’ Focus Contest 2020
Best in Show Emily Caspersen GC of Somerset Hills Zone IV Class 10: Undimmed by human tears
January 2021 . page 6 CREATIVIY AWARD: ‘America the Beautiful’ Focus Contest 2020
Creativity Award Ruthie Kelly The GC of Houston Zone XII Class 11: Oh beautiful for patriot dream
January 2021 . page 7 FOCUS EDITOR’S CHOICE: ‘America the Beautiful’ Focus Contest 2020
Focus Editor’s Choice Award Sally DeWees The GC of Wilmington Zone V Class 12: Crown thy good with brotherhood
January 2021 . page 8
Class One: Oh beautiful for spacious skies. A color landscape with an ultra-dramatic sky.
First Place Jan George The GC of Honolulu Zone XII
January 2021 . page 9
Class One: Oh beautiful for spacious skies. A color landscape with an ultra-dramatic sky. Second Place Heather Ames Monadnock Garden Club, Zone I
Third Place Liz Montanari Ridgefield Garden Club, Zone II
Honorable Mention Peg Codey Garden Club of Madison, Zone IV
January 2021 . page 10 Class Two: 2- For amber waves of grain: A photograph of a farmer’s crop captured in an unusual manner. (Crop must be grown in the ground - not on trees)
First Place Ryn Clarke Shaker Lakes GC Zone X
January 2021 . page 11 Class Two: 2- For amber waves of grain: A photograph of a farmer’s crop captured in an unusual manner. (Crop must be grown in the ground - not on trees) Tied for Second Place Joann Cornelius The Portland Garden Club, Zone XII
Tied for Honorable Mention Connie Owen The Virginia Beach Garden Club, Zone VII
Tied for Second Place Kerry Valentine Tacoma Garden Club, Zone XII
Tied for Honorable Mention Andria Moldzio The Lake Minnetonka Garden Club, Zone XI
January 2021 . page 12 Class Three: For purple mountain majesties: A majestic mountain landscape. (plant material required)
First Place Jean Jarvis Piedmont GC Zone XII
January 2021 . page 13 Class Three: For purple mountain majesties: A majestic mountain landscape. (plant material required) Second Place Janine Avis, Four Counties GC, Zone V
Third Place Suzette de Tourenne, Seattle GC, Zone XII
Honorable Mention Anne Green, Greenwich GC, Zone II
January 2021 . page 14 Class Four: Above the fruited plain: A photograph of fruit growing or harvested in a natural setting.
First Place: Catherine Dolan Sand Hills GC Zone VIII
January 2021 . page 15 Class Four: Above the fruited plain: A photograph of fruit growing or harvested in a natural setting. Second Place Claire Mellinger, Albemarle GC, Zone VII
Third Place Polly Beal, Green Tree GC, Zone XI
Honorable Mention Helen Chambers, River Oaks GC, Zone IX
January 2021 . page 16 Class Five: From sea to shining sea: A photograph of shimmering water which captures the rays of the sun or moon.
First Place Ann Mitchell Sand Hills GC Zone VIII
January 2021 . page 17 Class Five: From sea to shining sea: A photograph of shimmering water which captures the rays of the sun or moon. Second Place Marianne Sulser, GC of Denver, Zone XII
Third Place Mary Lou Righellis, Piedmont GC, Zone XII
Honorable Mention Susan Hilpert, Monadnock GC, Zone I
January 2021 . page 18 Class Six: O beautiful for pilgrim feet: An intimate scene of a pathway, allĂŠe or street which does not include the sky. (plant material required)
First Place Glenn Shaw Greenwich GC Zone II
January 2021 . page 19 Class Six: O beautiful for pilgrim feet: An intimate scene of a pathway, allĂŠe or street which does not include the sky. (plant material required) Second Place Brooke Mallory, GC of Hartford, Zone II
Third Place Georgiana Watt, Fauquier and Loudoun GC, Zone VII
Honorable Mention Marta Nelson, GC of Norfolk, Zone VII Honorable Mention Jane O’Farrell, Perennial Planters, Zone II
January 2021 . page 20 Class Seven: Across the wilderness: A photograph capturing the essence of wilderness which includes an animal/s in nature.
First Place Susan Strawn The Gertrude Windsor GC Zone IX
January 2021 . page 21 Class Seven: Across the wilderness: A photograph capturing the essence of wilderness which includes an animal/s in nature. Second Place Jolie Roze, Seattle Garden Club, Zone XII
Third Place Karen McCormick, Magnolia GC, Zone IX
Honorable Mention Laurie Jacobs, Shaker Lakes GC, Zone X
January 2021 . page 22 Class Eight: God mend thine every flaw: A closeup or macro image of a deconstructed or deteriorating flower or plant.
First Place Phyllis Russell Paducah GC Zone VII
January 2021 . page 23 Class Eight: God mend thine every flaw: A closeup or macro image of a deconstructed or deteriorating flower or plant. Second Place Stephanie Young, Paducah GC, Zone VII
Third Place Kari Pietsch-Wangard, Kettle Moraine GC, Zone XI
Honorable Mention Yoni Mayeri, Orinda GC, Zone XII
January 2021 . page 24 Class Nine: Thine alabaster cities gleam: An urban scene which contains striking reflections.
First Place Chris Wood Noanett GC Zone I
January 2021 . page 25 Class Nine: Thine alabaster cities gleam: An urban scene which contains striking reflections. Second Place Susan Seidel, Pasadena GC, Zone XII
Third Place Charlee Reed, Seattle GC, Zone XII
Honorable Mention Dana Parker, The Virginia Beach GC, Zone VII
January 2021 . page 26 Class Ten: Undimmed by human tears: A raindrop or water drop image. (plant material required)
First Place Emily Caspersen GC of Somerset Hills Zone IV
January 2021 . page 27 Class Ten: Undimmed by human tears: A raindrop or water drop image. (plant material required) Second Place Anne-Marie Woodhouse, Noanett GC, Zone I
Third Place Anastazja Panek-Tobin, Stony Brook GC, Zone IV
Honorable Mention Taddy Dawson, The Weeders, Zone V
January 2021 . page 28 Class Twelve: And crown thy good with brotherhood: A photograph which includes two or more people engaged in an activity that suggests the feeling of a close bond.
First Place Mary Trehan The Stamford GC Zone II
January 2021 . page 29 Class Twelve: And crown thy good with brotherhood: A photograph which includes two or more people engaged in an activity that suggests the feeling of a close bond. Second Place Mary Elizabeth Smith, The GC of Jackson, Zone IX
Tied for Third Place Helen Groos, Alamo HeightsTerrell Hills GC, Zone XII
Tied for Third Place Karen Coakley, Fort Orange GC, Zone III
Honorable Mention Patricia Fulmer, Village GC of Sewickley, Zone V
January 2021 . page 30 Class Eleven: O beautiful for patriot dream: A photograph using creative techniques of a dreamy or ethereal garden scene
Tied for First Place Evgenia Blossom GC of Dublin Zone I
January 2021 . page 31 Class Eleven: O beautiful for patriot dream: A photograph using creative techniques of a dreamy or ethereal garden scene
Tied for First Place Caroline BorgmanSchutts, Glenview GC, Zone VII
January 2021 . page 32 Class Eleven: O beautiful for patriot dream: A photograph using creative techniques of a dreamy or ethereal garden scene Second Place Cindy Seibert, GC of Barrington, Zone XI
Third Place Sheila Melville, GC of Orange and Dutchess Counties, Zone III
Honorable Mention Mary Turner, Seattle GC, Zone XII
Now for an extra treat, click the link below to view a musical slide show with all full size winning images.
america the beautiful slideshow winners
January 2021 . page 33
FYI
ATTACHABLE LENSES FOR SMARTPHONE CAMERAS
By Susan Brewer, Garden Club of Darien, Zone II
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ot so long ago, amateur photographers used small point and shoot digital cameras, but these gave way to cell phones as the camera of choice. For high quality photographs, serious and professional photographers chose and continue to use large and heavy DSLR cameras. DLSR cameras have the advantage of having much higher resolution images, larger sensors, and interchangeable lenses such as wide angle, macro, telephoto, and fisheye. The quality of smartphone cameras continues to improve; they are now capable of taking excellent quality pictures. You know the names: iPhone, Samsung, Google Pixel, Motorola Moto and more. But did you know that there are a wide range of lenses that you can buy to affix to your smartphone camera? These attachable lenses are substantially less expensive than those for DSLR cameras. For a small investment, you can get results with your camera phone that are comparable to the images from a DSLR camera. Plus, your phone is light weight, easy to carry, and always with you. You can purchase a variety of lenses individually but there are also kits available where for one price, you get several lenses. A great example of
an attachable lens kit is the Olloclip Multi-Device Clip with a 3-in-1 Essential Lens Kit. It includes a fisheye, a super wide angle, and a macro lens all in one device. It is compatible with iPhone 11, Pixel and Samsung Galaxy smartphones. There is no trick to using these lenses. When you attach one, the image you see on your phone screen reflects what the lens is seeing. For example, a macro lens lets you put your phone right up to the subject, focus with your finger on the screen and take the picture. The telephoto lens enables you to zoom into a subject in the distance without losing resolution. These lenses make it possible to create images that were not possible before with a standard smartphone camera lens. Think about the evolution of the camera. Within the last twenty years, digital cameras replaced film cameras. Now, the market for high-end DSLRs has shrunk as smartphone cameras have improved and evolved. Are you ready to take the next step and start experimenting with lenses? You will have so much fun and be amazed at the images you can create using these lenses.
Top: Olloclip Lens Kit Bottom: Three-in-one Essential Lens Kit
January 2021 . page 34
minimalism in photography By Vance Lewis,The Little Garden Club of Memphis , Zone IX Photographs by Debbie Laverell, The Garden Workers, Zone V
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ccording to the website, Expert Photography.com, the number one trend in photography in 2020 was minimalism. One reason this trend has emerged is that more and more people are looking at smaller screens (their phone) or on sites such as Instagram or Facebook. Minimalism in art exposes the essence, essentials, or identity of a subject through eliminating all non-essential forms, features or concepts. In this article, I cover six elements to consider as you practice composing minimalist images. Thinking about these will help you to convey your message and the emotions or thoughts you want the viewers to have.
Simplicity Incorporating a minimalist aesthetic in your photography requires thought and careful execution to create a compelling work of art. It is important to have a striking or engaging subject. Once you have chosen your subject, decide which details are essential to understanding the subject. The challenge is to determine how much information to keep within the frame. Because the image frame will contain so little, it is important to think about the nature of your subject and how its position within the frame will create an impact on the viewer. The isolated subject must draw the viewer to the photograph
Positive and Negative Space Consider how the empty space (negative space) complements the positive space (the subject). In minimalist photography, the subject must be the strongest element of the shot even though it may be a relatively small area within the frame. The negative space (empty space) in the frame is a key element that determines how freely the eye moves through the photograph and directs the eye to a place to rest. Negative space can be found in an overcast or clear sky, a calm lake, a blanket of snow, a haze of fog or an unadorned wall. The balance between the subject and the negative space should create impact or tension.
January 2021 . page 35 Because the frame will contain so little, it is important to think about the nature of your subject and how its position in the frame will create an effect on the viewer. If possible, select a depth of field that will make the subject stand out and be dominant against the background. Make sure your subject is sharply focused. Color
Composition Achieving a strong compositional element in a minimalist image is key to enhancing the impact of the shot. If the elements in your shot are not properly composed, the viewer will quickly lose interest. Using the rule of thirds helps anchor the subject and move the eye from left to right or top to bottom. The rule of thirds technique also creates balance without perfect symmetry. This is vital in minimalist photography where the subject might be the smallest element in the frame but, once the eye lands on it, it becomes the most significant.
Too much color can be distracting. When shooting a minimalist image in color, it is important to keep it to just one or two complementary colors. The right use of color can bring a huge wow factor to the frame but too many competing colors take away from the simplicity of the image. Also, a subject that is a pop of color within a neutral negative space is a strong element that draws the eye. Think of a red cardinal against white snow. Converting your color image to black and white can create several moods in a minimalist image: haunting, dystopian, reflective. It is important to study the image and make sure there are sufficient contrasts in the tones so that the subject stands out. A combination of black and white plus a splash of color can also be impactful. The contrasts should feel harmonious and bold.
January 2021 . page 36 Leading lines Lines are a useful compositional technique to draw the viewer into an image or to convey a sense of depth or distance. In minimalist photography, strong and leading lines are more important than ever to draw a viewer into a composition. They are vital in adding meaning to a composition where the subject matter is scarce. Lines can convey isolation, connection, depth and distance in a simplistic but meaningful way.
Geometric patterns can make powerful minimalist images. Architecture is a great place to find geometric patterns: walls, staircases, windows, bridges. When emphasizing a pattern, it is important to pay attention to the light and contrast to get the maximum effect from the pattern. In summary Textures and Patterns Some minimalist photographs are based purely on texture, yet they grab attention without a distinct subject. An engaging surface might have a certain direction to the texture that could aid the composition. The use of light is a key element in this kind of photograph. Enhancing the texture brings out the contrast so that the viewer can “feel� what they are seeing.
A simple, well composed photograph can create a powerful response. Practicing minimalism is also an excellent way for a photographer who is learning compositional techniques to improve their photography and create memorable images. Minimalism can help you transform moments or objects into unique photographic works of art. Keep this in mind when out shooting and look for subjects that would be effective in a minimalist image.
January 2021 . page 37
Learning to See Creatively By Shelley Galloway, Kenilworth Garden Club, Zone XI Photos by the author
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earning to see creatively in photography is a bit like cross training, involving various “emotional” and “physical” muscle groups and aptitudes. Like any athlete or artist in training, the first thing is to prepare your mind. Julia Cameron in her book, The Artist’s Way, suggests writing at least three pages in a journal each morning. This practice frees the mind from clutter and intrusive thoughts. Amazingly, creative insights flow out of these musings and your “to do” list slips into the background. Another book which takes us a step further is, Writing Down the Bones, by Natalie Goldberg. She shows us how writing on a simple prompt like “talking about the quality of light coming in your window” can jump start your creative flow. Meditating for even ten minutes can channel the creative energies in your subconscious mind. If you are out for a walk or practicing
your “Forest Bathing,” take a few minutes in one spot, close your eyes, and focus on the sounds and smells of the location. Activating your senses can calm the mind, preparing you to take in the expanse of the visual world. As Minor White advised in his article, “Your Concepts are Showing” in American Photography, think of your camera as an extension of your vision. The shapes, colors, shadows, and patterns you see can reflect your own thoughts and emotions and the images you create can tell your personal story. Use your camera as you would wield a pen or a brush. Pick a color, an emotion, a word, or be inspired by a favorite poem or the words of a song to guide your photographic musings. David Ulrich in his book, Zen Camera, recommends taking at least 100-200 images a week, creating a visual “journal of thoughts and impressions.” If a theme arises in
January 2021 . page 38
your wanderings, continue down that path. Once energized you might find that several thematic portfolios are unfolding. Walk down each of those paths and see where they lead. Amazing intersections can often appear. Try to capture a dream, a memory, or a sense of magic. During this time of Covid 19, I have been looking for connection to family and my past. Wandering through historic cemeteries has
led me to contemplate on the themes of loss and remembrance. Shuttered and decaying structures catch my eye and convey a sense of impermanence and melancholy, emotions that can fuel a creative journey. Equipment is also a part of cross training. It is essential for the photographer to be comfortable with their camera and its tools, whether that is a DSLR or a smartphone camera. Shooting on long
shutter speed with motion blur can emphasize the emotional impact of a scene. Multiple exposure or image overlay in-camera can also create stunningly complex images without post-processing. Playing with white balance or using exposure compensation can also add depth to your creative process. Take the camera off auto mode and use the camera’s manual settings to create what you envision.
A smartphone camera also has advanced settings to inspire your artistic vision. Try a vertical pan, and if available, use your zoom or wide-angle lens or try the different filters or light settings in portrait mode. Shots made in “live mode” can also be turned into slow shutter blur images for that mysterious element. Post-processing is also part of learning to “see creatively.” Compositing and layering in
January 2021 . page 39 photoshop, editing with Nik filters or Topaz plugins can add new dimension both thematically and artistically to your images. Apps can inspire your artistic flare – some turn your photograph into a painting and others allow you to subjectively choose your color palette or add textures to your image. Playing with the capabilities of the apps often directs my thematic path. Find a photo buddy to walk with as your creative crossflow will inspire you both. Look at the work of important photographers and
follow current ones on Instagram. Researching art movements and their tenets can also provide direction to your work. Or search on-line; there are many mentors and teachers whose online presence and courses can direct your photographic explorations. Eddie Soloway, Douglas Beasley and Laura Valenti are just a few that focus their courses on tools and practices which will help to develop your artistic voice and vision. Think about keeping a journal of your portfolio ideas to help inspire your creativity.
Have fun and be brave in your photographic journey!
January 2021 . page 40
Connie Owen The Virginia Beach GC Zone VII Show Nurture A GCA Zone Flower Show Hosted by Zone VII November 20, 2020 Virtual Class: Prepare the Soil - an agricultural landscape Best in Show and First Place Judges Comments: “A unique perspective that has been exquisitely captured.”
January 2021 . page 41
Stephanie Young Paducah GC Zone VII Show Nurture A GCA Zone Flower Show Hosted by Zone VII November 20, 2020 Virtual Class: Plant the Seed, Close-Up Creativity Award and First Place Judges Comments: “The combination of forms, texture and light come together to create a technically superior composition and image.” CA Citation: “This is an immensely creative capture of a milkweed pod.” Asclepias physocarpa. Giant Jewel Tree
January 2021 . page 42
Blair Matthews Louis Glenview GC Zone VII Show Nurture A GCA Zone Flower Show Hosted by Zone VII November 20, 2020 Virtual Class: Water Wisely - An Image featuring water First Place Judges Comments: “Shape, texture and repetition of form create a pleasing rhythmic composition.”
January 2021 . page 43
Penny Dart Warrenton GC Zone VII Show Nurture A GCA Zone Flower Show Hosted by Zone VII November 20, 2020 Virtual Class: Fertilize and Feed First Place Judges Comments: “Sophisticated, well executed still life composition that incorporates color harmony, dynamic line and textural interest.�
January 2021 . page 44
Missy Janes Fauquier and Loudoun GC, Zone VII Show Nurture A GCA Zone Flower Show Hosted by Zone VII November 20, 2020 Virtual Class: Bloom Color - Cultural Landscape First Place Judges Comments: “A superbly crafted cultural landscape with strong dynamic fence lines; beautifully lit and well-executed composition.”
January 2021 . page 45
Long Exposure Photography By Jean Jarvis, Piedmont Garden Club, Zone XII; photos by author
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n photography, shutter speed or exposure time is the length of time when the digital sensor inside the camera is exposed to light, also when a camera’s shutter is open when taking a photograph. Long exposure photography is when you use a much longer shutter speed than normal, and it is usually used to achieve a certain effect. These effects can include artistic landscapes, motion blur, and capturing deep depth of field with a low ISO while photographing in low light. Long exposure photography can be achieved with a camera or a smartphone.
WHEN TO USE LONG EXPOSURE 1. To capture motion or for creative effects You can make ocean waves, waterfalls, cascading rivers look silky smooth in a scene while maintaining sharp focus and minimizing movement of the static objects within the frame.
Long exposure shots require a slow shutter speed which DSLR cameras can manage with ease when mounted on a tripod. iPhone cameras, on the other hand, cannot alter shutter speeds, but with IOS updates and an iPhone 6 or later you can achieve the long exposure effect using your iPhone without requiring any extra equipment. In this article I focus on moderately long exposures of up to a few minutes, versus ultra-long exposures of many minutes used for capturing star trails, the Aurora Borealis or the Milky Way, which require separate considerations.
1/5th second at f/3.5
You can also move your camera gently while the shutter remains open during a long exposure capture to achieve a surreal effect.
1/15 second at f/22
January 2021 . page 46 2. To blur or remove people from a scene
3. When photographing in low light
If you are photographing at a busy location you can blur people within the scene by leaving the shutter open long enough that their motion will suggest movement and they may register on the final photo as a blur, while not detracting from the main subject of the photo.
If shooting indoors, or at night, you often need a long exposure to pick up the minimal ambient light. Sometimes in extremely low light situations the camera will pick up light and color that can’t be seen by the naked eye.
1/15 second at f/22
15 seconds at f/22
January 2021 . page 47
4. To capture a deep depth of field in low light
30 seconds at f/22
To capture a deep depth of field where all elements are sharply focused from front to back, and the light is low, use a long shutter speed and low ISO. This will create an image that is tack sharp and free of digital noise.
January 2021 . page 48 STEPS FOR SHOOTING LONG EXPOSURES WITH TRADITIONAL CAMERAS (DSLR AND MIRRORLESS)
Adding a Neutral Density Filter to your Lens 4. A neutral density filter (ND) of 3 -,6-, or 10-stop density is essential to successful long exposure photography when shooting in bright light. A neutral density filter, attached to the front of the lens, reduces the amount of light entering the lens.
To Create Motion Blur Using a long exposure is a creative decision when shooting a subject that is moving such as a river, ocean, or waterfall. A short shutter speed will freeze the action, where a long shutter speed will convey the feeling of motion.
When using a ND filter, a longer shutter speed will be required to capture the image since the ND filter tricks the camera into thinking it is a low light situation. The denser (darker) your ND filter (higher number), the longer shutter speed you will need. The longer the shutter speed, the more blur will be recorded in the movement that you want to capture.
Following are the general steps you would follow in a low light scenario. However, if the lighting conditions are very bright, you may have to add a Neutral Density Filter to your camera. 1. To start, set your ISO to the lowest setting and the aperture to the smallest opening. For example, ISO 100 and f/22. In aperture priority, this will force the shutter to stay open longer to achieve the proper exposure.
A neutral density filter is not needed in low light situations or when shooting at night.
2. Use a stable tripod with a cable release or self-timer to ensure that the shutter does not cause a vibration and the camera does not move during the long exposure. 3. Take several shots at different shutter speeds and aperture settings so that the blur effect is different in each shot. Wait to judge the effect in the photos in post-production. 0.4 sec at f/32
January 2021 . page 49 The iPhone long exposure alternative Creating a long exposure artistic effect is possible on your iPhone with Live Photos. Live Photos on iPhone lets you record a quick 3-second video that captures what happened 1.5 seconds before and after you took a picture. A Live Photos image captures a scene with both motion and still elements. You can then convert the image using the iPhone’s “Long Exposure Effect” (iPhone version 6 or later models that are using ISO 11 and above) to show movement. The creative effect will show moving water as a painterly blur unlike the sharp stop-action water your iPhone would usually record.
Live Photos Capture 1. Find a scene with both static and moving elements. Waterfalls or rushing water in rivers are suitable subjects as the water will be blurred while the surrounding rocks or shoreline will remain stable. Alternatively, a city scene shot with this method will keep the buildings still, but the people walking around will be blurred into ghostly figures. 2. Open the iPhone camera and turn on Live Photos – tap the circular icon at the top of your camera screen. 3. Set the self-timer (a clock shaped icon to the right of Live Photos) for 3 to10 seconds.
Original iPhone Live Photos
Using the self-timer for long exposure shots reduces camera shake versus when touching the shutter button. 4. While the iPhone does not require a tripod to take a Live Photos image, you will get better results by mounting the iPhone on a tripod or gorilla pod with an iPhone attachment to steady it. Alternatively, rest your iPhone on a fixed surface. Frame your shot. 5. Tap the shutter button or trigger the self-timer to take the shot. It helps to take multiple shots to ensure that you capture at least one stable exposure. 6. Now that you have the photo, open the image on your iPhone and swipe up on the image to reveal the optional effects panel below the image. The choices of effects that can be applied are: (left to right) Live Video, Loop, Bounce and Long Exposure. Tap on Long Exposure.
Live Photo with long exposure effect applied – water ripples disappear
It will take a few seconds for your image to download if stored in the cloud, but you will see that any motion in your shot has been blurred into a dreamy effect. 7. If you are not happy with the result, you can revert to the Live Photos at any time by tapping Live in the Effects menu. iPhone bonus: Check your photo gallery under Media Types to locate any Live Photos you may already have on your camera roll. You can apply the Long Exposure effect to any Live Photos already in your photo library. It is challenging, but also fun and rewarding to learn to shoot long exposure photographs; the results are well worth it. Experiment with different combinations of settings and you will determine the look that you like best.
January 2021 . page 50
Natalie Thomas Huntingdon Valley GC Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: Won’t You Be My Neighbor? First Place Judges Comments: “The contrast between dark and light and colorful interior framing combine to create a strong composition.”
January 2021 . page 51
Emilie Lapham Wissihickon GC Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: Steel City First Place Judges Comments: “This well executed photograph contains complementary and crisp geometric shapes that contrast with soft curves and shadows.�
January 2021 . page 52
Debbie Laverell The Garden Workers Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: Manipulated Art - A photograph that has been maniupulated and has been presented with color 6 or 9 times a la ‘Warhol’ First Place Judges Comments: “The vivid and complementary colors and well-balanced patterning are pleasing to the eye.”
January 2021 . page 53
Kate Fahey Four Counties GC Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: Where You Find Water You Find Bridges First Place Judges Comments: “This is a perfectly composed image with detail in the foreground that leads the viewer’s eye through the image to the bridge in this beautifully lit photograph.”
January 2021 . page 54
Elizabeth Harper The GC of Philadelphia Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: The Glass House: a color photograph of one or several flowers. First Place and GCA Novice Award and The Marcy Holquist Award for Distinction in Photography Judges Comments: “Soft, ethereal light and choice of subject matter creates a romantic and painterly photograph. STUNNING!” NA Citation: “Novice award for most outstanding entry by a novice.” Paeonia lactiflora Peony
January 2021 . page 55
Taddy Dawson The Weeders Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: There is No Plan-et B; A color photograph of a native habitat. First Place and Best in Show Judges Comments: “This stunning photograph successfully utilizes the monochromatic background and repeating forms to provide a harmonious setting for the marvelously textured seed pod.” BIS Citation: “The spotlight is on the seedpod in this spectacularly successful photo. Congratulations!” Stylophorum diphyllum Celandine Poppy Seed Pod Adiantum pedatum Northern Maidenhair Fern
January 2021 . page 56
Maria Blakeslee Carrie T. Watson GC Zone V Show Pittsburgh Pizzazz A GCA Zone Flower Show Hosted by GC of Allegheny County October 27, 2020 Virtual Class: There is No Plan-et B; A color photograph of a native habitat. First Place and The President’s Award Judges Comments: “This well chosen vantage point highlights the colors and the movement of the caterpillar. The central placement of the caterpillar creates a static image.” PA Citation: “An eye catcher! The contrasting burst of color makes the image come alive. This tells an important story.” Asclepias tuberosa. Butterfly Weed
January 2021 . page 57
More Creative Techniques By Debbie Laverell The Garden Workers, Zone V Photos by author
Many GCA and Club photography shows have schedules that include a ‘Creative Techniques’ class. The March and June 2020 issues of Focus featured articles by Gail Atwater, Janet Josselyn and Ryn Clarke explaining some of their techniques. This article showcases other creative techniques to inspire you to dip your toes into the exciting world of photo manipulation. A quick internet search will find multiple sites as well as You Tube videos demonstrating steps. You just need imagination, inspiration, and determination! Learning to create a unique piece of art is enjoyable and most gratifying.
What are creative techniques? The GCA Flower Show and Judging Guide contains a Glossary of Terms related to flower shows which includes ‘creative techniques’ for photography. Following is an excerpt of the definition:
‘in camera’ are common ways to produce your “creative techniques” image.
“The use of manipulation or alteration in any stage of the photographic process to achieve an effect significantly different from the original photograph……”
Using an application, either free or purchased, is a simple way to transform your photo to produce stunning results. There are many smartphone apps that you can use to apply these techniques directly to an image on your phone. If you prefer to work on a larger screen, there are also many apps for both Apple and Windows computers.
The core meaning of this definition is that a creative techniques image is a picture in which reality has been altered. This can mean different things to different people. There are a variety of methods you can use, some quite simple, others more complicated. Postprocessing using online apps, Photoshop or
The process can also be quite challenging, requiring a good understanding of Photoshop or other postprocessing software. The degree of difficulty is up to the individual. Following are examples of some creative techniques that I have had fun experimenting with, some simple some complicated.
Composite Compositing is the process of combining visual elements from separate sources into a single image, often to create the illusion that all of these elements are parts of the same scene. This is one of the more complicated procedures and requires a good knowledge of Photoshop.
January 2021 . page 58
Before and After Snap Art Software (S$): download to your computer
Painterly effects Achieving a painterly affect in a photograph requires two main components in post-production: usually a texture to emulate canvas or some other base media, and at least one other texture or overlay to give it the image the look of something other than a straight-up photo – something like a painting!
Before and After LunaPic – Free online app
LunaPic is a free online platform that enables users to upload, edit, and share their pictures. After uploading the picture to the website, users can create painterly effects, add borders, filters, animations, and more to their pictures to create unique looks.
January 2021 . page 59 Texture overlays:
Distortion effects:
Texture overlay lets you blend two images together. This may be used for a fine art look, to create vintage-style photos, to create double exposures and more. There are many ways to do this and many apps are available that make it a simple process.
Distortion refers to an optical aberration that deforms and bends physically straight lines and makes them appear curvy in images. Such distortion is also commonly referred to as “curvilinear” (globes, mini-worlds, swirls).
Swirls – Photoshop Distort Filters Compositing in Photoshop
Created in Photoshop
Globe – Photoshop Distort Filters – can also be created in LunaPic
LunaPic – online app
January 2021 . page 60
In Camera – Zoom
In Camera – Pan
Pan and zoom: A ‘Pan’ is when the camera moves right and left (i.e. between two subjects) while pushing the shutter button and a ‘Zoom’ is when the camera either moves closer to one part of the frame or, seems to move closer through the use of a zoom lens. Motion blur: Motion blur (right) is the purposeful streaking or blurring of an object in motion in a photo for visual effect. It is a great technique for capturing movement in a still image and is often used in both nature photography and sports photography.
In Camera – Motion Blur
January 2021 . page 61
More Creative Techniques Apps
Pixelmator (For Apple only - $$)
SuperPhoto App – Free from Microsoft Store for Windows computers
Deep Dream Generator – Free online photo app https://deepdreamgenerator.com
This is just a small collection of images that I enjoyed creating. The possibilities are endless. Let your imagination go wild! Take advantage of extra time at home with Covid precautions and have some fun while learning something new.
January 2021 . page 62
Calibrating Your Computer Monitor By Kimberly DeCamp The Garden Club of Lexington, Zone VII
All computers have a display monitor, the part of the computer which shows the visual display. Laptop computers have a built-in display monitor and desktop computers have a monitor that is separate from the keyboard.
What does this have to do with photography? Well, just about everything. Reds can look more orange; blues can look more aqua on monitors that have not been calibrated. A photograph can look just right on your screen and overly saturated on another monitor. For an image to look the same on two different computer screens, the screens have to be calibrated to a universal standard. Monitor calibration is the process of measuring and adjusting the colors on your computer monitor to match a common standard. To measure the color, you’ll use a device called a spectrophotometer or colorimeter that sits on your screen. The device works through computer software to maintain the color of your images. The word spectrophotometer is derived from the following: • spectro = range of colors • photo = light • meter = measure.
Why is this an important topic for GCA photographers? We have been thrust into a world of Virtual Flower Shows with the judging being done remotely, often on a Zoom call. Juried shows are also evaluated on the judges’ screens. If the monitors of the judges and your monitor are not calibrated to the same standard, it is possible that your image will look quite different to the judges than it does on your screen and affect your placement in the show and the judges comments. Ideally, the judges and the photographers should see the same image for visual consistency. Computers are not perfect. Most monitors are shipped with a standard brightness and a default
color configuration which are the standards for that manufacturer; there can be variances from one brand to another. The lighting in the room where you have your computer can also affect the way you see things on your screen. Indoor ambient light is quite different from bright natural light coming in from a window. Calibration of your monitor is also important for printing your photographs. Have you ever printed a photo and the printed result is quite different from the same image on your computer screen? Monitors, printers, projectors, and scanners can all be calibrated. This article will focus only on calibrating computer monitors.
January 2021 . page 63
How do you calibrate your monitor? To calibrate your monitor, you need a puck-like device (as shown below) that sits on your screen, and measures the color being displayed. This is called a spectrophotometer. Two well-known display calibration tools/software that I own are i1Display Studio Colorimeter by X-Rite and Spyder X Pro by Datacolor. Both are approximately $169, but many times you can find them discounted at B&H Photo
or Adorama. These products work with MAC or PC operating systems. The kit includes the measuring device, the software and downloading instructions. It is important to install/download the software before you plug in the device into your computer’s USB port. Once the software is installed, it will lead you through the steps to calibrate.
Following are a few important tidbits about calibration: • You will create a custom profile when you calibrate your display for the first time. You may have more than one profile if you tend to work in different rooms as the lighting may differ from room to room. • Re-calibrate your monitor every four weeks to keep it as accurate as possible. The software will let you set a reminder. • Before you begin, make sure to change your power/sleep setting to one hour so your computer does not go to sleep
in the middle of the calibration. The calibration does not take long. If you spend time with your photos in post-processing, if you enter the Photography Divisions in shows, if you are frustrated that the printed copies of your images differ from the image on the screen, consider calibrating your monitor. This step can help you perfect your images. To read and print the detailed steps on how to calibrate your monitor, click this link Technical Tips for Digital Photography
January 2021 . page 64
Barbara Simonds The GC of Wilmington Zone V Show Nature A Club Flower Show Hosted by GC of Wilmington October 19, 2020 Virtual Class: Seascape First Place and Best in Show Judges Comments: “The thunderous power of the ocean is beautifully captured here. The movement of the wave leads the eye to the distant lighthouse. A difficult shot to make; nevertheless, all the elements are in just the right place.”
January 2021 . page 65
Laila Tiefenthaler Fairfield GC Zone II Show Delicious A Club Flower Show Hosted by Fairfield GC September 22, 2020 Virtual Class: Gardener’s Eden First Place and Best in Show Judges Comments: “This masterful composition captures beautiful lines and textures.”
January 2021 . page 66
Beth Rhame Sasqua GC Zone II Show May Photography Sweepstakes A Club Flower Show Hosted by Sasqua GC May 18, 2020 Virtual Class: Spring Flowers or Blossoms in Their Natural Environment: Groups of Flowers First Place and Best in Show Judges Comments: “Tulips guide viewer around the pleasing contrast of a green and white composition.” Tulipa x hybrida, Tulip Lobularia maritima, Sweet Alyssum
January 2021 . page 67
Sandra Williams The Planters Zone V Show Fall Photography A Club Flower Show Hosted by The Planters October 6, 2020 Virtual Class: Pollinators: color photo starring bees, birds and bugs First Place and Best in Show Judges Comments: “Color, composition and texture combine to create a fantastic image.” Zinnia elegans ‘Lime Green’ Zinnia ‘Lime Green’
January 2021 . page 68
Ginny Noyes GC of Evanston Zone XI Show Our Gathered Vision: A Virtual Phtography Show A Club Flower Show Hosted by GC of Evanston September 30, 2020 Virtual Class: Gathering Together: A floral design of three plant species from a member’s garden First Place and Best in Show Judges Comments: “This is a creative approach to the schedule, showing strong composition with good balance, rhythm and color contrast. “Crown the Bard with royal purple!” Dianthus barbatus. Sweet William, Heuchera x hybrida. Coral Bells, Salvia farinacea. ‘Victoria Blue’. Blue Salvia
January 2021 . page 69
Janine Avis Four Counties GC Zone V Show Staycation A Club Flower Show Hosted by Four Counties GC October 6, 2020 Virtual Class: Wet and Wild First Place and Best in Show Judges Comments: “Wonderfully Wet and Wild” Suillius granulatus. Slippery Jack mushroom
January 2021 . page 70
focal POINT(ers) TIPS AND RESOURCES FOR GCA PHOTOGRAPHERS
By Mary Jo Beck, Garden Club of Cincinnati, Zone X; photos by the author
tu “ L igh t at th e e n d o f th e
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Focusing on photography is one way to make the best of these difficult times during Covid 19. With thoughts of warm weather and spring on the horizon, visions of hope and new growth will inspire your photography in the months ahead.
The Amazing Benefits of Photography With a camera and vision, photography can enrich your life. Some of the benefits are: (1) Photography affords immortality. Looking at your old photographs brings back moments in time spent with loved ones who are no longer here. (2) Photography documents your journey through life. From your childhood pictures to another generation to another. From first smiles to first steps to first dates to travels and life experience. Life captured – never to be lost. (3) Photography is a wonderful stress reliever. You cannot worry about those all-consuming problems when you are focused on the petals of a flower or on the dimples of a smiling baby.
(4) Photography inspires your imagination. “Imagination is everything. It is the preview for life’s coming attractions.” Imagination stimulates creativity and innovation. The simple act of imagining something bigger, easier, or more beautiful has led to some of the most influential and innovative creations. (5) Photography is a wonderful, safe, and natural self-esteem booster. What can be more rewarding than sharing some of your favorite photos with friends or winning a ribbon in a photography show? (6) Photography brings you closer to your natural spirituality. Look around at the wonders of nature. You cannot help but feel a stirring at the beauty surrounding you. Capturing it can be awe inspiring. (7) Photography lets you capture a moment in time. Think of capturing a sunset – it changes every minute until it is gone. (8) Photography preserves new and old memories With pictures, memories can be cemented forever. There is no fear of losing that milestone or moment in time.
January 2021 . page 71
Ready, set, “Cheese” – Simple Tips for Better Portraits There is an art to taking good pictures of people. (1) Get closer: for head shots get close so there is less background distraction. In group photos, instead of a long line, group people in rows/groups so you can get closer.
Food for Thought: “Your treasure house is within. It contains all you will ever need. Use it fully instead of seeking vainly outside yourself.” – Hui Hai, 8th C. Chinese philosopher “The single most important component of a camera is the twelve inches behind the viewfinder!” – Ansel Adams
READER TIPS: A yoga mat is a great thing to take along for a day of shooting in the field or garden – think about getting down low and shooting at ground level! When you are outdoors shooting, look behind you often as you might see something you passed right by and missed.
(2) Better composition: a head in the middle of a shot is boring. Compose so the subject’s head is in the upper twothirds or a bit to one side. (3) Depth of field: use a low f-stop to limit DOF. This creates background blur and highlights your subject. The newer smartphones can do that automatically when using Portrait Mode. (4) It is best to not pose your subject: shoot where your subject can move around, especially in outdoor venues. It relaxes your subject.
(5) If you must pose your subject: have the subject look anywhere but the camera and then when you are ready to shoot, have them look toward you. Have your subject bend forward for a moment and then stand up and look at the camera. Click! Laughter can relax your subject too! Never pose with the subject fully-facing you – the result might not be flattering. (6) Be aware of lighting conditions: bright sun causes deep shadows or squints. Find a shady spot or use your camera’s fill-flash if that is an option. Softer light sources are best. (7) Does your photo speak for itself? What does it say? Does it tell a great story? Give your viewer something to think about? Have something to share with fellow readers? Please send your tips and resources to Mary Jo Beck at mjbeck651@gmail.com
January 2021 . page 72
Index of Photographers Heather Ames . . . . . . . . . . . . . . front cover, 9
Elizabeth Harper . . . . . . . . . . . . . . . . . . . . . 54
Charlee Reed . . . . . . . . . . . . . . . . . . . . . . . . 25
Janine Avis . . . . . . . . . . . . . . . . . . . . . . . 13, 69
Susan Hilpert . . . . . . . . . . . . . . . . . . . . . . . . 17
Kari Pietsch-Wangard . . . . . . . . . . . . . . . . . 23
Polly Beal . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Laurie Jacobs, . . . . . . . . . . . . . . . . . . . . . . . 21
Beth Rhame . . . . . . . . . . . . . . . . . . . . . . . . . 66
Mary Jo Beck . . . . . . . . . . . . . . . . . . . . . 70-71
Missy Janes . . . . . . . . . . . . . . . . . . . . . . . . . 44
Mary Lou Righellis . . . . . . . . . . . . . . . . . . . . 17
Maria Blakeslee . . . . . . . . . . . . . . . . . . . . . . 56
Jean Jarvis . . . . . . . . . . . . . . . . . . 4, 12, 45-49
Jolie Roze . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Evgenia Blossom . . . . . . . . . . . . . . . . . . . . . 30
Ruthie Kelly . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Phyllis Russell . . . . . . . . . . . . . . . . . . . . . . . . 22
Caroline Borgman-Schutts . . . . . . . . . . . . . . 31
Emilie Lapham . . . . . . . . . . . . . . . . . . . . . . . 51
Cindy Seibert . . . . . . . . . . . . . . . . . . . . . . . . 32
Emily Caspersen . . . . . . . . . . . . . . . . . . . 5, 26
Debbie Laverell . . . . . . . . . . . 34-36, 52, 57-61
Susan Seidel . . . . . . . . . . . . . . . . . . . . . . . . 25
Helen Chambers . . . . . . . . . . . . . . . . . . . . . 15
Blair Matthews Louis . . . . . . . . . . . . . . . . . . 42
Glenn Shaw . . . . . . . . . . . . . . . . . . . . . . . . . 18
Ryn Clarke . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Brooke Mallory . . . . . . . . . . . . . . . . . . . . . . 19
Barabra Simmons . . . . . . . . . . . . . . . . . . . . 64
Karen Coakley . . . . . . . . . . . . . . . . . . . . . . . 29
Yoni Mayeri . . . . . . . . . . . . . . . . . . . . . . . . . 23
Mary Elizabeth Smith . . . . . . . . . . . . . . . . . . 29
Peg Codey . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Karen McCormick . . . . . . . . . . . . . . . . . . . . 21
Susan Strawn . . . . . . . . . . . . . . . . . . . . . . . . 20
Joann Cornelius . . . . . . . . . . . . . . . . . . . . . . 11
Claire Mellinger . . . . . . . . . . . . . . . . . . . . . . 15
Mary Ann Sulser . . . . . . . . . . . . . . . . . . . . . 17
Penny Dart . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Sheila Melville . . . . . . . . . . . . . . . . . . . . . . . 32
Natalie Thomas . . . . . . . . . . . . . . . . . . . . . . 50
Taddy Dawson . . . . . . . . . . . . . . . . . . . . 27, 55
Ann Mitchell . . . . . . . . . . . . . . . . . . . . . . . . 16
Laila Tiefenthaler . . . . . . . . . . . . . . . . . . . . . 65
Catherine Dolan . . . . . . . . . . . . . . . . . . . . . 14
Andria Moldzio . . . . . . . . . . . . . . . . . . . . . . 11
Mary Trehan . . . . . . . . . . . . . . . . . . . . . . . . . 28
Suzette de Tourenne . . . . . . . . . . . . . . . . . . 13
Liz Montanari . . . . . . . . . . . . . . . . . . . . . . . . . 9
Mary Turner . . . . . . . . . . . . . . . . . . . . . . . . . 32
Sally DeWees . . . . . . . . . . . . . . . . . . . . . . . . . 7
Marta Nelson . . . . . . . . . . . . . . . . . . . . . . . . 19
Georgiana Watt . . . . . . . . . . . . . . . . . . . . . . 19
Kate Fahey . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Ginny Noyes . . . . . . . . . . . . . . . . . . . . . . . . 68
Sandra Williams . . . . . . . . . . . . . . . . . . . . . . 67
Patricia Fulmer . . . . . . . . . . . . . . . . . . . . . . . 29
Jane O’Farrell . . . . . . . . . . . . . . . . . . . . . . . 19
Chris Wood . . . . . . . . . . . . . . . . . . . . . . . . 24
Shelley Galloway . . . . . . . . . . . . . . . . . . 37-39
Connie Owen . . . . . . . . . . . . . . . . . . . . 11, 40
Anne-Marie Woodhouse . . . . . . . . . . . . . . . 27
Jan George . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Anastazja Panek-Tobin . . . . . . . . . . . . . . . . . 27
Kerry Valentine . . . . . . . . . . . . . . . . . . . . . . 11
Anne Green . . . . . . . . . . . . . . . . . . . . . . . . . 13
Dana Parker . . . . . . . . . . . . . . . . . . . . . . . . . 25
Stephanie Young, . . . . . . . . . . . . . . . . . 23, 41
Helen Groos . . . . . . . . . . . . . . . . . . . . . . . . 29
Submissions to Focus
Photography Committee Chairman
Chris Wood
Vice Chairman
Shelley Galloway
PSG Coordinator Lyndon Chamberlain Assistant to the PSG Coordinator
Ann Brookshire
GCA Photographer
Kate Fahey
Focus Magazine Editor Assistant Editor Layout Editor
Debbie Laverell Dedee O’Neil Kim Cutler
Committee Reps Zone I
Christine Paxhia
Zone II
Jill Corr
Zone III
Kathy De Las Heras
Zone IV
Elena Sisti
Zone V
Emilie Lapham
Zone VI
Dorcas Hutton
Zone VII
Claire Mellinger
Zone VIII
Mary Pietan
Zone IX
Vance Lewis
Zone X
Elizabeth Boles
Zone XI
Debbie Ross
Zone XII
Jean Jarvis
Focus is an online magazine published by the Photography Committee of The Garden Club of America (GCA). It is posted on the GCA website in September, January, and May of each year. Focus showcases photographs that have won one or more of the following awards: First Place at a: GCA Show GCA Zone Show GCA Major Show Sanctioned non-GCA Major Flower Show Club Flower Show - Best in Show (ONLY) GCA Special Award(s) which can include but are not limited to: Best in Show GCA Novice Award GCA Photography Creativity Award Certificate of Excellence in Photography To submit a qualifying photograph for publication consideration in Focus, use the following link: Photo and Article Submission Form GCA Guidelines for Photographs Only appropriate images of child(ren) should be submitted to, passed, and exhibited in Photography Divisions of GCA / GCA Major Flower Shows and published in the online magazine, Focus. In the event an image comes to the GCA’s attention that the GCA determines does not meet this “appropriate” standard, the image shall no longer be shown or displayed. Any such determination would occuronly after consultation between the Photography Committee Chairman, GCA President, and possibly the Executive Board. Submission to Focus grants to GCA the right to use the content in any publication or on the GCA website, in connection with GCA’s mission or charitable purposes. Focus contents are neither the opinion nor a representation of GCA. GCA does not endorse any product or service.
Focus magazine Mission Stament The object of Focus magazine of The Garden Club of America is to enhance the knowledge and enjoyment at all levels of involvement in the art of photography and to appreciate its unique blend of technical skill, knowledge of composition and creativity. Articles written express the opinion of the writers and are for the purpose of clarity and education about the photographic process, exhibiting and judging. The Garden Club of America and Focus magazine do not endorse any product or service. All entries in Flower Shows are limited to members of the GCA. By submitting your work to Focus, you grant permission to publish your work on the GCA website accessible to the public, and not limited to the Members Area.
QUESTIONS? Email: focus@GCAmerica.org Editor: Debbie Laverell: dalaverell@gmail.com Assistant Editor: Dedee O’Neil dedeeoneil@gmail.com