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August • 2013

Volume 30 • Issue 8

President’s Message

page 2

Food for Thought

page 3

Just for Beginners

page 4

Contest Winners page 9

HMS Bounty page 21

The Algiers Ferry page 24

Member Photos page 30

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AUGUST EVENTS August 3, 2013 10:00 am Picture Hanging Greenwell Springs Regional Library 11300 Greenwell Springs Road, Baton Rouge, LA 70814 August 15, 2013 7:00 pm Monthly Meeting Garden Center, Independence Park Monthly Competition Medium: Prints Theme: Patterns in Nature Date: Thursday 08/15/13 August 31, 2013 10:00 am Picture Take Down

Cover photo : USS Bounty by Earl Arboneaux Louisiana Photographic Society meets on the third Thursday of each month at the Baton Rouge Garden Center 7950 Independence Blvd. Baton Rouge, LA

Across from Louisiana State Police Headquarters Visitors are always welcome!

President's

Message

Thanks to all who attended my Lightroom Workshop on Saturday, July 20. I hope each of you were able to learn something that will help you with your photography hobby. I think that I learned more by leading this workshop than anyone who attended. The best way that I have found to advance your skills is to try to teach others. One of the more relevant things that I learned during the workshop was that the act of creating something gives the creator the right of copyright from the moment that the artwork is created. You are legally protected against someone else using that photograph for any purpose. Having your name and contact information in the metadata file that is attached to the digital photo file is a good way to show that you are the owner of the copyright to that photo. You should always protect your photos by adding copyright and contact information to your digital files. This can easily be done on import into Lightroom by setting up a metadata template and adding it during import. It is also a good idea to add a watermark of the form “Copyright 2013 Gene Bachman” to any photographs that you display on the internet. Even if you don’t add the copyright information to your digital files, your work is still protected by US copyright law.

Membership dues are $25/year Each additional family member $5/year

PO Box 83834 Baton Rouge, LA 70884 www.laphotosociety.com

-Gene Bachman

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F ood for T hought What is PSA and Why Should I Care? by Renee Pierce

I have been in the LPS for almost three years and have picked up on the “buzz” words and “acronym soup” of titles and have a vague notion of what they mean. I also spend a fair amount of time reading blogs, e-books and magazines as well as visiting photography websites. A lot of what I read and see is similar, after all, the basics do not really change, just presented in a different way. Sometimes I even pick up on or have a more complete understanding of a concept just because I have read or seen it over and over. It is kind of like passive memorization, you get to the point where you just know it. In my quest for knowledge, I have joined a couple of organizations which I think are worthy of mentioning. One is NAPP, National Association of Photoshop Users (www.photoshopuser.com). This organization is focused on all thing s Photoshop and Lightroom. About 12 of our members recently attended a Photoshop workshop in New Orleans presented by NAPP. There are full-length classes and shorter tutorials, discounts on software, equipment and rentals, a portfolio where you can get inspiration and a help desk to provide advice on Photoshop, Lightroom and gear. There is currently a free 24-hour trial membership so you can go in an take a look around. I believe the cost of the membership is $99.00 per year and you receive a monthly magazine. Not a bad deal, but this may not be for everyone. It is a good, factual, reliable resource but you can also find many free tutorials. I also attended my first GSCCC convention this past April. For those of you who don’t know, GSCCC is the Gulf States Camera Club Council, of which we are a member. It is comprised of local camera clubs like ours from Louisiana, Mississippi, Texas, Oklahoma and New Mexico. This is also where we send print and projected images for regional competition. We are hosting the convention in 2014. I also received their monthly newsletter. This month I noticed that the GSCCC placed very well in the Councils’ Challenge competition sponsored by the Photographic Society of America (PSA). Hang in there with me, I know this is getting complicated but it really is the whole point of this article. The Council's Choice competition is where member councils like the GSCCC submit a selection of

winning photographs from their competitions throughout the year which they feel can compete on a national level and submit them for consideration. So naturally, I wanted to go see what PSA was all about. I knew that LPS was also a member of PSA but I didn't really know what that was. I checked out their website which is www.psa-photo.org. Here's what I found out. PSA is a worldwide organization providing a variety of services that promote photography and benefits to its members. Individual members can participate in competitions, study groups and on-line education programs designed to advance photographic knowledge and skill. Competitions are also held for clubs, councils, federations and chapter members. Member image galleries are always available for viewing. An annual youth photography showcase that is open to all students of high school age is conducted. Opportunities for image analysis and critique as well as discounts for both hardware and software products are available for all members. In addition to special access to a Member's Only area on this dynamic and informative website, every member receives the high-quality PSA Journal each month. As you can see from the paragraph I copied from their website the PSA is a pretty inclusive organization. It's definitely worth a look around their website. And the best deal of all is that an online membership is $45 a year. I joined and as I take advantage of some of the education programs, study groups and member forums, I will include it in the newsletter. I encourage you to go take a look at the site. 3


Just for

Beginners! Carole Kropscot, APSA • Leawood, Kansas • ckropscot@yahoo.com Part a series of short instructional articles for beginning photographers, Taken from the PSA Journal

Metering Modes A camera’s light meter reads the amount of light reflecting off all parts of an image and then chooses an exposure. The exposure is composed of an aperture and shutter speed, chosen in coordination with an ISO. It can seem logical that pointing a modern camera at any subject matter will result in a well-exposed image, but it is not as simple as that. The light meter can average all the light it sees. Or it can set an exposure based on the center of the image. Or on only one small area. The camera’s various metering modes allow the photographer to choose the method. The choice is based on which area of the image that the photographer wants to be exposed the best. Generally, a camera has three basic metering modes, and each one is set to work differently with the light. Each camera brand chooses to name them differently although sometimes the names are often similar. The categories can be described as an overall mode, a centerweighted mode, and a spot mode. The overall mode is the one chosen at the factory as the default setting. Often the beginning photographer does not realize there are any other choices. In this overall mode, the camera divides an image into several zones and analyzes the light in various areas of the foreground, background, and center. Common names for the default metering mode are Evaluative, Matrix, or Pattern. This mode is good for average shooting situations with a fairly centered subject and a background with normal areas of lights and darks. In the center-weighted metering mode, the camera gives more weight to the lighting at the image’s center. The background’s light and/or dark areas are of secondary influence. In the spot metering mode, the camera gives virtually all weight to the spot where the camera is aimed. The spot-metered subject will be well exposed regardless of its surroundings. The background may look over or under-exposed, however. The spot mode is not meant to give an entire image a well-exposed overall look. Each level of brightness and darkness needs its own exposure to look its best. This means that not every part of an image can be simultaneously perfectly exposed. The photographer must settle either for a good general look or for one specific area to better exposed than the rest of the image.

It is the photographer’s job to find an acceptable exposure by deciding which area deserves the best exposure and then choosing the metering mode to accomplish that goal.

Using Metering Modes Before choosing a metering mode, the photographer needs to decide how the various areas of the image are supposed to look in the final picture. It is important to view the image on the monitor or in the viewfinder, because the scene may not necessarily look like it does in person. The beginning photographer may believe that a good camera will properly expose any scene, but that is impossible. A dark area cannot reveal its detail unless it is slightly brighter. A white area cannot reveal its detail unless its blinding whiteness is darkened enough to see what else is there. Both cannot happen in one exposure. The photographer chooses to expose the image in one of three general ways: an average of all light, an average with more importance given to the center of the image, or a spot meter reading on one small area. Although it may seem obvious which metering mode would work the best, it is important to realize that the human eye reacts to light differently from a camera. For example, the human squints when the sun is too bright, thereby allowing the main subject to be seen better. The camera does not do that. The camera turns this backlit subject into a silhouette. The default light metering mode has averaged all the light. The resulting image is not how the human sees it in person. One way to see the effect of metering different areas is to use the camera’s feature of pressing the shutter button part way down and viewing the image. Then repeating this procedure while pointing at different areas. Doing this in each of the metering modes will show the photographer all possible versions of the scene. It is worthwhile to learn how to change metering modes easily. It is handy to be able to spot meter an unusually lit scene. An average scene may look less average when metered in one of the other metering modes besides the default. The photographer’s goal is to find the best metering mode for each image.

This article is reproduced with permission from the (month, year) issue of the PSA Journal, the official magazine of the Photographic Society of America, Inc. (PSA). For information on PSA membership, please write to PSA Headquarters, 3000 United Founders Blvd., Suite 103, Oklahoma City, OK 73112-3940.

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S peaker I The speaker for July was Troy Kleinpeter, who is a professional photographer in Baton Rouge, specializing in people photography — in portraits, weddings, seniors, special events and commercial photography with his brother Greg, operating as Kleinpeter Photography. He began his photography career upon finishing high school, and has learned the business and art of photography through experience and frequent attendance at seminars and workshops. He began shooting in the film era and he still loves film, especially black and white, but he has reluctantly advanced to digital out of business necessity. Troy’s philosophy for success is that, in a business in which perceiving the personal and individual needs of the clients is essential, providing personal service and helping clients understand the possibilities, limitations and constraints of light and logistics will result in both satisfied clients and a profit for the business. Troy suggests that the client is always right — some of the time. Nevertheless, clients may have valid ideas, or at least strong personal preferences, regarding shadows, silhouettes and special lighting, and those ideas must be accommodated if possible. He exhibited a disarming modesty in his presentation, suggesting using a minimum of equipment, shooting flat artificial lighting with a single flash unless forced to be more innovative, taking only one or two repetitive photos of each scene, and instead concentrating on getting to know the needs and emotional responses of his subjects. Any skepticism regarding this minimalist approach was substantially belied by his simultaneous presentation in the background of a slide show exhibiting invariably beautifully exposed, well-lit and perfectly composed images of a variety of subjects, from sturdy octogenarians, to blissful newlyweds-to-be, to smiling high-key infants. He did, however, reveal several specific techniques that undoubtedly contribute to his success. He suggests shooting in raw if possible, because of the greater flexibility in later editing. He uses reflectors, both shiny for increasing reflective light and black or neutral for subtractive lighting. He uses a bracket to move his flash off -camera. He tries to persuade clients, if possible, that 8:00 A.M. shoots are preferable to 11:00 A.M. because of the harshness of midday lighting. He severely limits clients’

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views of the LCD display screen during shooting, because it is time consuming and the 3-inch display is not an accurate view. He often presents his proofs to clients in square format, a preference that he has held to since his days of Hasselblad film photography. He accomplishes this in digital by carefully composing each image in camera and then cropping the short edges of the standard full-frame image during editing. He begins a shoot by taking a few experimental shots, adjusting his camera and flash settings based on the results. He mostly shoots with manual exposure settings, and sometimes goes to aperture priority. Occasionally he uses the “little flower” auto setting for close-ups and the sports mode for moving subjects, and even goes to the program setting when difficult subjects require all of his concentration. This is in accord with his belief that one should let a talented modern digital camera do its work and allow the photographer to concentrate on the subject. Another preference is to adjust to low light situations with vastly increased ISO settings as high as 1600–3200. His primary camera is a Canon 5D Mark II, and his most frequently used lens is the standard Canon workhorse, the 24–105 mm zoom. For group shots he may resort to a 16–35 mm wide angle, and in the studio will utilize a 70–200 mm zoom for the desired portrait range. He always has an extra camera on-site. He has to run a business and he has no time for delays resulting from equipment failure. By Bob Connell

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S peaker I

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Beverly Coates, Toni Goss and Dede Lusk, aka The Tripod, long time LPS members, will be the speakers at the August meeting. The Tripod will make a presentation on developing a project or a portfolio of photographic work using images from their recent RV trip across Arizona following old Route 66. They will share information and

ideas from a seminar with Brooks Jensen, editor and publisher of LensWork, a photographic magazine whose emphasis is on the creative aspect of photography.

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Monthly Competition LPS is a member of the Gulf States Camera Club Convention along with 31 clubs from Louisiana, Mississippi, New Mexico, Oklahoma, and Texas. GSCCC has a competition for prints and digital projection for most months of the year. Categories include Photojournalism, Nature, Black and White, and Pictorial. All prints from last year have been returned and the supply is low. Don’t worry about what the category is each month, just bring in prints of your best images, especially those which have won monthly competitions here at LPS to the meeting this month. Theresa Low will collect your prints and enter them at the appropriate time. Please email your digital submissions to Gene Bachman. In the Pictorial category, anything goes. It is ok to manipulate the image. Realism is not a requirement. Photojournalism entries shall consist of pictures or sequences with informative content and emotional impact, including human interest, documentary and spot news. The journalistic value of the photograph shall be considered over pictorial quality. No elements may be moved, cloned, added, deleted, rearranged, combined or changed in any way that affects the integrity of the image content. Color images can be converted to grayscale monochrome. Print, slide, or digital sequences may be entered by placing more than one picture in a single image. Nature photography is restricted to the use of the photographic process to depict observations from all branches of natural history, except anthropology and archeology, in such a fashion that a well-informed person will be able to identify the subject material and to certify as to its honest presentation. The story telling value of a photograph must be weighed more than the pictorial quality while maintaining high technical quality. Human elements shall not be present, except where those human elements enhance the nature story. Photographs of artificially produced hybrid plants or animals, mounted specimens, or obviously set arrangements, are ineligible, as is any form of manipulation that alters the truth of the photographic statement. No techniques that add to, relocate, replace, or remove pictorial elements except by cropping are permitted. All adjustments must appear natural. Color images can be converted to grayscale monochrome. Infrared images are not allowed.

Congratulations! The GSCCC is a member of PSA, who also has competitions. As a member council, GSCCC sends images to PSA competitions. I am happy to announce that the GSCCC placed in the top half of all councils competing in the 2013 PSA Council’s Challenge. Individual winners for LPS are:

Digital Color Images 1st for Kathy Reeves for “ Flamingos in the Mist “ HM for Earl Arboneaux for “ Red Devil “ Prints (Color or Monochrome) 1st for Kathy Reeves for “ Misty Morning “ HM for Cathy Smart for “ Rainbow Ignites “

LPS members usually submit 11 X 14 prints that are matted to 16 X 20. A clear sleeve to protect the image is encouraged along with a backing. Prints must be no larger than 16”x 20”, either mounted or un-mounted. For a mounted print, the mounting board should be no larger than 20”x 24”. There is no minimum size. Prints may be printed commercially or self printed. Each print must be identified with a title, the maker’s name, and the name of the club. 7


T his -N -T hat Theme: The Nature and Culture of Louisiana All media welcomed. Entry fee $15 per submission Paintings and 3-D Juror: Billy Solitario, renown en plein aire artist from New Orleans Photographic Art Competition Jurors: CC Lockwood, David Humphreys, and Beverly Coates

The Brush with Burden art show has expanded the show this year to include a separate venue for photography. We are pleased to have three distinguished jurors, C.C. Lockwood, David Humphries and Beverly Coates. As well as hanging at the Conference Center at Burden during the show. Winning entries will be displayed for the month of April 2014 at the Shaw Center. Merit winners and other select pieces will be displayed during the month of April at Beauregard Gallery and Bistro.

November 30, 2013 Deadline for entries Details and entry form

August 2013 Greenwell Springs Regional Library 11300 Greenwell Springs Road, Baton Rouge, LA 70814

Hang Date Saturday Aug 3rd @ 10:00 AM Take Down Saturday Aug 31st @ 10:00 AM

2013

Monthly Competition Schedule Month August

Medium Prints

Theme Patterns in Nature

September Digital Projection Open Theme October

Prints

LPS Field Trip Photos

November

Digital Projection Past Presidents Choice

December

No Competition

Christmas Party

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Lightroom Workshop On July 20th, 2013, the Louisiana Photographic Society (LPS) held a workshop on Adobe Lightroom at the Jones Creek Library. Gene Bachman, president of LPS, did an excellent job of presenting the material in a understandable yet detailed manner to the 29 people in attendance. Topics included the basics such as keyboard shortcuts, navigation, and setting preferences but progressed to more complicated subjects such as importing workflow, culling photos, develop workflow, local adjustment tools, presets, export workflow, and print workflow. The Louisiana Photographic Society holds several workshops throughout the year which are free and open to the public. Meeting of LPS are held the third Thursday of each month at 7pm at the Baton Rouge Garden Center, 7950 Independence Boulevard. Visitors are welcome to attend any meeting. To learn more, visit the website at www.laphotosociety.com.

Andrew Hudson has written a fairly comprehensive guide on copyright and photography. Below are a few excerpts but be sure to check out the entire guide at http://photosecrets.com/copyright With copyright, someone who wants to commercially use your work has to get your permission first. They have to license your work, and perhaps pay you .

How do I get copyright? Automatically. The law protects your artwork upon mere creation. “Copyright exists from the moment the work is created.” — U.S. Copyright Office, FAQ “Your work is under copyright protection the moment it is created …” — U.S. Copyright Office, FAQ “Your work is under copyright protection the moment it is created and fixed in a tangible form that it is perceptible either directly or with the aid of a machine or device.” — U.S. Copyright Office, FAQ

Do I have to register, publish, or add a notice? No. Those were requirements in the U.S. before 1976 but they were omitted to conform with the Berne Convention. “[Copyright shall] not be subject to any formality.” — Berne Convention “Publication is not necessary for copyright protection.” — U.S. Copyright Office, FAQ “In general, registration is voluntary.” — U.S. Copyright Office, FAQ

The Ultimate Guide To Neutral Density Filters Link to blog with some good info.

The mission of LPS is to advance and promote the art of photography in the River Parishes of South Louisiana. 9


Projected Category A

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Barefoot Landing Earl Arboneaux 1st Place, Level A

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Swimming Penguin Kathy Reeves 2nd Place, Level A

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Bombing Run Earl Arboneaux 3rd Place, Level A

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Sunset on the Mississippi Linda Medine 1st Honorable Mention, Level A

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The Henderson Queen David Howell 2nd Honorable Mention, Level A

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Projected Category B

Summer’s Nectar Bridget Mayo 1st Place, Level B

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Shades of Color Robin Stevens 2nd Place, Level B

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Plantation Life Janet Gelpi 3rd Place, Level B

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Peek-A-Boo Bridget Mayo 1st Honorable Mention, Level B

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Projected Black & White

Foggy Morning Renee Pierce 1st Place, Black & White

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Misty Morning Cathy Smart 2nd Place, Black & White

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Member Submissions REMEMBERING THE HMS BOUNTY by Earl Arboneaux Sometimes as photographers we feel that our photographs have no value or impact on our history. Though out my photography journey I have captured several things that are no longer in existence.

This story is about the HMS Bounty, an enlarged reconstruction of the original 1787 Royal Navy sailing ship the HMS Bounty. The Bounty was built in Lunenburg, Nova Scotia in 1960. She was the sailing ship commissioned by the MGM Film Studio for the 1962 film Mutiny on the Bounty and the first large vessel built from scratch for a film using historical sources. Previous film vessels were fanciful conversions of existing vessels.

The Bounty was built to the original ships drawings from files in the British Admiralty archives, and in a traditional manner at the Smith and Rhuland shipyard in Lunenburg, Nova Scotia.

The Bounty was launched on August 27,1960. It was crewed by Lunenburg fishermen and film staff, the vessel sailed via Panama Canal to Tahiti for filming. The sailing ship was schedule to be burned at the end of the film, but actor Marlon Brando protested, so MGM kept the vessel. 21


After filming and a worldwide promotional tour, the ship berthed in St Petersburg, Florida as a permanent tourist attraction, where she stayed until the mid -1980s.

In 1986 Ted Turner acquired the MGM film library and the Bounty with it. The ship was used for promotion and entertainment, and also used during the filming of Treasure Island with Charlton Heston in 1989. In 1993, Turner donated the ship to the Fall River Chamber Foundation, which established the Tall Ship Bounty Foundation to operate the ship as an educational venture. The ship was sold to the HMS Bounty Organization LLC. In 2001.

The ship continued to require maintenance, and once again restored and used for charters, excursions, sail-training, and more movies including the Pirates of the Caribbean: Dead Man’s Chest and Pirates of the Caribbean: At World’s End. 22


The Bounty travel to many locations to promote education, and excepted donations to help with the maintenance cost. The HMS Bounty sank off the coast of North Carolina during Hurricane Sandy on October 29, 2012. The Coast Guard rescued (14) survivors, with (2) crew fatalities.

The sailing ship was schedule to be burned at the end of the film, but actor Marlon Brando protested, so MGM kept the vessel.

The Bounty traveled to Baton Rouge in December 2002, and was open to the public for viewing. These are some of the pictures taken of the HMS Bounty as she docked here by the USS Kidd. 23


The Algiers Ferry By Linda M Medine

I had a good photo shoot on the other side of the Mississippi from New Orleans. I got on the Algiers Ferry about 5:30 pm and was on the way back on the 7:30 pm ferry. These pictures were taken on July 10, 2013. That evening there was a street fair in Algiers with lots of families and festivities. What a fun evening. Taken from the Website: http://www.neworleansonline.com/tools/transportation/gettingaround/ferry.html You'll witness some of the best views of the original city of New Orleans via a Canal Street Ferry ride across the Mississippi River, and learn why New Orleans is called the Crescent City as the ferry traverses the river's natural crescent to historic Algiers Point on the West Bank. You can board the ferry, which has been in operation since 1827, at the foot of Canal Street – right next to the Aquarium of the Americas. The ride is free for pedestrians and $1 for cars making the return trip from the West Bank back to New Orleans. From Canal Street to the West Bank, there is no charge for cars. Once the ferry drops you off in Algiers Point, you'll be immersed in a pleasant, residential neighborhood that survived Hurricane Katrina entirely, and has preserved much of its original 19th century village charm. Grab a bite at any of the nearby cafes and pubs, stroll the Jazz Walk of Fame along the levee, or take a self-guided walking tour - see the Algiers Historical Society for information on tours and the neighborhood. For more information about things to see and do in Algiers Point, please visit www.algierspoint.org. Ride today and see the city from the other side!

Algiers Ferry Shedule 10:45 am to 8:15 pm Final trip from Algiers Point 7:45 pm Final trip from Canal St. 8:00 pm

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Fireworks, July 2012

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Fourth of July USS Kidd

Fredericksburg Salute 31


Sunflower in My BackYard Theresa Mullins Low

Lake Martin Sunset 32


Chicago

LSU Flapper

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Chicago 34


Navy Pier 35


Hats of the Past, Earl Arboneaux 36


Cajun Dining, Earl Arboneaux 37


Rocking in Time, Earl Arboneaux 38


Wheel of Time, Earl Arboneaux 39


Ben Miller 40


The Old and New: Roman ruins in Cadiz, Spain contracted; Ben Miller 41


On Board, From the Windsurf off of the coast of Spain; Ben Miller

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LPS OFFICERS President:

Gene Bachman president@laphotosociety.com

Vice President:

David Arbour vicepresident@laphotosociety.com

LPS COORDINATORS Digital Projection:

Monthly Competition:

Education:

Newsletter:

Donald Ewing dpcontestcoordinator@laphotosociety.com

Jay Patel/ Debra Babin

educationcoordinator@laphotosociety.com

Past President:

Equipment:

Secretary:

Exhibits:

Elizabeth Mangham pastpresident@laphotosociety.com

Cathy Smart secretary@laphotosociety.com

David Howell equipmentcoordinator@laphotosociety.com

Kathy Reeves exhibitcoordinator@laphotosociety.com

Facebook:

Treasurer:

Ray Totty treasurer@laphotosociety.com

Stephanie Ross facebookcoordinator@laphotosociety.com

Field Trips: Louisiana Photographic Society is a member of the Gulf States Camera Club Council. The GSCCC Newsletter is available at: http://www.gulfstatesccc.org/html/ newsletters.html

Ken Wilson fieldtripcoordinator@laphotosociety.com

Greeter/Name Tags:

Stephanie Ross facebookcoordinator@laphotsociety.com

Tommy Graner monthlycompetitioncoordinator@laphotosociety.com

Renee Pierce newslettereditor@laphotosociety.com

Programs:

Linda Medine programscoordinator@laphotosociety.com

Publicity:

Mark Claesgens & Barry Spears publicitycoordinator@laphotosociety.com

Refreshment: Position Open

Website:

David Arbour websitecoordinator@laphotsociety.com

Competition Review Chair: Gene Bachman president@laphotsociety.com

GSCCC Representatives:

Theresa Low & Gene Bachman GSCCCcoordinator@laphotsociety.com

Library:

Helen Haw librarycoordinator@laphotosociety.com

The LPS website has a new, quick checklist for preparation of images for digital projection competitions. The new checklist can be found on the Monthly Competition page of the website, or by using this link: http://www.laphotosociety.com/ userfiles/Checklist%20for%20Entering% 20Digital%20Competition.pdf

http://www.gulfstatesccc.org/ Find us on Facebook

http://www.psa-photo.org/

Membership Drive While we are always eager to welcome new members our Membership drive continues. Please remember to pay your dues and to invite your friends and colleagues to our meeting and encourage them to join us this year. Our membership roster has been updated. To continue to be eligible for fieldtrips and competitions and receive the newsletter, you must be current on your dues. The membership form is at the end of the newsletter.

LPS Members are encouraged to submit photographs and articles for inclusion in FOCUS, the Louisiana Photographic Society Newsletter. Items received up to 3 days before the end of the month will be included in the following month’s newsletter. Send your submissions to: newslettereditor@laphotosociety.com Please be sure to read the sizing guidelines before submitting.

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Membership Form Mail completed form and dues to:

Louisiana Photographic Society P.O. Box 83834 ,Baton Rouge, LA 70884-3834 www.laphotosociety.com MEMBER OF PHOTOGRAPHIC SOCIETY OF AMERICA AND GULF STATES CAMERA CLUB COUNCIL

WELCOME TO LOUISIANA PHOTOGRAPHIC SOCIETY LPS communicates to members through website, e-mail, and monthly meetings. All members are encouraged to visit the LPS website at www.laphotosociety.com for the latest on club news and events. The monthly newsletter “FOCUS” is available on the website on the first day of each month. Please provide an e-mail address below to receive club updates. If you do not receive e-mail communications after 30 days, notify LPS at treasurer@laphotosociety.com. Select one: [ ] Membership Renewal [ ] New Member – If you are a New Member, how did you learn about LPS: [ ] Current Member [ ] LPS Website [ ] Newspaper/Magazine [ ] Social Network [ ] Other______________ Select one: [

] Individual Membership $25.00/year [

] Student Membership $5.00/year–Must be a current student

Name _______________________________________________________

Date ______________________

Address __________________________________________ City _________________ State ____ Zip______ Home Phone (

__ )_______________________ Cell Phone (

__)_________________________

E-mail Address ___________________________________________________________________________ [

] Additional Family Member $5.00/year–ONLY available with the Individual Membership, not Student Membership

Name _______________________________________________________

Date ______________________

Mailing Address ____________________________________ City _________________ State ____ Zip______ Home Phone (

_ )________________________ Cell Phone (

__)_____________________________

E-mail Address ____________________________________________________________________________ SPECIFY FOCUS OF PHOTOGRAPHY:

SPECIFY AREA OF LEARNING INTEREST:

SPECIFY AREA OF INTEREST IN CLUB PARTICIPATION: [ ] Competition (set up, tally votes, present ribbons) [ ] Education (plan/teach, set up workshops and seminars) [ ] Equipment (store, transport, set up for LPS functions) [ ] Exhibits (explore locations, set up/take down exhibits) [ ] Field Trips (plan and arrange to photograph at various sites) [ ] Gulf States Camera Club Council (GSCCC liaison, collect and submit entries for GSCCC competition) [ ] Library (display and maintain materials, check-in/out)

[ ] Programs (plan speakers, make arrangements for speakers at monthly meetings) [ ] Projection (set up and operate equipment for digital projection competition) [ ] Publicity (publicize programs, meetings, events) [ ] Refreshments (plan and set up refreshments)

YOUR PARTICIPATION IS GREATLY APPRECIATED! 44


August 2013 Focus