Focal Points Magazine, September 2022 by John Nilsson

Focal Points Sierra Club Camera CommitteeSeptemberMagazine2022

2 Contents 4. Cover Story 14. Meetings and Outings 18. Joe's How-To 24. Member Photos 64. Black and White Pages 80. Contributors'Bios 94. Notes Announcementsand 100. Photo of the Month 101. Parting Shot Focal Points Magazine Published monthly by the Angeles Chapter Sierra Club Camera Committee, John Nilsson, Editor. Questions and comments can be directed to John at 213-266-2224 or FocalPoints.sccc@gmail.com 2 Cover Photo Credit: FocalMagazinePoints Butch Mazzuca MatingGreatPlumageEgret ©2022 Butch Mazzuca, All Rights Reserved

3 Leave nothing but Takefootprints,nothing but nothingpictures,Killbuttime. 3

I'm as guilty as anyone of not getting things done. Sometimes it's procrastination, as I appear to be wired to finish things in a hurry at the last minute. Sometimes it's because I never really planned to do those things in the first place. More recently we dealt with a third kind, which some people call a Bucket List. There are a lot of things we want to do with our photography that get put off. Some of them are more grandiose than others. Traveling to Maine in the Fall, or Alaska in the Summer, or Portofino at any time are on my big-ticket list. Others require less investment of time and money.

Notes from the Chairman

I want to return to the Donner Pass snow sheds in winter, for example. And I want to put together a show. Velda and I just returned from Kenya, which was on the list for years. In retrospect, we made a mistake putting it off, as it exceeded our expectations by magnitudes. We are fortunate to have the time and resources for such a trip, but that's not new. We said the same thing about our first Eastern Sierra Fall Colors trip ten years Affordabilityago. isn't the issue. Taking the plunge is the issue. There are photographs I want to take within a 3 hour drive that I keep putting off, that need to be made. And after Kenya I feel more convinced that I need to make them.

The photographer doesn’t need the latest, greatest, and most expensive equipment, although a camera capable of shooting many frames per second doesn’t hurt. But any mid-range DLSR or mirrorless camera will work just fine; just be sure it’s attached to a good telephoto lens that sits atop a sturdy tripod. Last Spring my wife and I were visiting Florida’s panhandle. We drove our new toy, a Sprinter van that we’ve named “Lonestar,” to St. George Island, where we’ve travelled each of the last four years to get away from “mud season” in the Rockies. Last year, with the added flexibility of having the van, we decided to visit St. Augustine, the oldest city in America (founded in 1565.) I had always wanted to visit St. Augustine and even though I lived in Florida in the 60s I never did get around to visiting there. So, while I was reading up on the area, I learned of the St. Augustine Alligator Farm Zoological Park. The park itself is one of Florida's oldest continuously running attractions, having opened in 1893 the park has 24 species of crocodilians, a variety of other reptiles, mammals, birds, as well as educational demonstrations. But it’s the back section of the park that garnered my interest – there, attached to the farm is a bird rookery where free-roaming local bird species such as egrets, herons, wood storks and roseate spoonbills nest and rear their young.

irds have fascinated photographers since people first began taking pictures. Their natural grace and beauty beg to be photographed, not to mention how their diversity (shape, size, behavior) has captivated nature photographers everywhere. We want to capture them fledging, singing their beautiful songs, gliding on thermals, building their nests, hunting, fighting, and feeding their young. Capturing good bird photographs requires patience, knowledge, a good sense of timing and a bit of luck. Good bird photographers make their own luck by learning about their subject. Knowing the behavior of the species you are going to photograph is critical. What does the species eat, when does it feed, when is it’s mating season, does it have a predictable flight pattern and in what direction does the bird take off? (Hint: – most birds prefer to take off into the wind.)

Birds in the Rookery by Butch Mazzuca

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Seasoned photographers know that Impact and Visual Interest are the image characteristics that most often succeed in competitions and must be the two aspects of a bird image that hook, grab, and keep the viewer’s attention. And the best way to get impact and visual interest in an image is through …Strong Subjects, Originality and Light.

Let’s start with the easy one first – Strong Subjects. Simply stated, birds are very strong subjects when photographed properly. Next - Originality. I once had a photo judge critique what to my mind was a spectacular image of a sandhill crane in a 60-degree bank (imagine a f-18 Super-hornet rolling in on target) with its wings in

Bird photography, at least in this photographer’s opinion, is one of the more challenging types of wildlife photography, especially when you’re trying to make your birds stand out from the crowd.

The park began as a minor attraction at the end of a railway running through neighboring Anastasia Island. The alligators were added at first to get tourists to buy souvenirs (aka tchotchkes) and visit a small museum that was built there, but soon the reptiles themselves became the main attraction and remain so today. As of 2012, this was the only place on earth where one can see every species of alligator, crocodile, caiman, and gharial.

While that’s all fine and good; I was there to photograph the birds in the rookery. For those who haven’t been, the park itself is very “manageable,” i.e., it covers about one acre (4,000 square meters) with the rookery comprising only about 10% of the area. There are two boardwalks in the rookery, the north-south oriented boardwalk is about 40 yards long and the east-west boardwalk is about half that. Fortunately, when we were there (April 2022 even though it was prime mating season, it wasn’t all that crowded. Best all, the park is located about 3 miles from the KOA RV Park where we stayed.The only issue I had with the venue was the installation of new higher guard rails. Don’t bother bringing a tripod because last March a photographer was leaning over the then four-foot-high boardwalk guard rail to get his shots when his camera and tripod tumbled into the alligator infested waters in the rookery. It’s my understanding the park had to close, and retrieving the equipment was quite an ordeal. As a result, about three weeks before I arrived, the park added a two-foot-high barrier of thick wires about 4 inches apart, rendering tripods useless for any photographer under 6’ 5”, so all my shots were hand-held with many taken by shooting between the wires, which is certainly not optimum.

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The judge said, “This is a beautiful capture, but each of us has seen thousands of photos of birds in flight, so what makes yours different or unique that someone will take the time to examine it?” I was very disappointed in receiving a 9, but I learned something. The judge was absolutely correct, I’ve seen thousands of photos of graceful birds in flight, so what made my image standout? The answer was nothing! Then and there I made up my mind that the next time I photographed birds, I would do so with the goal of creating impact and visual interest, and two sure ways to do that was great light and interesting perspectives (originality?). At the same time, the most important thing to keep in mind when shooting birds is exposure. This is kind of like the wedding photographer who has to capture the detail in both the lace of a white bridal gown and in the detail of the black satin lapels of the groom’s tuxedo.

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perfect position. Technically the image was spot on, and I just assumed a tack sharp bird in flight in good light would score well, but it didn’t. The judge gave it a 9 on a 10-point scale.

Bird habitat is replete with distractions, i.e., random twigs, grasses, vines, branches, brambles, etc., that seldom add interest to a photo, in fact, quite the opposite. Few things are more disheartening than having a great shot ruined by a branch leading the viewer’s eye out of the frame or eye-grabbing grasses in the corner of the frame that are difficult to remove in post.

Shutter Speed – this is a personal choice but as the old expression goes, “If your image isn’t sharp, you don’t have a photograph.” So, depending upon the situation I usually shoot birds between 1/2000th and 1/3200th second. And with regard to depth of field, well obviously that depends upon background, foreground, etc., but I like being prepared when/if the subject spreads its wings, so I usually begin any bird shoot at f11.

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Let’s talk about settings beginning with ISO. Many of the truly good bird photographers I know shoot in manual and change their settings regularly throughout the shoot. I’m far from a pro so I use Auto ISO with exposure compensation, which with white birds or dark birds with white bellies means 2-3 stops underexposed from the metered reading. Since I always expose for the white/bright bellies of the birds, I check my histogram after every shot (btw, I always use the blinkies.)Nextis

When I’m shooting birds, what do I look for? First, I wait for the subject to perform. Preening is something birds do on a regular basis, and it makes for a far more interesting image than if the bird is simply perched. I no longer shoot ‘perched’ birds – they’re boring. Other gestures and actions, e.g., courtship rituals, fighting, feeding, wings flapping, bathing all make for excellent captures. A friend of mine and excellent bird photographer is an advocate of shooting birds in flight shortly after sunrise and before sunset. Front light provides a warm wash of color that’s spectacular and dramatic. Meanwhile, sidelight provides texture and reveals the lighted and shadow side of your subject. Clouds can provide gorgeous soft color, and silhouetted images of the birds in flight make dramatic photographs. But here’s a caveat, when photographing birds that are primarily white, you’ll sometimes get the reflections of the ambient colors, so be sure to adjust for white balance in post. And here’s a “quick tip” – in cloudy conditions white plumage tends to lose Compositionallydetail.

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the same ‘rules’ that apply to general photography apply here, i.e., avoid placing the bird in the center of the image. Whether you’re creating flight shots or images of the birds in their environment, an off-center placement is stronger. If you fill the frame with a vertical subject, try placing the eye in the upper portion of the frame, perhaps on a power point (we all use the rule of thirds, right?) When creating a horizontal image, place the bird on the left or right side of the frame depending which way its head is turned – 95% of the time you’ll want more space in front of the bird. Ansel Adams told us, “The single most important component of a camera is the 12 inches behind it.” So, do like the pros do, and prepare yourself mentally. Tom Brady doesn’t walk on the playing field without a game plan; the biggest part of a CEO’s job is creating a business plan, stunt men pre-visualize their moves, surgeons do it before making an incision. As photographers, we should do it before we press the shutter. As my friend Russ expounds, “Think about all the tricks you’ve learned over time, think about all the techniques you’ve absorbed, think about all the hours you’ve reflected on.”

Before pressing the shutter, ask the visual interest? And if after taking monochrome. Even though I shoot and We plan on heading back to from 9:00 AM until sunset 365 days direction are the best for photography.

ask yourself , “What is it that I’m trying to accomplish? Where’s the impact in this scene? Where’s taking a few shots you see that the image is a bit too contrasty, give some thought to converting to and do my post in color, I always check the finished product to see what it might look like monochrome.

St. Augustine and the rookery next year, and for those interested, while the park’s regular hours are days a year, for a fee of $90, photographers are allowed into the park at 8:00 AM when the sun’s light and photography. Happy Shooting!

Butch Mazzuca bmazz68@icloud.com

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13 Meetings MeetingsOutingsandandOutings

14 14 Where: In the comfort of your own home via Zoom When: 7:00 PM What: Our National Monuments: America’s Hidden GemsIn Large Format Sierra Club Camera Committee -Thursday, October 13, 2022ZoomMeetingLink

Provided before theSeepresentation.youthere!

The first photography book about the landscape-scale national monuments, and travel notes for each photograph

Photographer QT Luong will discuss his stunning new book of photographs, Our National Monuments: America's Hidden Gems (Terra Galleria Press, 2021). He is a photographer, author, environmentalist, and a technologist known for being the first to photograph all 63 US National Parks - in large format.Luong is the author of the best-selling and acclaimed photography book about the nattional parks, Treasured Lands, third edition (Terra Galleria Press, 2022), and has hiked and camped in the land based national monuments under review.

Our National Monuments, America's Hidden Gems

Links to information for both https://www.treasuredlandsbook.com/https://ournationalmonuments.com/books:

Born in Paris, France to Vietnamese parents, I was originally trained as a scientist (Louisle-Grand, Ecole Polytechnique X84, PhD University of Paris), and made fundamental contributions to the fields of Artificial Intelligence and Image Processing, detailed in The Geometry of Multiple Images.

QT Luong

In the mid 1980s, my life was transformed by the wilderness of mountains. As a climber, and then mountain guide, I was initially interested in photography as a means to communicate to people who weren't there the wonders I had seen on the high peaks of the Alps. This participatory approach to photography continued with travels, which have taken me to natural and cultural destinations on five continents. I am fortunate to have experienced an immense geographic range, from climbing the summit of Denali in Alaska, to scuba diving under tropical seas.

In 2009, Ken Burns and Dayton Duncan featured me as one of the few living characters in the PBS film The National Parks: America's Best Idea. To celebrate the National Park Service Centennial in 2016, I released my signature book Treasured Lands: A Photographic Odyssey through America's National Parks. It won 12 national and international awards and became a critically acclaimed best-seller. In 2020, the National Parks Conservation Association honored me with the Robin W. Winks Award for Enhancing Public Understanding of the National Park System. I live in San Jose, California, with my wife, two children, and a Chihuahua dog named Peanut who used to run halfmarathons.

In 1993, another turning point happened. Attracted by the proximity of Yosemite's famous cliffs, I found my way to the University of California, Berkeley for what was originally planned as a short stay. There, inspired by the rich tradition of American landscape photography, I learned to use the large format camera. As I fell in love with the diversity of the national parks, I set out for a monumental nature photography project that had not been completed by anyone: photographing all of them in on large format film. I made my home in the San Francisco Bay Area. Years of outdoor adventuring experience proved useful when exploring the backcountry of many parks, occasionally hiking in trail-less terrain with a 70-lbs backpack, paddling kayaks and canoes during extended expeditions.Inthe summer of 2002, when I visited Kobuk Valley National Park in Arctic Alaska, I was probably the first to have photographed the (then) 58 national parks. I continued this streak through the 63 national parks and remain the only person known to have done so with a large format camera. In the early 2000s, I had added a full-frame digital cameras to my toolkit, expanding the range of images to include the stary night sky.

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I had found an audience since 1995 with my first website, the Mountain Gallery, which was expended into this website in 2001 and has since led to hundreds of publications in more than thirty countries, ranging from a US postal stamp to murals in a USA Expo Pavilion. Its popularity as one of the most visited of individual photographer's websites allowed me to turn to photography fulltime in 2007. However, I also remain committed to the physicality of the print as a means to inspire viewers to visit and care for our public lands. The traveling exhibition I organized has been shown in museums and galleries nationwide and abroad.

17 Joe’s How-to

Joe's How-to What I Learned on Safari by Joe Doherty

Last month I wrote about preparing for our trip to Kenya. We have just returned. Photographically it was the equivalent of a two-week sports camp. Every day I could sense that my technique was improving, my relationship to the subjects was more nuanced, and my tools were becoming more familiar. By the end of the two weeks I was invigorated and confident, and had more than 13,000 images to edit. In this column I discuss things I discovered or rediscovered along the way, and the thought processes that went into them. Some of these topics are covered in most articles or webinars on safari photography, but others were new to me.

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Let me set the scene first, because some of the choices I made were determined by conditions. We were inside an open-top Toyota Land Cruiser on poorly maintained dusty dirt roads for eight hours a day (five in the morning and three in the evening). Our driver would spot something (or hear a rumor of something), pull up as quietly as he could, and stop. We’d jump to our feet and poke cameras out the top. There was no room for tripods, and monopods were clumsy, so we’d balance the cameras on bean bags or neck pillows on the edge of the roof. We had one thing the other safaris didn’t have, and that was an exceptional guide driving us around and making sure we were in an optimal position for photography. The circle of life closes fast My number one rule on this trip was to be prepared to shoot if we stumbled upon something as dramatic as a lion charging an impala, or as unsubtle as vultures around an old kill. That meant keeping my shutter speed short (1/1600 or shorter), my f-stop bright (f8), and my ISO on automatic. I checked these regularly, almost pathologically, whether I was sitting down or standing up. These settings were adequate for nearly everything that we encountered in strong light. Being prepared also meant that I had to be mindful of how many shots remained on my storage card, and how much battery I had left. If there was a promise of rapid action, then I replaced the card

19 19 whenever I got below 50 remaining shots. I kept a blank storage card in my pocket at all times so I didn’t need to fumble for it in my bag. I only changed batteries in the field once.

Finally, when the circle of life is closing it’s natural to hold down the shutter button and let the motor drive capture the action. Under normal circumstances that’s great. When a lion is charging her prey, however, it’s terrible to discover that the buffer is full just before the final takedown. I had to wait precious seconds to squeeze off one shot at a time as the buffer cleared. Fortunately Velda captured that part. Another aspect of the circle of life is to recognize that these are dangerous animals, who would like to close the circle on us. Be prepared to sit down quickly for hasty departure when (as happened) a black rhino or a bull elephant reject the ethos of hakuna matata. There is no elegant way to fall into your seat in a moving Land Cruiser. Patience Just as I learned to be ready to go at a moment’s notice, I also learned the importance of patience, of letting the scene develop in front of you. Unlike other safari trucks we encountered, our driver was in no hurry to move us along. We sat for 25 minutes waiting for the lioness to attack, and another 15 to drag it away out of sight. A leopard kept us in place for 55 minutes as we watched it snooze, and a cheetah family kept us rapt for 70 minutes. As we waited other safari trucks came and went, and our driver moved us into their spots, so that by the time there was action we had the prime location. What happens during these long stretches of time? It’s an opportunity to capture images that tell a variety of stories. Wide landscape photos, horizontal and vertical images, and closeups can all be used in books or websites to great effect. Sitting that long on an animal also gives you time to observe their different behaviors, whether it be snoozing, cuddling, or having a big stretch. At the same time, it’s important to be ready to reset everything to capture action. VC vs ISO Since I’m generally a landscape photographer who works with a tripod, I don’t have much use for camera or lens vibration control. On this trip I knew I might need it because most everything is handheld, and I’m glad I bought a lens (Tamron 100-400) that has a very good vibration control. You don’t want it on all of the time (at 1/1600 it might be counterproductive) but when you need it, you need it. I needed it under three different scenarios. The first is when I was shooting landscape images under less than bright light. I wanted to keep the ISO low to increase image quality (below ISO 500), and that

The third scenario is when the image is impossible without VC. The lioness who killed the impala had two cubs, who emerged to play on a dark embankment after sunset. I was able to make clear handheld photos of them playing with my lens at 400mm at 1/320 @ f6.3 and ISO 4000. Without VC it would have been impossible for me to make the photo. Shoot a lot, edit more I made over 13,000 exposures in our 13 days of safari. That’s the equivalent of 28 rolls of Kodachrome each day. I fully expected to trash most of them, but as a general rule I don’t know which ones until I get home. So I keep shooting. While I’m shooting, I try to keep clear goals in mind that inform how I plan to edit them later.When I shoot wildlife I anticipate that I will delete most of the pictures I shoot. Consequently, after importing my photos into Lightroom, I select all (ctrl-A) and hit the “X” key to flag them all for deletion. I then go through them, and the ones that satisfy my criteria (even a little bit) get undeleted with the “U” key. So what are the criteria? Some are purely technical. Is it well exposed, in focus, and not a random shot of the truck floor? Then undelete it. Is it a photo of a bird with a visible and crisp eye? Undelete. Of twenty photographs of the same herd of wildebeest marching across a field, is there one in which they are all separated by a bit of space? Undelete that one. Other criteria are more aesthetic or emotional. I took at least 50 images of an elephant family group at sunset. The photos captured how they relate to each other in various complex ways. Nearly all of those were undeleted. The same is true with the cheetah family group we watched for 70 minutes. Other photos are kept, not because they are great photos, but because they establish the place and help tell the story of the safari. These include shots in which the wild animals are framed in the windows of our truck, or that capture the other safari photographers. I like to think of these as the “necessary but not sufficient” images. I need something from each location, something of each animal, and something of each activity. They make sense only in the context of the other shots. After the first go-around I’ve narrowed my collection to 2,300 images, down from 13,000. As I went through them it became evident that two weeks in the field improved my craft. More images are sharp, and fewer are poorly composed or conceived. And more importantly, I began to capture the personalities and relationships of the animals and of the people and places we visited.

20 20 required shutter speeds in the vicinity of 1/320 at f16.

The second scenario is at the beginning or end of the day, when the light is fading. I want to keep sensor noise as low as possible, so instead of 1/1600 sec at ISO 12,000 I can shoot at 1/320 at ISO 1500.

ResourcesGallery & links

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21 21 ©JohnNilsson CAMERA COMMITTEE Meetings Past meetings Outings Past outings

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The Sierra Club Camera Committee is an activity group within the Angeles Chapter, which we support through the medium of photography. Our goal is to show the natural beauty of our world as well as areas of conservation concerns and social justice. We do this through sharing and promoting our photography and by helping and inspiring our members through presentations, demonstration, discussion, as well as outings. Become a member – subscribe to Focal Points Magazinea member subscribe to Focal Points Magazine Camera Committee calendarCommittee calendar

23 This MemberMonth’sPhotos

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John Clement

Variety is the Spice of Life and so has this summer been. I announced to the big art festival here in my home town that this would be my last year after 43 successive years of doing the show. Sales were over the top.

Left: Monsoon Showers as my sprinkler provides the water on my sunflower section of the garden.

Above: Poppy N Blue - in early morning light.

The weather was brutal - 109 degrees for three days during the event - so most customers took my advice and showed up early. My garden photos again were the number one sellers. Auroras have been wandering through the central Washington skies. My new western garden is in full bloom ;-), and providing some new visions of flowers.

Last week, while recovering from the Art Show, a big storm started developing 40 miles east of my house. After the grandkids were tucked in bed I headed out to a vantage point on the outside edge of the storm. It turned into a 60-mile-wide light show. The challenge was I was a bit too far away for my lightning detector to pick up many of the bolts so I went to manual and started firing away. The storm put down over 5,450 bolts of lightning mainly in wheat country along the Blue Mountains-Walla Walla area. Wheat farmers had mobilized in strategic locations along with rural fire brigades and departments. The storm was wet so no major fires burned for very long and the fire crews were on them pronto. Enjoy a few of the images of over 100 captures. The full moon rising behind the storm provided some amazing light.

Below Right: Morning light over the Oak Tree-in the Columbia Gorge

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Above Right: Aurora over Moses Lake Washington - taken from Saddle Mountain north of the TriCities Washington

Above: The Watchman - He watches one and all of the little ones gathering seeds and taking dust baths in my garden

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28 Above: Moonlight, Stars & Lightning I- looking East towards Walla Walla WA from the Horse Heaven Hills. Above Right: Moonrays & Lightning Below Right: Full Moon Storm Panorama- Two image panorama. During the storm I did some longer exposures to capture more lightning in a single frame. The multiple trikes in the center of the frame are geographically correct for the storm for this composite of three images. Two give you a sense of the amount of lightning raining down. There were 40-60 strikes a minute for over three hours. 28

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Death Valley near Ubehebe Crater. I was on a Los Angeles Center of Photography trip with Michael Gordon. He’s an expert on Death Valley and a wonderful guide. What drew me there is how otherworldly it is. There’s just nothing like shooting landscapes there. The light in December was spectacular and with Michael such an expert on the valley, we got maximum time in terrific locations. It was my first time there and the variety of environments was stunning. I can’t wait to go back.

Jerry Shevick

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34 34 Velda Ruddock ©2022 Velda Ruddock, All Rights Reserved The Lion's kill We are just back from our twoweek Kenya safari. What we have seen and done is truly remarkable. I'm still working on the almost 14-thousand images, culling most, deciding what it best of the Whatremainder.I'dlike to share for this issue is a lion's kill at Ol Pejeta Conservancy, and that requires a story. We were excited to see a fullgrown lioness in the grass. She was downwind from any potential prey, and when three impala cautiously approached the marshy watering hole we held our breath. She alerted and crouched but did not attack as the three made it to the other side. We breathed again. After a while, a much larger herd arrived to drink and cross over. She waited for what seemed like a long time, but when one of the impala got stuck in the mud, her moment came. It was fast. The kill itself was surprisingly quick and clean. Afterwards she dragged her kill to the two cubs waiting nearby. There is more to this story though, and that is the reaction of the impala. They scattered, of course, but as the lion slowly dragged the carcass out of the mud we heard a keening. Three impala on the other side of the marshy pond watched attentively, and announced the passing of one of their herd.

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39 SIERRA CLUB ANGELES CHAPTER CAMERA COMMITTEE MAY 2015

Thomas

42 Joe Doherty ©2022 Joe Doherty, All Rights Reserved Velda and I booked a safari in Kenya with Karen Schuenemann’s Wilderness at Heart workshops. It was a blast, and a life changing experience. I’ve only begun to work through the photographs, which will take me months I’m sure. These are some of my early favorites. 42

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46 SIERRA CLUB ANGELES CHAPTER CAMERA COMMITTEE MAY 2015 46

Botswana Baboons

These are photos of an early morning visit to a baboon colony on the Chobe River in Botswana with Nathaniel Smalley in June. The tender interactions really touched me - not in the moment because I was taking so many photos, but when I saw them on the computer. Each is just a piece of a much larger photo. The eyes say it all.

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50 SIERRA CLUB ANGELES CHAPTER CAMERA COMMITTEE MAY 2015 ....In Yellowstone. 50

51 SIERRA CLUB ANGELES CHAPTER CAMERA COMMITTEE MAY 2015 John Nilsson ©2022 John Nilsson, All Rights Reserved Miscellaneous Ramblings Yellowstone. Here are a few more favorite photos of a memorable trip. Tons of bears and lots of new babies just out of the den. 51

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John Fisanotti photos taken last spring, at the Frank and Joan Randall Preserve, operated by The Nature Conservancy, in the Tehachapi Mountains of Kern County.

58 Above: Angel Trumpet flower, Left: Lily of the Nile flowers, 58

59 Larry Miller ©2022 Larry Miller, All Rights Reserved These recent photos are a few examples of what one can find in local gardens, even in times of extreme drought: flower, Palos Verdes Estates flowers, Niguel Botanical Preserve 59

60 Lanceleaf Liveforever, Niguel Botanical Preserve 60

61 Eremophila Polyclada flowers, Niguel Botanical Preserve 61

63 The Black and White Pages

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72 72 Kenya Joe NikonDohertyD850 Tamron SP 24-70 F2.8 @ 70mm f/5.6ISO@1/250400

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74 74 Mt. Kilimanjaro, Kenya Joe NikonDohertyD850 Tamron 100-400mm f/4.5-6.3@100mmf/8@1/1,600ISO350

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76 76 Mating Plumage ButchCanonMazzucaEOSR50 Canon 500mm (RF100-500mm) f4.5-7.1 L IS 1/3200@f/9.0USMISO400

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79 ContributorContributorBiosBios

John Clement John began his career in photography in the early 70’s after graduating from Central Washington University with a double major in Geology and Geography. Since then he has earned a Masters of Photography from the Professional Photographers of America. He has received over 65 regional, national and international awards for his pictorial and commercial work. His photographs grace the walls of many businesses in the Northwest and has been published in numerous calendars and coffee table books. He has provided photographs for Country Music Magazine and for Northwest Travel Magazine. He has supplied murals for the Seattle Seahawks Stadium and images for The Carousel of Dreams in Kennewick, WA.

Current projects include 17 – 4x8 foot glass panels featuring his landscapes in Eastern Washington for the Pasco Airport Remodel. Last year he finished a major project for the Othello Medical Clinic where almost 200 images were used to decorate the facilities ranging in size from 24” to 35’ in size. His work can be viewd at:

“My images sum up my feelings about the grandeur of nature. It is never just one thing that touches me when I try to capture a moment, but always a vast array of emotional and photographic textures. Most of my images are therefore complex and detailed.”

Steve’s interest in the environmental movement, starting in his college days, led him to actively seek ways of using his photography to help in a personally significant way. He joined the Mono Lake Committee 40 years ago and has been an active leader in the Sierra Club since 1981. He served as the chairperson of the Camera Committee of the Angeles Chapter for 5 years. Steve’s images have appeared in Sierra, the Southern Sierran, Images of the West, A Portrait of Bodie, and the Sierra Club Angeles Chapter Schedule of Activities. Some of his monochrome images were significant contributions to help save Mono Lake. He has had work shown in a number of local galleries. Steve was the San Gabriel Mountains National Monument Artist in Residence in 2015. Steve has published four photography books that are available through Blurb.com.

Steve Anderson

atTheJohnwww.johnclementgallery.comClementPhotographyFaceBookProfessionalpageKionaWineryinBentonCity,andAlliedArtsGalleryinRichland,WA.

Email: Viewingwebsite:sandersonimagery@outlook.comwww.pbase.com/spanderson

Steve worked primarily in the conventional medium of Black and White silver-based photography for many years as he explored the natural landscape of the local San Gabriel Mountains and his beloved High Sierra in California. In the last 20 years he has engaged in digital photography as it has opened up new avenues and excitement about making images of the natural scene. His interest in photography began in junior high school when he developed his first roll of film from a Kodak Brownie camera. He became very interested in combining photography and traveling adventures as a member of the Highlanders, a mountaineering club at Pasadena City College. His work turned more serious during military service as the landscape became his focus of attention.

Joe Doherty grew up in Los Angeles and developed his first roll of film in 1972. He has been a visual communicator ever since. He spent his teens and twenties working in photography, most of it behind a camera as a freelance editorial shooter. He switched careers when his son was born, earning a PhD in political science from UCLA specializing in American politics and research methods. This led to an opportunity to run a research center and teach at UCLA Law, where he became best known as an empirical bankruptcy scholar. After retiring from UCLA in 2016 he continued to consult, but now he and his wife Velda Ruddock spend much of their time in the field, across the West, capturing the landscape.

John Fisanotti As a youth, John’s interest in photography stemmed from an interest in astronomy. His first photos were attempts to photograph the night sky using a folding Kodak camera, that once belonged to an uncle. Later, John used a 35mm rangefinder camera to photograph nature, particularly the San Gabriel Mountains above his home in La Crescenta. After high school, John sold his telescope to purchase a 35mm SLR camera outfit.

JW Doherty

John was a photography major in his first three years of college. He has used 35mm, 2-1/4 medium format and 4x5 view cameras. John expected to be a commercial photographer. His personal work leaned heavily to shooting landscapes and outdoors. In 1977 John changed majors. After graduating from California State University Los Angeles with a Bachelor of Arts Degree in Urban Studies in 1979, John’s first post job college was in a commercial photo laboratory. In 1980, he pivoted from photography and began his 32-year career in public service. John worked for four Southern California cities in city planning, community development and redevelopment, and concluded his career as a Project Manager for the Culver City Redevelopment Agency. During these decades, he continued to shoot outdoor scenic images whenever possible. After retiring from public service in 2012, John has pursued his astronomical and photographic interests. Beginning in 2013, John has been a telescope operator for the 60" reflector telescope at Mt. Wilson Observatory. And John has increased his photographic portfolioconcentrating on outdoors, landscape, travel and astronomical images. Beginning in 2018, he has expanded his repertoire to include architectural and real estate photography. Occasionally, John has been fortunate to have photographs selected for various exhibitions or publications. He currently shoots with Nikon DSLR cameras.

Contact John at either jfisanotti@sbcglobal.net or fisanottifotos@gmail.com.

John’s photographic websites: Landscape, Travel and Astronomical images http://www.johnfisanottiphotography.com; Architectural and Real Estate photography are at http://www.architecturalphotosbyfisanotti.com.

https://philwitt.smugmug.com

Velda Ruddock Creativity has always been important to me. I received my first Brownie camera for my twelfth birthday and I can’t remember a time I’ve been without a camera close at hand. I studied the social sciences and art, and later earned a Masters degree in Information and Library Science degree. All of my jobs allowed me to be creative, entrepreneurial, and innovative. For the last 22 years of my research career I was Director of Intelligence for a global advertising and marketing agency. TBWA\ Chiat\Day helped clients such as Apple, Nissan, Pepsi, Gatorade, Energizer, and many more, and I was considered a leader in my field. During our time off, my husband, Joe Doherty and I would travel, photographing family, events and locations. However, in 2011 we traveled to the Eastern Sierra for the fall colors, and although we didn’t realize it at the time, when the sun came up over Lake Sabrina, it was the start of change in our careers. By 2016 we had both left our “day jobs,” and we started traveling – and shooting nature – big and small – extensively. Our four-wheel drive popup camper allowed us to go to areas a regular car can’t go and we were – and are –always looking for our next adventure.

PhilPhilWittWitt has been photographing nature since he got his first SLR camera in the late 70s. An avid birder, he is a volunteer at the Scherman Hoffman Wildlife Sanctuary of NJ Audubon in Bernardsville, where he coleads the photography workshop series. He is currently on NJ Audubon’s Board of Directors. He is a past president of the Camera Naturalist Photo Club, and program chair of the Somerset County Camera Club. He judges photography competitions and presents instructional programs at photography clubs throughout New Jersey. He received the NJ Federation of Camera Club’s 2017 Citation for service to photography in the state. He and his wife enjoy traveling the world for photography--Antarctica, the Galapagos, Tanzania, Iceland, Costa Rica, among others. When not birding or photographing, he is a (mostly retired) forensic psychologist, specializing in legal cases and court testimony.

Since she retired approximately ten years ago, she switched her focus onto nature photography including landscapes and wildlife in America.

SusanSusanManleyManley has more than 35 years experience as a photographer. Her career consisted mainly working in a Communications Department writing and shooting a wide variety of public relations and photojournalism photos.

Paul Reinstein

ssnmanley@Yahoo.com

I have two lifelong hobbies; photography and fine woodworking. My father fostered both those interests. At 14, right before I went on a 1 week backpacking trip around Yosemite Valley with my friend Joe (16) who could drive, my father taught me the basics of using a camera on an Olympus camera that shot half frames on 35mm film. Can you imagine allowing a 14 year old to do that in today’s world? By 20, I was fully independent. In my 20s, I bought a Minolta SRT101, and I also started dabbling in woodworking as a way to have simple furniture while working my way through college (Biochemistry, UCLA). I even had a simple B&W darkroom for a while. I shot mostly landscapes. After getting my degree, I decided I didn’t like working in that field, so I went back to school, and worked my way through a masters degree (Electronics Engineering, CSULB). I spent the majority of my career at The Aerospace Corp, working mostly on electrical power systems for rockets and satellites for the Air Force, NASA and the NRO. During that time, when not working, I began focusing mostly on fine woodworking, shooting occasional snapshots. By 50, my woodshop was enviable, my wife and I were flipping homes on the side, I was a manager at work, and digital cameras reignited my interest in photography. When the music stopped in real estate, we built our own home in Mar Vista. Then, my boss, and his boss both died unexpectedly (and independently), a huge layoff was announced, and I was retired. I got my general contractor’s license, and tried that for a couple of years. I retired fully at 60, earlier than I would have imagined. By 2016, I had amassed a number of bird photos, just by happenstance, so I decided to see what I could get that number up to, just for fun. That turned out to be eminently satisfying, albeit expensive, and now I spend much of my time shooting birds locally or travelling worldwide to do so. My big birding trips so far include the Galapagos and the UK, and my list is presently up to about 350 species, and I have a small presence on Instagram and on stillmyI’vehttps://www.flickr.com/photos/preinstein54/.Flickrsoldafewimagesuponrequest,severaloffriendshavemyimagesontheirwalls,andIdabbleinwoodworking,includingmakingmyownframes.

The love of nature and photography were a perfect match and after retiring from IT a few years ago (there was a career change somewhere in there) I’ve returned to those early loves and am able to spend a lot more time on photography, enjoying workshops and especially the Sierra Club trips :).My photos can be seen https://www.jeffgottesmanphotography.com/at

Wiebe Gortmaker

I am based in Boulder, Colorado and consider myself a full-time hobbyist. After retiring from the airlines, I have devoted a high percentage of my time to travel and learning photography. In the past few years I have moved from travel photography to primarily wildlife and landscape photography. Prior to the airlines, I spent considerable time in remote areas of Alaska and Central and South America. I am now able to revisit those places with a focus on photography.Ihavelived in Colorado since college and spent a lot of time flying, hiking, and climbing in the wild places in my back yard.

I spent a few summers working in that camera store mostly doing shipping and receiving but every chance I got, I would be talking with and learning from the salesmen who knew everything about cameras and photography. At the end of the summer they gave me a used Pentax Spotmatic 500 and there began my love of photography. I did all the shooting and darkroom work for my high school yearbook and later as a photographer and writer for college newspapers. At the same time, I developed a love of nature and graduated college with a degree in Geology (with several electives in Photography). That was where all the environmentalists spent their time.

Jeff Gottesman

I first became interested in photography back in high school sometime in the last century. My father worked for many years in a professional camera store in Pittsburgh (Kadet Photo Supply) where he did the picture framing.

With my new hobby I am looking at these places in a new way, trying to preserve the image and feelings I have of the wildlife and landscape. This process motivates me to learn and discover.

Wiebe is concentrating on his photography at this time and is not currently active on social media. He does plan to have a website together in the near future.

Allen Johnson

I'm a PhD in psychology with a passion for photography. I'm also the author of several books: a memoir on France entitled "Pardon My French" and two novels: "The Awakening" and "Spike, Benny, and Boone."

I have always loved photography! First to document and save photos of my sons. We had little to no money for film developing in the beginning but I kept shooting. Every year my husband would ask me what I wanted for Christmas/birthday and I would always say “develop my film”!! After several years he finally did, but everything was yellow but the memories were there. From there, when I was coaching downhill skiing for Westside Special Olympics, I took photos of my athletes and created a book for each of them. The pure joy I saw on their and their family’s faces was priceless! Finally, I was at Mammoth skiing with my family (grandkids!!) and we had lunch at Bergers Burgers. They had the most gorgeous landscape photos on they walls. I asked the waitress about them and she said they were by Vern Clevenger and that he often came in for lunch after skiing and she would point him out for me. She did, I asked about workshops and he said “absolutely”. That was it!! I took one workshop from him and many, many more with Mountain Light in Bishop with Jack Dykinga, John Shaw, Jerry Dodrill, David Meunch and Jeff Foote. One of the most memorable was their ten day inaugural rafting the Grand Canyon trip with Jack & Jerry. Over the years I have been blessed to travel the world with Muench Workshops (Cuba, Yukon, Mongolia, Alaska) Visionary Wild (Botswana, Kenya, Patagonia, Greenland), Aurora Expenditions (Antarctica), and Nathaniel Smalley (Iceland, Maine fall color).

Photography mixed with travel has been my favorite soul food for a long, long time. And will continue to be for as long as I am able. Sadly, I am missing a trip to China in April and Uganda in June to see the gorillas. But I’ll get there as soon as it is safe again.

Joyce Harlan

I was born in Chicago IL and attended the University of Dayton. After graduation I served four and half years as a helicopter pilot in the U.S. Marine Corps. My last official ‘work' position was President & CEO of Arthur J. Gallagher & Co-Denver. I Retired in 1999 and moved to Vail where I taught skiing, a “fundamentals of photography” class at our local community college and wrote (still do) commentary for the Vail Daily Newspaper. I Started taking pictures in 2008 when my wife Bobbi “talked me” into traveling to Africa (we returned seven more times! ) My images have been published in Shutter Bug Magazine, Sarasota Magazine, Travel Africa Magazine (5 times) and Africa Geographic (6 times including two photo essays) I consider myself a generalist although African wildlife and landscape photography are my favorites.

Butch Mazzuca

John NilssonIhaveafond memory from my early years of my father dragging me to the Denver Museum of Natural History on a winter Sunday afternoon. He had just purchased a Bosely 35mm camera and had decided he wanted desperately to photograph one of the dioramas. I distinctly remember the display was of several Seal Lions in a beautiful blue half-light of the Arctic winter that required a tricky long exposure. The transparency he showed me several weeks later was spectacular and mysterious to my young eyes. Although the demands of Medical School made this photo one of the first and last he shot, at 5 years old I was hooked. The arrival of the digital age brought photography back to me as a conscious endeavor - first as a pastime enjoyed with friends who were also afflicted, and then as a practitioner of real estate and architectural photography during my 40 years as a real estate broker. Since retiring and moving to Los Angeles, I have continued my hobby as a nature and landscape photographer through active membership in the Sierra Club Angeles Chapter Camera Committee and my vocation as a real estate photographer through my company Oz Images LA. The camera is now a tool for adventure!

www.OzImagesLA.com dtlanow@gmail.com

David’s photos have been recognized in several international competitions and have been published in books, magazines and on calendars.

DesRochers

In the summer of 2000, David traveled from New Jersey to Montana to visit Glacier National Park. With camera in hand, he attempted to capture the amazing wildlife and beautiful landscapes. Although his photos were somewhat disappointing, the experience inspired him to study the art of photography and travel the world to witness and capture the wonders of our naturalDavidworld.isa member of the North American Nature Photography Association and an Associate Naturalist with The New Jersey Audubon Society. Over the past 15 years, David has shared his knowledge teaching workshops, leading tours, and writing articles.

David is an accomplished public speaker and has appeared at events including the New England Camera Club Council Annual Conference (2014 & 2016), the Connecticut Association of Photographers and New Jersey Audubon's Birding Festival. David's experience judging photo competitions has taken him as far as Budoia, Italy to judge the Bio Photo Contest. In 2014, David was awarded the New Jersey Federation of Camera Clubs Citation in recognition for his contributions to the advancement of the art and science of photography in the state. www.desrochersphography.com

Photography is an avocation that took a backseat to my career during the 32+ years that I worked as a radar systems engineer at Hughes Aircraft/ Raytheon Company. Since retiring in 2013, I’ve been able to devote more time to developing my photographic skills. Experiencing and sharing the beauty of nature continues to be my primary motivation.

David

Larry Miller

I bought my first SLR camera in 1985 to document hikes in the local mountains that I did with friends. My first Sierra Club Camera Committee outing was a wildflower photo shoot in the Santa Monica Mountains led by Steve Cohen in 1991. Since then the SCCC has introduced me to many other scenic destinations, including the Antelope Valley California Poppy Reserve, the Gorman hills, Saddleback Butte State Park, East Mojave National Preserve, the Eastern and Southern Sierras, Point Reyes, the Big Sur Coast, the Ancient Bristlecone Pine Forest, Red Rock Canyon State Park, Tejon Ranch, and Valley of Fire State Park in Nevada. At the same time, my own photography trips gradually expanded in scope over the years to include most of the western National Parks and National Monuments, with the Colorado Plateau becoming a personal favorite.

Thomas Loucks Tom has been a longstanding amateur photographer, but only in recent years has he had more serious time to devote to the hobby. He garnered first place in National Audubon’s 2004 Nature’s Odyssey contest and has placed well in several contests by Nature’s Best, Denver Audubon’s Share the View, and the Merrimack Valley’s George W. Glennie Nature Contest. He has two images of “Alumni Adventurers” on permanent display at Dartmouth College. He is also the incoming President of Mile High Photo Club in Denver (2021-2022) where he currently serves as VP and as a Director. His photographic interests are landscape, wildlife, and travel photography, though his favorite subjects are alpine landscapes. Recently retired, Tom is looking forward to spending more time on photography and other outdoor activities. He recently signed up as a volunteer with Denver Audubon to assist with field trips and hopes that those will soon resume.

Basil Katsaros A native of Denver, Colorado, I first attended Lewis and Clark College in Portland, Oregon. Not understanding humidity or seeing the sun for 30 days, I transferred to the University of Colorado. During my junior year, a roommate needed money and sold me his Pentax 35mm camera. That moment launched my interest in photography. My interests and knowledge were expanded by the Nikon School of Photography. In the earlier days, subject matter centered around my twin sons with travel photos and Christmas cards. As a real estate appraiser, I used photography in much of my work. I must admit, however, the 70’s primarily utilized a Polaroid as film was too time consuming for client demands. I have since graduated to two Nikon digital cameras and too many lenses. While attempting to downshift in work, I occasionally use my photography skills to testify as an expert witness in real estate. My interests include travel, landscape, and wildlife photography. I’m not smart enough to have a website, maybe someone can show me how. Most images are for personal enjoyment and mainly remain in my computer. My goal at this time is too not only become a better photographer, but to conquer Photoshop!!!

Karen

MyBennettmother’sfather was a studio photographer on the Coney Island Boardwalk, my father’s father was an artist in Germany, and my father was a filmmaker and amateur still photographer in New York, so naturally I decided to pursue a career in music. Luckily after hearing the error of my ways, I picked up my father’s old Nikkormat and haven’t looked back since.

89 89

Peter

Nature and Wildlife photographer frequently found exploring the parks and wetlands of Southern California. In 2015, she left her retail management job to pursue her passion for Wildlife Photography. Her work focuses on “Urban Wilderness” and she spent over 100 days photographing the Red Foxes in her neighborhood in 2020 during the COVID 19 pandemic. She recently was awarded a Highly Commended Award-Bird Behavior in the 2018 Wildlife Photographer of the Year sponsored by the London Natural History Museum. Her work was exhibited in Davos, Switzerland at the World Economic Summit in 2019. In 2017 she was the Professional Honorable Mention in the National Audubon Contest. Her work has hung in the London Natural History Museum and has been included in shows at the San Diego Natural History Museum, The G2 Gallery, Palos Verdes Art Center and Armenia Conservation Show. She has been published in Nature’s Best, Audubon Magazine, USA Today, NANPA, Shadow and Light Magazine, and American Photo Maga zine. In addition, she has garnered numerous awards from Best in Show in Los Angeles County Fair to Honorable Mention in the Na tional Park Contest. She enjoys writing about her photographic adventures and has written articles for NANPA and enjoyed being a judge in several photography contests. She was the 2019 President for the Photography and Digital Artists group of the Palos Verdes Art Center and was the volunteer Faculty Coordinator for the NANPA High School Scholarship Program in Tennessee.Shecurrently leads workshops to a variety of locations from Bosque Del Apache, to the Grand Tetons to Africa and Central America with her company, Wilderness At Heart Photography, LLC. She enjoys teaching classes at Samy’s Cameras in Los Angeles and Tuttle Cameras in Long Beach.

From 1998 to 2014 I ran my own stock agency, Ambient Images, which specialized in photos of New York and California. In 2015 I formed Citizen of the Planet, LLC, devoted exclusively to the distribution of my stories and work that focus on environmental subjects such as water and air quality issues, fossil fuels, drought, green construction, alternative energies and urban farming. My editorial work has appeared in numerous publications and books, and I am privileged to have my fine art prints hang in museums, the California State Capitol and many other private institutions and collectors. I’ve also had to opportunity to have worked with many local environmental orga nizations including FoLAR (Friends of the LA River), Heal the Bay, Algalita Marine Research Foundation, Communities for a Better Environ ment, and the LA Conservation Corps. I have been an instructor for over ten years at the Los Angeles Center of Photography (formerly the Julia Dean Photo Workshops). I love teaching photography and having the opportunity to pass on what I was given from all the amazing teachers I’ve had the honor to learn from.

Karen currently celebrates life with her husband and two dogs in St. George, Utah.

KarenSchuenemannSchuenemannisa

Bob served two years as US Forest Service Artist in Residence to interpret and showcase the beauty of the Angeles National Forest and is past Chairman of the Sierra Club Camera Committee, Angeles Chapter.”

Los Angeles is where commercial photographer Bob Beresh will always call home, but having recently relocated to Addis Ababa, Ethiopia, he is truly a global creative. His commercial photography includes work for clients in automotive, aviation, corporate executive and business portraiture, architecture, and product work. Bob’s photos are influenced by his observations in nature, travel and sports to deliver memorable images.

bobbereshstudio.combentriver.com

Bob Beresh

Bob Cates Bob Cates led his first Camera Committee outing in 1975 as co-leader with Allan Der, so his roots go way back. He has chaired the Angeles Chapter History Committee since the mid-70s, and as such has archived tens of thousands of photographic images, many from his own documentation of Club outings, but also images donated from hundreds of Club members.He is primarily a nature/landscape photographer, but is also drawn to macrophotography— primarily of botanical subjects. Since 2015 he has lived in Pasadena and frequently may be found haunting the grounds of the Huntington Library, Art Museum and Botanical Gardens.

93 Causes, Notes, AnnouncementsAnnouncementsandNotesand

94 Notes and Announcements 94 A Note from the Editor… In coming issues of Focal Points Magazine I will be limiting the number of photos submitted to a maximum of eight photos per contributor. Please select your very best photos for each submission and limit to that number - so I don’t have to make the difficult decision on what to include for you! An exception will be for photos submitted for the Cover Story. For these contributions, the only limit will be what is necessary to tell the story. Thanks for following this guideline in your future contributions to Focal Points Magazine!

97 97 Get out there and involved!get Our natural world is under attack and we all need to fight to preserve the things that we hold dear. Do you know anyone who would like to become a member of the Sierra Club Camera Committee? We are seeking new members to share their outdoor experiences and photographs. If you have a friend or acquaintance whom you feel would benefit from and add to our membership, please ask them to join us at our next meeting. Membership costs only $15.00 per year - a tremendous value! To join or renew, please mail a check for $15 (payable to SCCC): Joan Schipper - Membership 6100 Cashio St. Los Angeles, CA 90035 (Be sure to provide your address and email) More members - More to share YOURCONTRIBUTETIME,YOURDOLLARS....ORBOTH!

What’s your favorite photo in this Focal Points Continuing with this issue am asking all members to vote for their favorite photo. Here’s how: Please e-mail me at dtlanow@gmail.com (Heading: Member’s Choice) and let me know your choice for the best photo by the 20th of the month in which the issue is published. In your e-mail, give me the page number, the name of the photographer, and a brief description so I can identify your choice.

The Angeles Chapter of the Sierra Club has literally hundreds of outdoor activities that Sierra Club Camera Committee members can attend. You can find these activities at http://angeles.sierraclub.org/activities

Magazine?

The Members’ Photo Contest

If you have an idea for a trip that the Camera Committee might like to plan for, tell a leader. They are always open to ideas of new places to go, new places to shoot. See the last page of this newsletter for a list of contact information for the leaders.

Wanna Go on a Hike? in case you didn’t realize it...........

I will tally up the votes and announce the winner in the next issue and republish the photo with a paragraph from the photographer about how it was captured, where, when, and even the dreaded mire of camera, settings and lens. should be a fun feature! Nilsson, Publisher

This

Just

CST 2087766-40. Registration as a seller of travel does not constitute approval by the State of California. All participants on Sierra Club outings are required to sign a standard liability waiver. To read the liability waiver before you participate on an outing, go to: http://www.sierraclub.org/outings/chapter/forms

..........John

Choice

99 Do you enjoy receiving your monthly copy of Focal Points Magazine, as well as full membership to the Sierra Club Camera Committtee and access to our extensive programming and trips? If your answer is "Yes" and you want to continue receiving Focal Points Magazine, please send your check for $15.00 and your full name and email address for a yearly subscription to: Sierra Club Camera Committee Joan Schipper - Membership 6100 Cashio St. Los Angeles, CA JoanSchipper@ixnetcom.com90035323-828-8334 99 Focal Points Sierra Club Camera CommitteeJanuaryMagazine2021 Focal Points Sierra Club Camera Committee Magazine December, 2020 Focal Points Angeles Chapter Camera CommitteeNovemberMagazine2020

102 Leader Contacts Chair Joe Doherty 310-500-5696 Information.SCCC@gmail.com Programs Susan Manley 323-901-7788 SSNManley@yahoo.com Treasurer Ed Ed5ogawa@angeles.sierraclub.orgOgawa Membership Joan Schipper* 323-828-8334 JoanSchipper@ixnetcom.com Publications- John Nilsson* 213-266-2224 Editor + Liaison FocalPoints.SCCC@gmail.com Communications Velda Ruddock 310-500-5995 VRuddock.SCCC@gmail.com Website Velda Ruddock Meetup Ed Ogawa Instagram Joan Schipper Facebook Open Outings co-chairs Joan Schipper* 323-828-8334 joanschipper@ixnetcom.com Alison Boyle* 310-944-1019 AlisoniBoyle@icloud.com Trip Leaders- * Above and the following: Steve Anderson 714-614-7808 SAndersonImagery@outlook.com John Boyle 310-828-6300 JBoyle6300@gmail.com Carole Scurlock 626-794-5207 CScurlock@charter.netAllanDer 714-653-8319 ader@sprynet.com 98

Focal Points Magazine, September 2022

Articles inside

Contributors' Bios

Cover Story