Focal Points Magazine March/April 2023

MongolianAdventure

Chair Programs

Treasurer

Membership

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Meetup

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SCCCLeadership

JoeDoherty

SusanManley

EdOgawa

JoanSchipper

JoeDoherty

VeldaRuddock

EdOgawa

JoanSchipper

JoanSchipper

AlisonBoyle

joedohertyphotography@gmail.com

SSNManley@yahoo.com

Ed5ogawa@angeles.sierraclub.org

JoanSchipper@ix.netcom.com

joedohertyphotography@gmail.com

vruddock.sccc@gmail.com

Ed5ogawa@angeles.sierraclub.org

JoanSchipper@ix.netcom.com

JoanSchipper@ix.netcom.com

AlisoniBoyle@icloud.com

FocalPointsMagazineisapublicationoftheSierraClubCameraCommittee,AngelesChapter.The CameraCommitteeisanactivitygroupwithintheAngelesChapter,whichwesupportthroughthe mediumofphotography.OurmembershipisnotjustfromSouthernCaliforniabutisincreasingly international.

Ourgoalistoshowthenaturalbeautyofourworld,aswellasareasofconservationconcernsandsocial justice.Wedothisthroughsharingandpromotingourphotographyandbyhelpingandinspiringour membersthroughpresentations,demonstration,discussion,andoutings.

WehavemembersacrosstheUnitedStatesandoverseas. Forinformationaboutmembershipand/orto contributetothemagazine,pleasecontacttheeditorsorthemembershipchairlistedabove.Membership duesare$15peryear,andchecks(payabletoSCCC)canbemailedto:SCCC-JoanSchipper,6100 CashioStreet,LosAngeles,CA90035.

Themagazineispublishedeveryothermonth.Acallforsubmissionswillbemadeone-monthinadvance viaemail,althoughsubmissionsandproposalsarewelcomeatanytime.Memberphotographsshouldbe resizedto3300pixels,atahighexportquality.Theyshouldalsobejpg,inthesRGBcolorspace.

Coverarticlesandfeaturesshouldbebetween1000-2500words,with4-10accompanyingphotographs. Reviewsofshows,workshops,books,etc.,shouldbebetween500-1500words.

Copyright:Allphotographsandwritingsinthismagazineareownedbythephotographersandwriters whocreatedthem.Theyholdthecopyrightsandcontrolallrightsofreproductionanduse.Ifyoudesire tolicenseone,ortohaveaprintmade,contacttheeditoratjoedohertyphotography@gmail.com,who willpassonyourrequest,orseetheauthor’scontactinformationintheContributorssectionattheback ofthisissue.

https://angeles.sierraclub.org/camera_committee

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FocalPoints

DEPARTMENTS

2 NotesfromtheChair

3Announcements

29MemberPhotos

40BlackandWhitePages

47Contributors

50PartingShot

COVER STORY

4MongolianAdventures.Aninvitationtoridehorses acrosstheMongolianSteppebecameaone-man photographyworkshop.CharlieHymanexplainsthe challengesofphotographyonthisuniquetrip.

ByCharlieHyman

COLUMNS

12How-To:PreparingforanExhibition

ByJoeDoherty

16HowIDidIt:LosAngelesatDusk

ByJohnFisanotti

19TripReport:DeathValley

ByPaulReinstein

CharlieHymanandKarenCorsiniinCentralMongolia

CoverPhoto:LapisSkyCamp,Mongolia.©CharlieHyman

Sinceretiringandre-dedicatingmyselfto photographyfull-timeI’vediscoveredthatit’s notasdifficulttomakefriendsinadulthood asI’dalwaysbelieved.VeldaandIhavemet andbecomeclosetomanyphotographersand theirpartnersoverthelasteightyears.Some areoldfolkslikeus,othersaremid-career professionals,andafewaredoingexcellent workyetstillfiguringoutthelegaland businesssideofthings.Whatweallshareis thejoyofdoingandsharingourwork,and thealmostcompleteabsenceofcompetition betweenus.

Thisissue’scoverstory,“MongoliaAdventure,” iswrittenbyonesuchfriend.Weknew CharlieHymanatadistancethroughour jointmembershipintheDodrillPhoto WorkshopGrouponFacebook.Wefinally metin2016duringaworkshopatLake Tahoe,andhavesharedstories,advice,and photographseversince.Herecentlyjoinedthe SierraClubCameraCommittee,andthisis hisfirstcontributiontoFocalPoints Magazine.Ihopeyouenjoyit.

ThisisthesecondissueofFocalPoints Magazinewithmynameatthetopofthe

masthead.Itwouldbeimpossibletodothis alone,andI’msogratefulthatVeldahastaken anactive(ifbehindthescenes)roleinputting ittogether.Shecommunicateswithauthors, pitchesstoryideas,andproofreadseverything. Shealsohasanunerringeyeforsmallmistakes inmylayout.

IwanttoincreaseopportunitiesforSCCC memberstodomorewriting.You’llseeanew columninthisissue,“HowIDidIt.”Itisthe storyofasinglephotograph,andinthisissue itiswrittenbyJohnFisanotti.Ifyouhavea singlephotowithacomplicatedhistory,please lettherestofthemembershipknowhow you didit.

Wealsohavea“TripReport”column,which inthisissuerecountsPaulReinstein’srecent photographicsojourntoDeathValley.If you’relikeme,oneofthereasonsyoupicked upacameraistorecordyourtravels.Ifyou’ve hadaparticularlyinterestingtrip,wehope you’llrecountitforeveryoneelse.

Asareminder,theJuneZoompresentation willbeaMemberShow.

–JoeDoherty

AprilZoomPresentation

GregMetro

TravelPhotography:Going fromOrdinarytoExtraordinary April13th at7pmviaZoom

Registerforthetalkhere: https://tinyurl.com/SCCCGM

Ihaveworkedforover20years inthefinanceindustry,living andworkinginthePhilippines, Australia,HongKong, Indonesia,EthiopiaandDubai. Ihavebeenluckytopursuemy passionforphotographyinmy freetime.Iabsolutelylove travelandhavebeenfortunate totravelto80countries.

Iamalandscape,astro,wildlife andcityscapephotographer basedinDubai.Ihavealways beenfascinatedbytheoutdoors andnature.Ifindthat photographycontinuesto changethewayIseetheworld.I'llneverlookatclouds,water,starsorbuildingsthesameagain.

Icaptureextraordinarylightinuniqueandremotelocationsaroundtheworldwhichleavemyself andmyviewersinasenseofaweabouttheworldanditsbeauty.Itmightbealighthouseat sunrise,snow-cappedmountainsreflectinginanalpinelake,oracitydrapedinfog;allofthe photoshavelightthatmakesmysubjectslooksurreal.

Myphotographypushesmetoexploretheworldandexperiencemagicalmomentswherelight, weather,andabeautifulcompositioncomestogether.Myworkbringstheviewertothoseplaces andcausesthemtowanttoseeandexperiencetheworld.

MongolianAdventure

Aninvitationtoridehorsesacrossthe

MongolianSteppebecameaone-man photographyworkshop.

TextandPhotographsbyCharlieHyman

Mongolia!LocatedbetweenRussiatothenorthandChinatothesouth,andwitha populationofaround3.3million,itisthemostsparselypopulatedindependent countryonEarth.ItiswellknownastheempirefoundedbyGenghisKhanin1206.

In2017mywife,Karen,andIwereinvitedtojoinagroupofequestriansforahorsetrekkingadventure.Fortwoweeksweexploredthesightsinthesteppeincentral Mongoliawithourguides,stayinginger(yurt)camps,campingbyhorseback, attendingtheNaadaamFestival,andvisitingNomadfamiliesintheirgers.

ThethirdweekwasspentatLapisSkyCampwherewerodeforuptofivehoursdaily andhadencounterswithlocalnomadsintheirgers,musicalgatheringswithnomadic herdsmen,yogabytheriver,ademonstrationbyashaman,azither-and-horseheadfiddleconcertbylocalschoolchildren,andanovernightrainycampingexperienceon horseback.

MycameragearconsistedofCanon5Dmkiii and7Dbodies,Canon24-105mm,70200mm,100-400mm,andRokinon14mm lenses.Withcarefulpacking,Iwasabletofit itallinandstillhaveroomformylaptop, clothing,andbatteriesandchargersina MindshiftUltralightDual36Lbag,whichI carriedonboard.IalsobroughtaCanon SX230compactcameratousewhenitwould notbeconvenienttohavemybigriginhand. Mytripod,aGitzoSeriesITraveler,wentin myduffelbagalongwithanEddieBauer waistpackIplannedtouseonhorseback.

Beingtheonlyphotographerinthegroup meantthatIwouldneedtograbshotsonthe move.Manyphotosweretakenwhile bouncingaroundinvehiclesoverthe‘roads,’ notmuchmorethandirttracksinthe grasslandonthistrip.Iovercamemyfearof highISOsettings,andtookmanyphotosat ISO4000andabove.Thispaidoff,resulting intack-sharpimageswithmy100-400mm lensat400mm,

AttheendofthetripIcamehomewithover 3700images,makingitverydifficultto narrowdowntothefewinthisarticle. It’simportanttohaveyourcameraattheready atalltimeswhiletravelinginMongoliato captureunplannedscenesandevents.We spottedchildrenintrainingfortheNaadam Festivalhorseraceasweweredrivingbyat highwayspeed.Ihadmy24-105mmlenson thecameraandsettheISOto4000and shutterspeedto1/5000.Itrequired substantialcroppingtogetthisimage,butit’sa goodexampleofbeingpreparedforthosegreat opportunitieswhentheyhappen.

YakmilkisastapleoftheNomaddiet, providingtarag(yogurt)andaaruul,a fermentedsourdriedcheese.AtLapisSky CamptherewasaNomadfamilylivingnearby thatprovidedfoodforthecamp.Iwasinvited tophotographthedailyyakmilking.The familywaswellaccustomedtobeing photographed,soIhadnoreservationsabout aimingmycamera.TheMongolianpeopleare

thekindestandfriendliestpeopleI’vemet,but opportunitiesofthiskindaremostlikelytobe arrangedbyguidesorcamphosts.(1/320sec, f/5,ISO1250,50mm)

Becauseconventionaltourismis notcommoninmostof Mongolia,encounterswith Nomadfamiliesareusually arrangedbyguides.The familiesareusedtohaving visitorswithcamerasandare comfortablebeing photographed.Imetthisyoung boyduringavisittoaNomad family’sgerandinstantly connectedwithhim.Afterhe posedforme,Ihandedhimmy cameraandposedforhim, muchtohisdelightandmine. Mongoliankidslearnhowto ridehorsesalmostassoonas theycanwalk,sotheyare extremelycompetentriders.Iwastreatedtoa demonstrationofhisgallopingskillasherode backandforthformeseveraltimes. (1/125sec,f/10,ISO125,96mm).

ANomadgercampisnestledbeneathRed Rocks,anareawhereBuddhistrelicswere hiddentoprotectthemfromdestruction duringtheCommunistoccupationof Mongolia.Wevisitedthefamilylivingthere andweresurprisedtoseeseveraldogs,which welearnedareimportantinkeepingthe livestocksafefromwolves.Thisphotowas takenonhorsebackwithmyDSLR,butwe werestoppedonaridgeandIwasabletodrop thereinsandtakethepicture.(1/60sec,f/13, ISO100,286mm)

Beinganearly-birdhelpsingettingphotosof Nomadicherdsmengoingabouttheirdaily routineofroundinguptheirhorsesfor milkingandforridingtocheckontheir sheep,goat,oryakherds.Theywearthe traditionaldhel(deel)garment,notforshow, butforitspracticalityintheharshclimateof thesteppe.Althoughatripodmightbe helpfulfordawnphotography,itismore practicaltohand-holdthecameratobeable toadjustquicklytochangingscenes.Havinga longlensisinvaluableforthesescenesbecause ofthegreatdistances.Evenso,thankstolarge pixel-countsinmoderncameras,extensive croppingisusuallypossiblewithouttoomuch lossofdetail.(1/500sec,f/6.3,ISO2500, 400mm)

Sometimesphotosofthehorsesandherdsmen areposedorarranged,butoftenopportunities presentthemselvesserendipitously.Itis importanttohaveacamerareadytogoatall timesfortheseshots.Wewerecampedalong theOrkhonRiver,andatsunsettheguides weretakingourhorsestotheirnighttime grazingareaandjusthappenedtoridethem alongtheridgebehindthecampground. (1/6400sec,f/6.3,ISO4000,200mm)

It’sdifficulttofullygraspthevastnessand remotenessofthesteppe.Livestockfree-range onthegrassland,soNomaddwellingsare widelyseparatedtoensureadequategrazing. Toadapttosuchdispersedandisolatedliving, mostNomaddwellingshavesolarpanels,a satellitedishforphoneand/orTV,asmall pickuptruckforhaulingwater,andevena motorcycleforroundingupthehorses.Even alongtelephotoshotalmostlookswide-angle duetothescaleofthelandscape.(1/1250sec, f/8,ISO2500,248mm)

Mongolianherdsmenare expertridersandwillnot hesitatetodemonstratetheir skillforthecamera.This showwasputonforusat LapisSkyCamp,wherethe riderspickeduppolesfrom thegroundatafullgallop.I recommendusingthe continuousshutterfeature ofyourcameratocapture thesefast-actionshots. (1/800sec,f/8,ISO640, 100mm)

InMongolianculture, fireisasymbolof goodthings,soon ourlastnightatthe camp,thehostslita hugebonfireasaway tobringourstaytoa closeandtowishus well.Theentirecamp staffandguests gatheredaroundthe fireandbaskedinits warmth.(10sec,f/13, ISO5000,58mm)

PreparingforanExhibition

ByJoeDoherty

VeldaandIhavebeenveryfortunatethis winter.Wehavehadourphotographs acceptedintoseveraljuriedshows,Velda exhibited13photographsinatwo-woman show,wearebothexhibitingmultiple photographsingalleriesinOakhurstand Fresno,andthereisabigeventcomingupin MayatUCLAinwhichwewilleachhave eightphotographsondisplay.Soundsideal, doesn’tit?

It’snotideal.Whenthegoodnewsrolledin werealizedthatwedidn’thaveasystemto handlethisvolumeofwork:printing, framing,shipping,etc.Wecan’tsaythatwe perfectedasystem,butwearenowbetterable tomanagetheload.Thiscolumnisabouthow wedidit.Someofitisgleanedfromlistening topeoplewhoregularlysellatartshows,some ofitfromtalkingtootherartists,andsomeof itistrialanderror(mostlyerror).

Itmightseemnaturaltostartthiscolumn talkingaboutimageselectionandprinting. Weassumethatyouknowexactlywhich imagesyou’llbeshowing,especiallyifit’sa juriedgroupshow,althoughmaybenot.And wealsoassumethatyouhaveanideawhatsize andwhataspectratioyourprintshouldbe, butthatshouldbeflexibleaswell.

Thefirstthingtoconsider,evenbefore enteringoracceptingashow,isthecostand thelogistics.Someshowsareeasierto participateinthanothers.TheSoutheast CenterofPhotographyrequiresnothingmore thananelectronicfile.Ifyouwish,theywill printandframeyourimagefortheshow,and keeptheprintonhandaftertheshowshould

someonewanttopurchaseit.Yosemite Renaissanceisattheotherendofthe spectrum.Itrequiresdeliveryofagalleryqualityframedprintthatispackagedrobustly enoughtotraveltofourothervenues,after whichitmustbepickeduporshippedhome viaFedEx.Andthenthereareshows completelyoutsidemycomfortzonefor participation.In-persondeliveryandpickup atamuseuminWyoming?Itsoundslikea greatshow,butwecan’tjustifytheenergyor theexpense.

Thesecondconsiderationisframing.Notall showsrequireaframe.Asnotedearlier,the S.E.CenterofPhotographywillprintforyou. TheLosAngelesCenterofPhotographyshow “LifeCycles”(openingApril1,2023)hangs unframedprintsusingmagnetsatthecorners. SeveralyearsagoagroupshowinOakhurst askedforonlymattedprints,tobedisplayed onnarrowshelves.Wehadboughtthosemats inagallerygaragesale,andprintedtofit them.Mostshows,however,requireaframe.

Checkwhethertheshowhaslimitsonframe size,althoughdon’tbesurprisedwhenpeople ignoreit.Wehavebeeninshowswherea significantnumberoftheentrieswerelarger thanallowed,butthat’stheirproblem.Ifyou wanttogoover-sized,asktheorganizersfirst. Youwillalsowanttoknowiftheorganizers haveapreferredhangingmethod.Wehang withwire,withthehighpointonthewiretwo inchesbelowthetopoftheframe,using readilyavailableD-ringsandmulti-strand wire.Thisassumesyouhavemattedprints behindglass,andnotcanvaswrapormetalor

acrylicoranotherformat.Forthosetherules arelikelygoingtobedifferent.

Framescanbeexpensive,customframingis moreexpensive,andcustommatsincreasethe costsignificantly.Weusedtohaveeverything customframed.Wedidn’tgetintomany shows,andthoughtthatwasthenorm.It wasn’tthenorm.Customframingcanbegreat anditdoesn’thavetobeterriblyexpensive(we recommendFramingHouseDesignonSpring StreetinLosAngeles),butifyousellaprintin agallerytherewillbeacommissiononthe wholeitem,notjusttheprint.Torecoverthe costofa$150frameyoumayneedtoadd $250-$300toyourprice,dependingonthe commission.Wefindit’susefultohavetwo prices,forframedandunframedart.

Wenowuselessexpensiveframesalmost exclusively.Wehaveneverhadaphoto rejectedbecauseitwasinaframefrom MichaelsorIkea.Ourgo-toMichaelsframeis a16x22blackframewitha12x18mat opening($44fullprice,$21onsale).TheIkea frames(“Ribba”)areevenlessexpensive (16x20witha12x16matopeningcosts$15).

Theaspectratioof12x18isthatofafullframedigitalcamera,andnicelyfitsona 13x19paperwithevenwhiteborders.The Ikeaframesallowforalittlecropping.They bothlookgoodonthewallandare lightweight,buttheIkeaframesarerelatively fragileandprobablyaren’tsuitablefora travelingshow.Weusedtohaveasurplusof both,butthatsurplusisnowexhaustedbythe eventsofthisyear.Wehaveorderedmore.

Thepricesfortheseframesallowyousome flexibilityinwhereandhowyoudisplay framedprints,andhowmuchyouchargefor

them.Forexample,weareeachgoingto displayeightphotographsataneventat UCLAinMay.Wecouldnotdothatat$150 perframe,butwecanat$15-25perframe withnolossinapparentquality.Atthatprice it’snotabiginvestmenttobuyextraframes, whichinturngivesussomeflexibilityinhow wecrop.It’satthispointthatwecanthink aboutwhatgoesinsideoftheframes.

Thedifferentmatopeningsinmyexamples (12x18and12x16)giveflexibilityincropping andprinting.It’simportanttostandardizethe processestoafewdifferentsizesinorderto keepfromgettingoverwhelmed,sobyhaving afewframesofeachtypeonhandwecan choosetoprintfullframeortocropalittle. Wealsohaveasmallsupplyofsquareframes. Thisallmeansthatwedon’tneedtoworry aboutthemechanicsofframing,andcan thinkcreativelyaboutwhichphotographswill lookbestwhencollectedtogetheronawall. Wecanworkonthemes,andorder(ormake) printsfortheexhibition.

Gettingtheprintsintotheframeisanother matter.Bothoftheframesmentionedabove comewithmats,butthebackingboardsleave somethingtobedesired.Wereplacethose withboardsthesamesizeasthemat(from ClearBags.comorMichaels).Welayboththe matandthebackingboardonatable,butting themtogetheronthelongside,sothatthe sideofthematwiththeopeningthatwillface forwardintheframeisfacedownonthe table.Whiteartiststapeisusedtocreatea hingethatlinksthebackingboardandthe mat.Next,weplacethephotographonthe backingboardandfoldthetwopieces together,andpositiontheprinttoshowinthe matopening.Thephotographismoved

aroundtomakesureit’scorrectlyplaced withinthematframe,andweusephoto mountcorners(Canson)tosecuretheprintto thebackingboard.Ifwehavenotdoneso already,wesigntheprintbeforeclosingthe mat.IrecommendusingaPigmaMicro0.5 penforthis.Sometimeswesignthematas well,usingapencil.

Atthispointthephotographisalmostready toframe.Theglassisremovedandcleaned thoroughly,awayfromtheassemblyarea.A bigbottleofwindowcleanerandasoft microfiberclothworkswonders.Ifweneedto shipourprint,wereplacetheglasswith acrylic(SoltersPlasticonPicoisoursupplier). Whenwehaveassembledthematandputthe glass/acrylicinplace,webloweverything cleanwithacanofcompressedair.Following this,themattedprintisinsertedintothe frameandinspectedcarefullytomakesure thatnostraydust,hairs,woodfibers,or fingerprintsaregoingtomartheexhibit.Itis dishearteningtohaveabeautifulimage tarnishedbysomethingsoeasilycorrected. Finally,wecloseitupusingframingpointsor whateverclosuresystemisavailable.

Wealsocreatelabelsforourwork,andattach themtothebackoftheframedpieces.This canrangefromanAverylabel(No.8163)toa CertificateofAuthenticity.Theminimum informationonthelabelisname,thetitleof thephotograph,themedium(e.g.,pigment inkoncottonrag),theyearofthe photograph,andcontactinfo(websiteor emailaddress).ACertificateofAuthenticity includesthesethings,aswellastheyear printed,whetheritispartofaseriesoropen, andasignature.Examplesoftheseareas variedasinternetsearchresults.

Whenshippingourwork,whetherbyFedEx/ UPS/USPSorinthetrunkofthecar,it’s importantthatitarrivewiththeedgesand cornersoftheframeunchippedandtheglass/ acrylicunblemished.Sofarthisyearwehave deliveredeverythinginperson.Atabox supply/packingcompanywepurchased100 framecorners,somebubblewrap,andsome packingtape.Thatwassufficient,ifalittle bulky,forallofit.Forthelargestprint (YosemiteRenaissance),whichwillalsotravel tofourdifferentgalleries,wewenttoa differentboxstoreandhadthempackageit (about$35).Keepinmindthattheexhibitor needstokeeppackingonhandforwhenthe showisover,soloosemateriallikefoam peanutsarediscouraged.Thereisnohard evidenceforthis,butifyouwrapyourframed photographlikeitisapreciousjewel,others willtreatitthatway.

Nowwecometoourleastfavoritetopic: pricing.Weholdconflictingpointsofviewon this.Theworkneedstobeaffordablebutnot inexpensive.Itshouldn’tundercutother photographers.Galleriesneedtomakemoney ortheycan’tstayinbusiness.Pricesshould alsobeconsistent,moreorless.Whenweare pricingforaspecificshowwethinkit’s importanttoknowwhoislikelytobuya print,andtopriceforthem.Iftheaverage visitortothegalleryisspendingaweekata nearbyresort,higherpricesareinorder.Ifit’s aless-well-offclienteleinthemiddleofa burgeoningartsdistrict,wemightadjust downward.Butevenintheluxuryarea,wetry tomakesurethereissomethingaffordablefor everyone.Tothisend,askifthegalleryhasa bintoholdunframedphotographs.Wetryto put8x10andsimilar-sizedprintsinthebinat lowerprices($40andup).

Twomorethingsaboutpricing.Itisbadform toadvertiseaphotographatalowerpricethan isbeingchargedinthegalleryduringthe show.Don’tundercutthegallery.Sometimes it’sexplicitlyforbiddenbythetermsofthe exhibition.Also,ifyouhavealimitedseries youmustmakesurethatthegallerycollectsall ofthebuyer’sinformationandprovidesitto you.Thepossiblerepercussionsoffailingto keepaccurateanddetailedrecordsareone reasonwhywedon’tdolimitedseries.

It’sverypossiblethatthereisn’tthetime,or theenergy,orthemoneytomatorframea print,butyoustillwanttogiveyourimagea polishedlook.GeorgeLeppandKathyLepp createdaPhotoshoptechniquethatmakesa “fauxmat”thatcreatestheillusionofamatas partoftheprint.Theyexplainedthe techniqueontheOutdoorPhotographerBlog in2010,(updated2016).https://www. outdoorphotographer.com/blog/making-afaux-mat/Iknowfrompersonalexperience thattheselookprettycoolatadistance.

Finallythephotographsareprinted,framed, andreadytobedeliveredtothegallery.There aretwomoresteps.Weneededtoprovide bothanartist’sbioandanartist’sstatement. Thebioisobviousandvague.Weeditoursfor eachshow.Theartist’sstatementrelatestothe photographsintheshow,thereasonwhywe madeandarepresentingthesespecificimages. Ourpersonaltastelimitsboththebioandthe statementto100-200wordseach,butyours maybedifferent.Also,checktoseeifthe gallery/showhasanyidiosyncrasiesinits agreementwithartists.Istherealiability waiveryouneedtosign?

OneofthethingsI’velearnedasa photographeristobeprepared.Thistypically referstobeingpreparedforthesubjectin frontofthecamera,whetherit’sasunset,a crashingwave,oracharginglion.Italsorefers totheprocessofgettingmyprintsinaplace wherepeoplecanseethem.We’venowgota processinplacethatallowsustogrowthat sideofourphotographicpractice.

JenniferMoss,VeldaRuddock,andWendyDentonjustafterhangingVeldaand Wendy’sshow,“Lifecycles,”attheMettaGalleryinOakhurst,CA.January3,2023.

LosAngelesatDusk

TextandPhotograph©JohnFisanotti

In1967,myparentsboughtahouseinLa Crescenta,which,oncleardayhasaviewout toCatalinaIsland.Wethoughtonlymovie starshadahomewithaviewlikethisandit hasremainedthemostimpressivefeatureof livingthereformyfamily.Asateenager,I

tookpicturesofthecitylightsfromthe backyard.Winteristhebesttimetotrythis shot,typicallyasastormisleavingthearea. Fromthehouse,theeastendofCatalina IslandissituatedbehinddowntownLA.

SincethelasttimeItookthisphoto,Iamusinga higherresolutioncamera,andtheskylinein downtownhaschanged,soI’vewantedtoupdate thisphoto.Thiswinter,Ihavebeenshootingthis scenefromavarietyoflocationsinLaCrescenta orLaCanada-Flintridge,totestvarious viewpoints.

Forthisphoto,Ilookedforaviewpointthathada lessobstructedviewofdowntownLosAngeles, andIwantedtotaketheshotduringtwilight.I

prefertoshootatatimeofdaywhenthecity lightsarecomingon,yettherestillislightenough tomakeouttheocean,CatalinaIslandandits shoreline.This“decisivemoment”occursnearthe endofciviltwilight.Asforthelocation,IknewI wantedaplacealittleeastofmyhouseandatan elevation,between2,000and2,500feet.IfI’m toolow,theangleofviewistooflattoseparate theoceanfromthemainland,andifI’mtoohigh, thedowntownskyscrapersappeartoofarfromthe coast.Thiswinter,IfoundanewlocationinLa

Canada-Flintridge.Just0.6milesfrommy house,asthecrowflies,itisathree-miledrive. Icangetthereinminutes,wheneverIseethe rightatmosphericconditions.

Iarrivedatthelocationatsunset,intimeto setup,levelandfocusthecamera,and composetheshot.Astwilightdeepenedand thecitylightsappeared,Ibracketedmyshots, shootingasequenceoffiveimageswithan ExposureValuefromEV-2toEV+2atone f/stopintervals,overandover.Todetermine myexposure,Iusedthelivehistogramonthe camera’sLCDscreen.Iadjustedtheshutter speedtofindtheexposurethatgavemea goodcurve,andusedthatasmynominal(EV =0)exposure.Irepeatedthisprocessasthe lightfellsotheexposuresonmyseriesof bracketskeptlengthening,becauseIwas alwaysre-settingmynominalexposure.This gavemealotofframestoworkfromwhen processingtheimage.Herearethe specificationsforthisimage:

Camera:NikonZ7II

Lens:70-200mmf/2.8NikkorZoomanda Nikon1.4xteleconverter.ANikonFTZ adapterwasusedto matethecombinationtothemirrorlessbody.

FocalLength:230mm

WhiteBalance:4760K

ISO:250

ExposureControl:Manual

FocusControl:Autofocus

Aperture:f/8

Shutterspeed:4seconds

ColorSpace:AdobeRGB

Support:Heavydutycarbonfibertripodand ReallyRightStuffBH-55ballhead.

Myprocessingonthisimagewasneither linearnorstep-by-step.First,Itriedcreating HDRblendsfromthebracketedseriesusing LightroomandalsoAuroraHDR,butwasn’t happywitheitherresult.Instead,Iselected variousindividualframesandworkedonthem inLightroomandPhotoshop.Icreateda numberofimages,andeveryresulthadsome areasthatlookedgoodandotherareasthat didn’t.Iprobablyhadsixtoeightversions savedonmycomputer.

Intheend,Iwoulddescribewhatyouseehere asahand-madeHDR.Bythat,Imean90% oftheimageisfromasingleframe,butmany ofthemoreextremeparts(i.e.,thedarkest shadowsandthebrightesthighlights)were takenfromotherframes,ofadifferent exposure.Asthecamerawaslockeddownon thetripod,allframescouldeasilylayerontop ofeachotherinregistration.Othersoftware usedatvariousstageswereTopazLabsDeNoiseAIandSharpenAI,andNikCollection Viveza2.

Finally,IusedGoogleEarthtomeasurethe distancefromthecamerapositiontovarious landmarksinthephoto.

JohnFisanotti

DeathValley

TextandPhotographs©PaulReinstein

LastyearIwenttoDeathValleyina workshopandgotalotofgreatimages(see March2022issue),buttherewereseveral shotsIeitherdidn'tget,orwasn'thappywith. Istillwantedagreatshotofthesanddunes, reflectionsofthemountainsoffwaterinthe basin,agoodshotofArtistsPaletteandthe whitesaltformationsatBadwaterBasin.I decidedthatforgoodshotsofthedunesI neededwindtocleanupthefootsteps;for goodshotsofArtist'sPaletteIneededrainto wettherocksandbringoutthecolors;and, well,forreflections,Ineededwater(rain). Basically,Ineededafronttomoveinwith windandrainjustbeforeItooktheshots.Of course,thisisDeathValleywe'retalking about,whereitrarelyrains(hencethename). ThestarslinedupinlateFebruaryearly March,soatthelastminute,Iinvitedmy friendLouistojoinmeforathree-day photographicadventure,andhisschedulewas open,soitwasgameon.

Wedroveupthedaybeforethestormandhit Badwateronthewayin.Igotmyshot.The nextdayitrainedonandoffallday.Weshot ZabriskiePoint,MesquiteFlatSandDunes, ArtistsPalette,acrazyshapedrockalongthe road,andthenGoldenCanyon.Wetriedto gettotheCharcoalKilnstoo,buttheroadup wascoveredinsnowandthetemperature droppedto26o,soweturnedaround.

Zabriskiewasdark,wet,superwindy,andwe werepeltedwithsmallrocks.Theduneswere justwindy,andIgotoneniceshotandone

grainofsandinmyeye.Ouch.Imanagedto shootArtistsPaletteduringabreakinthe rain.Andwiththecloudsstillthick,Golden Canyonwasn'tremotelygolden.

Thenexttwodayshadclearblueskiesandthe lightwasharsh,sobetweensunriseandsunset, wejusttouredaround.WewenttoRhyolite, aghosttownnearBeatty,Nevada.Thatwasa bust,buttheroadwassurroundedby gorgeouswhitecappedmountains.Whenwe gotbacktothevalley,wetriedthedunes again,andIdidgetsomeniceshotsofthe patternsinthedrymud,andacoupleofsand duneshots,butI'mstillwantingforagreat dunesshot.Ononeofthemudshots,Iwill admit,Ididplaywiththecolors,alot.It startedoffalmostwhite,withahintoftan.It endedupseriouslycolorful.Wesawsome wateraboutamileawayfromtheroad,butit requiredhikingthroughalotofmuck,sowe decidedtoskipit.

Onthedrivehome,wetooktheOwensValley route,andontheway,westoppedatthe NorthPanamintDryLakeArea,whichwasn't dryatall,soIgotmyreflectionshots.We nextstoppedtoshootJoshuatreessurrounded by6"ofsnow.WhenwegottoOwensValley itself,thesnowintheSierrasandtheInyo MountainswaslowerthanIhadeverseenit, soweheadednorthtowardsLonePineand shotreflectionsoffOwensLake,andlater somesnow-coveredrocksintheAlabamaHills withMt.Whitneyinthebackground.

CrazyRock

TheStormsof2022-23

Thewinterof2022-23hasbroughtrecordamountsofsnowandwatertotheWest.Aseemingly endlessqueueofatmosphericrivershavelinedupoffthecoastsinceDecember,crashingthe shores,saturatingthevalleys,fillingreservoirs,anddumpingyardsofsnowonthemountains. SCCCmembersDaveGlazier,JohnClement,JohnFisanotti,SteveAnderson,andJoeDoherty respondedtoaspecialcallforimagesofthestorms.

Clearingwinterstorm.©DaveGlazier

LarryMiller

Tehachapi Wildflowers

Allphotos©LarryMiller

ThefoothillsoftheTehachapi MountainsinCaliforniaareaprime areatoviewrollinggrasslands,blue oaks,andspringwildflowers.Itook thesephotosonMarch9along Highway223eastofArvin.

JohnNilsson

ADesertWeekend

ItwassowetinLA,SCCCmembersJohnFisanotti,MikeCaley,BasilKatsaros,andIdecidedtomeet inAjo,AZforanArizonaHighwaysPhotoScapesshootintheOrganPipeCactusNationalMonument justnorthoftheMexicanBorderincentralArizona.Notaraindropwastobefoundhere,butwewere treatedtoterrificsunsetskiesinanormallyblue-skyenvironment.Wealsoexperiencedapristinedesert landscapewitheveryimaginablevarietyofcactusincludingtheOrganPipe.Ourtimingwasperfect exceptwewerealittleearlyfortheCactusFlowerbloomwhichappearstobeacoupleofweeksaway.

Allphotos©JohnNilsson

JohnNilsson

VeldaRuddock

Ithasbeenacold,wet,snowy month.However,whenwewent totheSierrafoothillsrecentlywe discoveredSpringhadsuddenly madeanappearance!

Allphotos©VeldaRuddock

VeldaRuddock

JohnClement

Allphotos©JohnClement

WalkingintheLight. OregonCoast, TillamookHead, 2002.Lowheavy cloudscreatedan unusualcloud shadowoverthe ocean.

MorningReds.WestofSpokane,WA.Thislocationhaslongbeenafavoriteofminesincethemid-80’s.This imagewastakenin1988withmyMamiyaRB6x7mediumformatfilmcamerajustaftersunrise.

ConvergenceofNewMoon,Jupiter,andVenuson February21,2023.OlympusOMDEM1-MarkII, 12-40mmlensISO1250.

AncientsageIInearthesummitofRattlesnake Mt.Justunder4,000’elevation.1979.Itlieson theEbberheart-FitznerPreserveontheHanford ReservationhereinEastern,WA.Windsoften exceed100mphoveritssummit.Thesageisonly about8inchestall.TakenwithmyMamiyaRB 6x7and50mmlens.

MoonHaloashighcirruscloudsdriftbytheMoonfrommyfrontyard.

JohnClement

MistatOwensRanch,December2022.Afteranightofrainandsnowmixandwarmingtemperatures,Iknew therewouldbesomegroundfogopportunities.

PalouseVelvet,1985.Afterashorthiketogetmyperspective,Isetupmy4x5”LinhoffViewCamera.Iuseda GoldDotDagor8-1/4”lenstocapturetheimage.

ImagesfromthesaturatedSierraFoothillsnearMadera.

ClearingStorm

©DaveGlazier

ClearingStorm

©JoeDoherty

SteveAnderson

StevehasexploredthenaturallandscapeoftheSan GabrielrangeaswellastheHighSierrausingconventionalfilmanddigitalphotographyfordecades.He hasself-publishedfourphotobooksavailablethrough Blurb.com.

Hisinterestinmakingpersonallysignificantcontributionstotheenvironmentalmovementstartedin collegethenexpandedintobecomingalife-time memberoftheSierraClubandanOutingsLeader. HehasbeenamemberoftheMonoLakecommittee formorethan40yearsandwasChairoftheCamera Committeefor5years.

Steve'simageshaveappearedinSierramagazine,ImagesoftheWest,APortraitofBodie,theAngeles ChapterScheduleofActivitiescovers,andtheCameraCommittee'sFocalPoints.Hehasshownworkin localgalleries,artshows,andwastheSanGabriel MountainsNationalMonumentArtist-in-Residence in2015.SomeofhismonochromeimagesinMono LakeCommittee'sliteratureweresignificantinhelpingtosaveMonoLake.

sandersonimagery@outlook.com

www.pbase.com/spanderson

JohnClement

JohnClementbeganhiscareerinphotographyin theearly‘70saftergraduatingfromCentralWashingtonUniversitywithadoublemajorinGeologyand Geography.SincethenhehasearnedaMastersof PhotographyfromtheProfessionalPhotographersof America.Hehasreceivedover65regional,national andinternationalawardsforhispictorialandcommercialwork.Hisphotographsgracethewallsof manybusinessesintheNorthwestandhavebeen publishedinnumerouscalendarsandcoffeetable books.

ClementhasprovidedphotographsforCountry MusicMagazineandNorthwestTravelMagazine.He hassuppliedmuralsfortheSeattleSeahawksStadium andimagesforTheCarouselofDreamsinKennewick,WA.

Currentprojectsinclude17–4x8footglasspanels featuringhislandscapesinEasternWashingtonfor thePascoAirportRemodel.Lastyearhefinisheda majorprojectfortheOthelloMedicalClinicwhere almost200imageswereusedtodecoratethefacilities.

www.johnclementgallery.com

JohnClementPhotography(FaceBook) AlliedArtsGalleryinRichland,WA.

JoeDoherty

JoeDohertygrewupinLosAngelesanddeveloped hisfirstrolloffilmin1972.Hehasbeenavisual communicatoreversince.Hespenthisteensand twentiesworkinginphotography,muchofitbehind acameraasafreelanceeditorialshooter.

Dohertyswitchedcareerswhenhissonwasborn, earningaPhDinpoliticalsciencefromUCLA,specializinginAmericanpoliticsandresearchmethods. Thisledtoanopportunitytorunaresearchcenter andteachatUCLALaw,wherehebecamebest knownasanempiricalbankruptcyscholar.

AfterretiringfromUCLAin2016Dohertycontinuedtoconsult,butnowheandhiswife,VeldaRuddock,spendmuchoftheirtimeinthefield,acrossthe West,capturingthelandscape.

www.joedohertyphotography.com

JohnFisanotti

JohnFisanottiwasaphotographymajorinhisfirst threeyearsofcollege.Hehasused35mm,2-1/4 mediumformatand4x5viewcameras.Heworked brieflyinacommercialphotolaboratory.

In1980,Fisanottipivotedfromphotographyand beganhis32-yearcareerinpublicservice.Fisanotti workedforRedevelopmentAgenciesatfourdifferent SouthernCaliforniacities.

Afterretiringfrompublicservicein2012,Fisanotti continuedhisphotographicinterests.Heconcentratesonoutdoors,landscape,travelandastronomicalimages(viewhereathttp://www.johnfisanottiphotography.com).Since2018,heexpandedhis repertoiretoincludearchitecturalandrealestatephotography(viewhereathttp://www.architecturalphotosbyfisanotti.com).

FisanottilivesInLaCrescentaandcanbecontacted ateither:jfisanotti@sbcglobal.netorfisanottifotos@gmail.com

DaveGlazier

DaveGlaziersavedhisallowancetobuyhisfirstSLR in1974tophotographforhishighschoolnewspaper. Aftercollegehedeferredgradschoolandjoinedthe Navytoseekadventureandseetheworld.Forthe nexttwenty-oneyearsheshothundredsofrollsof slidefilm,focusedonshipsandtravel,ashegottosail everyoceanexcepttheArcticandvisitfortycountries.Aftercommandingaguidedmissilefrigate, Davedecideditwastimetogrowup,settledownand behomeforhiskids.Heretired,attendedlawschool; andisnowinhissecondcareerasalawprofessor.

Contributors

Glaziergotseriouslybackintoshootingacoupleof yearsagowhenhissonenrolledinahighschoolphotographyclassandtheybeganatwoyearodysseyof weeklyphotooutingstogether.Afteryearsofbeing entirelyself-taught,Daverealizedthatgooddigital photographywasfarmorecomplexthanshooting filmandbegantakingadvantageofthewealthofonlinelearningopportunitiesthatemergedduringthe pandemicandhastakenclassesofferedbytheLos AngelesCenterofPhotographyandtheProfessional PhotographersofCalifornia.

CharlieHyman

CharliewasborninSouthAfricaandemigratedto theU.S.atage14.HelivesinthePortland,Oregon area,andtravelsfrequentlytodestinationsinOregon, Washington,Nevada,andCaliforniawithhiswife, Karen,intheircamper.Theyhavealsomadetripsto Vietnam,Malaysia,Mongolia,Scotland,Hawaii,and theCaribbean.

PhotographyhasbeeninCharlie’sDNAsinceage7, whenheexperimentedwithaboxcameraandhis dad’stwin-lensreflex.HegothisfirstSLR,aNikkormat,whileincollege,anduseditextensivelyforthe nexttwentyyearsshootingmostlytransparenciesand B&W.Helearneddarkroomskillsandwasthelead photographerforhiscollegeyearbook.Charlie’sphotographygotaboostin2008whenhegothisfirst DSLR.Sincethenhehastakenseveralworkshops fromwell-knownlandscapephotographersthatinfluencedhisapproachtophotography.

Althoughhisprimaryinterestislandscapes,heenjoysurban,astro,animal,travel,andabstractphotography.Charlietaughtphotographyatthehighschool levelforfouryearsandhashadseveralsuccessful showsinthePortlandarea.Hehassoldmanyofhis prints,thelargestofwhichwasamuralthatmeasured 8x21feet.

charliehymanphoto@gmail.com

www.charliehymanphoto.org

LarryMiller

LarryMillerboughthisfirstSLRcamerain1985to documenthikesinthelocalmountains.Infact,his firstSierraClubCameraCommitteeoutingwasa wildflowerphotoshootintheSantaMonicaMountainsledbySteveCohenin1991.Sincethenthe SCCChasintroducedhimtomanyotherscenicdestinations,includingtheAntelopeValleyCalifornia PoppyReserve,theGormanhills,andSaddleback ButteStatePark.

Miller’sownphotographytripsgraduallyexpanded inscopeovertheyearstoincludemostofthewestern NationalParksandNationalMonuments,withthe ColoradoPlateaubecomingapersonalfavorite.

PhotographytookabackseattoMiller’scareerduringthe32+yearsthatheworkedasaradarsystems engineeratHughesAircraft/RaytheonCompany.

Sinceretiringin2013,hehasbeenabletodevote moretimetodevelopinghisphotographicskills.ExperiencingandsharingthebeautyofnaturecontinuestobeMiller’sprimarymotivation.

lemiller49@gmail.com

JohnNilsson

JohnNilssonhasafondmemoryofhisfatherdragginghimtotheDenverMuseumofNaturalHistory onawinterSundayafternoon.Hisfatherhadjust purchasedaBosely35mmcameraandhaddecided hedesperatelywantedtophotographoneofthedioramasofseveralSealLionsinabeautifulbluehalflightoftheArcticwinter.Thephotorequiredatricky longexposureandthetransparencyhisfathershowed himseveralweekslaterwasspectacularandmysterioustoNilsson’syoungeyes.Althoughthedemands ofMedicalSchoolmadethisphotooneofthefirst andlastNilsson’sDadshot,atfiveyearsoldtheson washooked.

Thearrivalofthedigitalagebroughtphotography backtoNilssonasaconsciousendeavor-firstasa pastimeenjoyedwithfriendswhowerealsoafflicted, andthenasapractitionerofrealestateandarchitecturalphotographyduringhis40yearsasarealestate broker.

SinceretiringandmovingtoLosAngeles,Nilsson continuedhishobbyasanatureandlandscapephotographerthroughactivemembershipintheSierra ClubAngelesChapterCameraCommittee,aswellas hisvocationasarealestatephotographerthroughhis companyOzImagesLA.Thecameraisnowatoolfor adventure!

www.OzImagesLA.com

PaulReinstein

Myfathertaughtmephotographyattheageof14, andIshotlandscapeswhilebackpackinguntilmy early20s,whenIhungitup.Ievenhadmyowndark roomforawhile.Whendigitalarrivedinmyearly 50s,itrekindledmyinterest.

Atfirstitwaslandscapesagain,butafterIcaptured afewbirds,itoccurredtomethatIcouldIDthe species.Afterabouttenspecies,Idecidedtojoin somebirdphotographywalks,andafterabout30

species,Iwonderedwhatitwouldtaketogetto 100.Afterretiring,itbecamemypassion.My countisnowaround525,andItravellocallyand worldwideforwildlifephotography.

Withdegreesinbiochemistry(halfbiologyand halfchemistry)andelectricalengineering,Ilovebeingoutinnatureandexploringphotographytechnology.Thereareendlessthingstolearn,anentirelynewcommunity,andgoodexercisetoo!AlthoughInolongerhaveapresenceonFBorIG,I dosendoutoccasionalemailswithphotos,oralink tomyFlickrpagetofriends,andfolksI'vemet alongthetrail.Ihopeitencouragespeopletovalue wildlife.

paulreinstein@me.com

www.flickr.com/photos/preinstein54/albums

VeldaRuddock

Whatbringsusjoy?Forme,curiosityandcreativityrankhighly.Inmycareercuriosityledmeto research,andcreativityledmetothesettingofa globaladvertisingandmarketingagency.Myhusband,JoeDoherty,alsolovedresearch(imagineour firstdates!)andwebothphotographedwhereverwe went.By2016wehadbothleftour“dayjobs,”and startedtraveling–andphotographingnature–big andsmall.Ourfour-wheel-drivepopupcamperallowedustogotoareasmanyotherscan’t,anddigitalcamerasanddarkroomsgaveustheflexibilityto learn,fail,andsucceedinwaysthatwereunexpectedanddelightful.

Thepandemicstoppedmostofourtravelin2020 butitgaveustheopportunitytoexploreotherphotographicprojects.Formethatwasphotographing andsharingbeautifulflowers,andcalledtheseries, "FlowersinaTimeofQuarantine."

MyphotoshavebeenpublishedintwoLenswork books(OurMagnificentPlanetandTrilogies), Shutterbug,andinSierraClub’sFocalPointsMagazine.Also,myimageshavehunginseveralgalleries,includingatwo-womanshowJanuary2023. www.veldaruddock.com

VeldaRuddockPhotography@gmail.com

ThePartingShot

©CharlieHyman