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Shrinking Violet by Laura King, CPP




Spring is in the Air



by Karen Butts






President's Luncheon


Lighting Modifiers


Fine Art Portraiture



Workshop by Karen Butts

Spring is in the air. Or is it?

STAFF Publisher

Kevin Falcon, Cr. Photog., CPP

Graphic Design/Layout Theresa Campbell Proof Readers Karen Butts, M.Photog., Cr., CPP Kevin Falcon, Cr. Photog., CPP Aileen Harding, M. Photog., Cr., CPP Photographers Booker Shelton, Jr.


Editor Theresa Campbell

2018 is waiting for no one. March is here! I sure know that I am over this wet, drizzly weather of late. I have a yard full of weeds now. I need to do some maintenance. Speaking of that, when is the last time that you have checked your online membership profile? Did you receive a PPA degree (or two) at Imaging? Be sure to update your online profile. It’s Kevin Falcon, Cr. Photog., always good to do an annual review of your PPGH CPP member profile. Change those images you have online to some of your latest work. Moving on… We had a great PPA merit program by Dawn Muncy last month. Forty-one members and guests attended. She presented her “Fine Art Portraiture for Your Soul and Your Bottom Line” program and we also had two PPGH members who were models for the program. Thank you, Kat Mack and Cindy Crofford, for being our models that day. We are in a new venue and besides a few AV hiccups there was positive feedback on the location. I believe that we can project our monthly image competition on the dual screens this month so that should get people to look up from their phones/tablets. We sure are lucky to have such a great group of members who donate their time to judge our image competition. Thank you! And you do have your images ready and submitted for image competition, right? This month, we are talking Photoshop and Lightroom with Nick Tsakiris. In his PPA merit program, you get a double feature with his “Getting Creative with Photoshop and Lightroom.” I know that he will share some great tips and tricks in his program. Register now to reserve your spot in this fun, fastpaced program. The Texas 10, TPPA’s spring education programs are still going on until early April. Be sure to check out their offerings. And I know that many of you have already made your plans for Texas School. That little photography school where over 1000 photographers get together for a week of learning. Yee ha! One of our members, Alison Carlino, makes her debut as a Texas School Instructor. Congratulations Alison! I hope that your 2018 is off to a great start. All of your plans and objectives are set, now it’s time to execute and evaluate the success of your planning. See you at the meeting. ~Kevin Falcon, PPGH President THE VIEWFINDER Fonts: Aparajita and Mistral

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To contact your officers or director, just click on their name.

Chairman of the Board Aileen Harding, M.Photog., Cr., CPP

President Kevin Falcon, Cr. Photog., CPP

Vice-President Duane Blocker

Secretary Booker Shelton, Jr.

Treasurer Kathy Kinser, CPP

Executive Director Teri Whittaker, M. Photog., Cr., CPP

Director Tara Flannery, CPP

Director Blair Haynie, CPP

Director Laura King, CPP

Director - Membership Laura Mansur, CPP


Bylaws Chair: Teri Whittaker, M.Photog., Cr., CPP; Tom Hathcock, M.Photog., Cr., CPP; Belinda Higgins, M.Photog., Cr., CPP; Kim Christensen; Alvin Gee, M.Photog., Cr., CPP

Image Competition Board Liaison: Tara Flannery, CPP; Chair: Sherry Piché, M.Photog, CPP; Blair Haynie, CPP; Aileen Harding, M.Photog., Cr., CPP; Duane Blocker

Clean Up Board Liaison: Teri Whittaker, M.Photog., Cr., CPP

Librarian Chair: Curley Marshall, Cr. Photog., CPP; Booker Shelton, Jr.

Communications/Graphic Design Chair: Alison Carlino, Cr. Photog., CPP

Membership: Chair: Laura Mansur, CPP; Michael Reiland; Sandy Buller

Fellowship Chair: Duane Blocker

Mentor Program /Certification Chair: Karen Butts, M.Photog., Cr., CPP

Financial Review Chair: Kim Christensen; Curley Marshal, Cr. Photog., CPP; Tara Flannery, CPP

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Nomination Chair: Tom Hathcock, M.Photog., Cr., CPP; Teri Whittaker, M.Photog.,


ViewFinder Board Liaison: Aileen Harding, M.Photog., Cr., CPP; Viewfinder Editor/Chair: Theresa Campbell; Karen Butts, M.Photog., PPGH Workshop Series Board Liaison and Chair: Teri Whit- Cr., CPP; Kevin Falcon, Cr. Photog., CPP taker, M. Photog., Cr., CPP Cr., CPP; Francie Baltazar Stonestreet, M.Photog., Cr., CPP; Karen Butts, M.Photog., Cr., CPP; Armando Chacon, M.Photog., Cr.

Procedures and Controls Board Liaison: Teri Whittaker, M. Photog., Cr., CPP Social Media Board Liaison and Chair: Kevin Falcon, Cr. Photog., CPP Telephone Board Liaison: Laura King, CPP; Joan Reynolds; Lynda Meyer; Sadie Sevier; Rebeca Calzado; Juliana Cedeno

Web Site Board Liaison: Duane Blocker Chair: Sandra Showalter

Welcoming Curley Marshall, Cr. Photog., CPP

A STUDY OF COLOR by Karen Butts, M.Photog., Cr., CPP


This is the beginning of a series of articles which will address color and how it impacts your images. Colors have different properties. This first article is about the meaning of colors. Sequential articles will address color schemes, hue, value, intensity, texture and contrast. The old adage "A picture is worth a thousand words" refers to the notion that a complex idea can be conveyed with just a single, still image. It also aptly characterizes one of the main goals of visualization, namely making it possible to absorb large amounts of data quickly. The colors you choose to put in your images will help convey your message. Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry or even an ice cream sundae. Color balance supplies harmony to an image. The visual task requires that we present a logical structure. Color harmony delivers visual interest and a sense of order. An image in which the tones work together effectively support the image and can enhance its emotional appeal. Color balance is not always harmonious, however, and can be used to evoke diverse feelings for effect. Without light, there is no color. The light source effects the color we see. The midmorning yellowish light will cause red to look more orange, while late in the day, when the light is more bluish, it will cause red to appear more on the purple side. The amount of light on the object will also change the color. Other objects that are near will reflect light on an object and give it a different color. Each color has its own collection of meanings, depending on your culture. The colors in your image can help you tell your story. Let’s explore the different colors.

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WHITE: In Western cultures, it signifies innocence, purity, ghosts or flag of truce. In China, Japan and Africa it represents death, while in Britain it shows cowardice. YELLOW: Yellow is the most ambiguous color. It can mean sunlight, gold, enlightenment, happiness, envy, disgrace, deceit, betrayal or cowardice. ORANGE: Orange is the combination of red and yellow. In Europe and America, orange is commonly associated with amusement, extroverts, fire, activity, danger, taste, aroma or autumn. RED: Red is the color of blood and can take on the meaning of any of the following; sacrifice, danger, courage, heat, activity, passion, sexuality, anger, love or joy. In China and other Asian cultures it represents happiness.

royalty, dignity, power, passion, rage and bravery. The dye to make purple was hard to come by, so royalty were the only people who wore it. Lower classes were forbidden to wear purple. BLACK: Black is the absorption of all colors. In the Western world, it represents death, mourning and evil. In Egypt, where black is the color of the Nile, it means life, growth and well-being. In our culture, basic black in fashion means sophistication.

BLUE: This is the most popular color of both men and women. It is the color of the sky and the deep sea. Surveys in the US and Europe show that blue is the color most commonly associated with harmony, faithfulness, confidence, distance, infinity, imagination, cold and sometimes sadness.

Karen Butts owns Natural Images Photography, a home-based portrait studio. She specializes in high-end newborn portrait art, children and family portraits.


GREEN: Green is located between blue and yellow on the color wheel. It can symbolize new life, youth, hope, joy, respect, illness, envy or jealousy.

It is a given that one should always have a consultation with your clients about their clothing prior to a session. When photographing a group, it is imperative that their clothing is coordinated. It is your job as a photographer to provide clothing suggestions and a background as well as props that will pull the image all together, not only with color but with a cohesive style. Just remember that color can make or break your image.

PURPLE: Purple is a range of hues occurring between red and blue and is the closest to black. It can represent THE VIEWFINDER Fonts: Aparajita and Mistral

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Is that background getting blown out because you cannot raise your shutter speed anymore? Or maybe your family wants to jump during their session and there is still a motion blur even at 200 shutter speed. Then it’s time to raise your shutter speed higher than the sync speed and go to High Speed Sync. Let’s understand how to adjust the ambient exposure and darken the background while using flash.

Annie hired me to come to spend half a day in Schulenberg photographing her with her guitar. That half a day was not in the golden light of the afternoon. Annie had a gig with her band that night so she only had time in the middle of the day. So it was high speed sync to the rescue. I didn’t want to create blown out skies or lack of details where the sun hit her hair. I wanted rich green grass and clouds with details. Let’s take a moment to be nerdy and understand the inner workings of the shutter of our DSLR. Your camera has a focal plane that consists of two shutters that shut off the light during the exposure. One is the first High speed sync is the ability to photograph curtain shutter and the other is the second (closing) above your camera sync speed while your flash shutter. So timing is everything. The fastest closing of is operating correctly. Simply stated, high speed the shutter while using your flash is typically 1/250 sync gives you the ability to use your flash and its called the sync speed. Some cameras the sync at very high shutter speeds. How is it even speed is 1/160 and others are 1/320. The sync shutter possible to operate your camera at a shutter of speed gives you the ability to use your flash and create 1/4000 and an f-stop of 2.8 along with a speed pleasing environmental portraits for your morning and lite giving the fill light? If you’re flash has TTL afternoon sessions. If you try to use your flash when as well has high speed sync capabilities then your camera is set at a higher shutter speed, then that it is definitely possible. Let’s take a look the dreaded black horizontal strip will appear on your at this image of Annie. image. Your flash just can’t keep up with the higher shutter speed. The dreaded black horizontal line will appear if you raise your camera shutter above the sync speed without setting the high speed sync function. These black bars are actually shadows from the shutter curtain hitting the sensor. How do we ask our flash to not create these bars and to properly exposed our fast moving shutter? We set our camera to high speed sync and more importantly we set our flash to TTL. Our flash will pulse light at a very fast rate in order to cover the sensor area at high shutter speeds. Why would we want to use High Speed Sync? Its gives you a shallow depth of field. Those ugly houses in the background are magically blurred out. There is a marvelous bokeh that is created at f2.8 when using a 70-200 lens at focal point 200mm. At the beginning of my journey to understand HSS, I went to visit Mike Fulton at his Tri Coast Photography Studio. He gave me a workshop on TTL-flash metering and high flash sync. Without becoming too nerdy, let’s just say that after pressing your shutter button, within a millisecond of time, your flash has sent out a pre-flash and your Shutter 1/4000, f 2,8, ISO 400 Fill flash from camera right camera and flash have begun a conversation about the

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metering and the strength of the light emitted from your flash. It’s like a miracle has happened. You’ve entered the world of high speed sync through TTL flash metering. No longer will you need a tripod. Your motion will be frozen by the high shutter speed. Your portrait subject will be isolated against a busy background. There was a busy background behind Annie so I used HSS to darken the ambient and she really pops off the darker background.

a wider aperture. We are able to freeze motion, to isolate a subject from a busy background and to create a delicious bokeh. And doesn’t everyone love a good bokeh in their background?

Laura Mansur owns LMG Portraits in the Galleria area of Houston. She specializes in In this image the settings are: f2.8, corporate headshots and family photography.


Camera Settings: f 2.8. shutter 1/4000, ISO 400, focal length 135

shutter 1/2000, ISO 400.

Let’s talk about overpowering the sun. High Speed Sync doesn’t really allow that to happen. The higher the shutter speed , the more taxing it becomes on your speed lite. Your flash is working hard to create tiny bursts of light throughout your exposure. You’re really asking a lot from that little flash. Perhaps the flash could overpower the sun at sunset but I was photographing Annie in the middle of day. My flash could only give me fill light and that was fine by me. I hope this article gives a good explanation of using your flash and camera in the high speed sync mode. It allows us to use a faster shutter speed and therefore THE VIEWFINDER Fonts: Aparajita and Mistral

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Guy T. Phillips

2017 Master Best Portrait - Animal Kim Hartz, M.Photog., Cr., CPP

2017 Master Best Overall Photographic Open - Animal Kim Hartz, M.Photog., Cr., CPP

2017 Highest Scoring Image - CPP Kim Hartz, M.Photog., Cr., CPP

2018 Imaging USA T-Shirt Prizes Alvin Gee, Iraj Ghavidel, Armando Chacon

1/2018 Active Second Place Tie with himself - Michael Reiland

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1/2018 First & Second Place Master Kim Hartz, M.Photog., Cr., CPP

1/2018 Active Third Place Tie Curley Marshall, Cr.,CPP and John Nader, CPP

1/2018 Active Third Place Tie John Nader, CPP

1/2018 Master Third Place Karen Butts, M.Photog., Cr., CPP

Dawn Muncy Kat Mack poses for Dawn Muncy

Dawn assists student photographer

Dawn demonstrates light angles with Cindy Crofford

2/2018 Laura King, First Place Active, Shrinking Violet

2/2018 Karen Butts, First & Second Place Masters, Vintage Chic and Heather


Beauty dish demonstration

Fine Art Pose

Fine Art Paint

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NEW MEMBER: James McCallum The school built a darkroom for me to use and I also had a darkroom in my parent’s basement. Shooting Plus X in the school’s 2 ¼ x 2 ¼ Rolleiflex and Tri X in my 35mm Yashica I captured all types of school events and even got paid $5 each for sports photos published in the regional newspaper ‘The Salina Journal’. I even tried flash fill for outdoor photos of the football stars: the negatives were all overexposed but after letting the enlarger expose the paper for 15 minutes the prints were beautiful! The real highlight of my early days came when former president Dwight Eisenhower passed away in 1969 and his funeral was held in nearby Abilene, KS. The 5th Army ran the event and put out notifications regarding where to go to get a press pass. Being 18 and having nothing to lose, I went to the designated place and applied. To my surprise I was given a full press pass – no questions asked. On the day of the funeral I rode on the press bus sitting next to such famous photographers as Eddie Adams and listened to my fellow press corps members reminisce with General Omar Bradley while I stood barely a few feet from presidents Johnson and Nixon.




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Click on the links below to find out more about each one. Be sure to tell them you are from PPGH.


Austin Professional Photographers Association


Brazos Valley Professional Photographers Association



Now, today, after a career in Information Technology, I want to get back into my first vocational love – photography. Things have changed a lot since those earlier days and I am attending Texas School and PPGH events to bring my skills into the 21st century. I use Canon 5D III and 7D II DSLRs along with 600EXRT speedlites and a series of complementary lenses to pursue my interests in Environmental Portraiture, Engagement Sets, and City/Landscapes. I am very interested in working as a second shooter for experienced PPGH photo professionals or simply work just as an assistant in studio or onsite to see how the pros conduct their business. I can be reached at



I got my start in photography when I was asked to be the school photographer for my very small hometown’s high school.




Fort Worth Professional Photographers Association


South Plains Professional Photographers Association


Professional Photographers of San Antonio


Professional Photographers Forum of East Texas


Heart of Texas Professional Photographers

PPGH PAST PRESIDENTS LUNCHEON by Aileen Harding, M.Photog., Cr., CPP

Gee, Belinda Higgins, Greta Jacobs Mee, Janice Jones, Curley Marshall, and Teri Whittaker. Board members in attendance were Duane Blocker, Kevin Falcon, Blair Haynie, Kathy Kinser, and our Executive Director, Teri Whittaker.

KAREN BUTTS NATURAL LIGHT WORKSHOP by Theresa Campbell What do you do when your natural light workshop gets rained out? If you are Karen Butts, you pull together one heckuva slide show to demonstrate the use of natural light! Karen shared many wonderful tips by critiquing her own past photographs using natural light. Through showing us what she had done wrong and what she had done right in her images, she adeptly demonstrated how to get the best natural light. During a lull in the rain, two beautiful young ladies stopped by for a brief hands-on photo shoot on Karen's famous north-facing front porch so we could see how to orient the subjects to the light first hand. Her slideshow also included elements of color harmony, composition, posing, compositing, and selecting a pleasing background. At the conclusion, Karen provided us with a tour of her home studio and shared her marketing materials. Overall, it was a day chock full of tidbits we could all apply to our own style of photography. As a follow up she provided email critiques for all attendees who sent in natural light photographs. Thanks to Karen for a fantastic workshop!


A great time was had by all at the Past Presidents Luncheon hosted by outgoing 2017 President Aileen Harding, M. Photog., Cr. CPP. We met at Kim Son on Monday, February 26. Past Presidents in attendance were Major Arnaud, Armando Chacon, Kim Christensen, Mitch Daniels, Charles Falk, Alvin

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Image competition can be rewarding yet sometimes stressful for some who struggle in this area of photography.

Those in attendance at the Professional Photographer’s Guild of Houston (PPGH) mini workshop “Print Competition from the Judge’s Point of View” hosted by Master Photographer Aileen Harding, gained plenty of nuggets to help them up their game in print competition. Harding emphasized right from the beginning that all images are subjective and client images are different from print competition images. The world of photography is huge with so many areas to study and master. Print competition is a very small part of that. Anyone wanting to participate in print competition must understand the twelve elements of a merit image. These elements include impact, technical excellence, creativity, style, composition, presentation, color balance, center of interest, lighting, subject matter, technique, and storytelling. A print deserving of a merit must score at least an 80. Harding advised that starting at the local guild level is a great way to get started and familiar with the competition process. She also added, “We have a great guild with master photographers who are willing to help and give feedback to anyone seeking it.” The process can be exhausting at times because everyone wants to do well and it can be time consuming to create a solid image. Harding said, “It can be frustrating not getting the score one may think they deserve to receive. Anyone participating must be willing to take open criticism. That's part of the process of getting better.“ In the workshop she spoke of higher levels in image competition for those wanting to advance their work. The ultimate goal is to try to achieve loan status at the International Print Competition (IPC). Loan images are considered best of the best. Scores that are 85-94 at this level are judged again for the Loan Collection. The Loan Collection book consists of the top scoring images from across the country. Scores that are 96-100

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are automatically included in the Loan Collection. Harding recalled some of her moments when she got goosebumps listening to the feedback of the judges on her images on whether or not she made loan. Harding also shared images in which see showed the class what to do and not to do. She briefly demonstrated matting and color harmony as well. Most importantly, she explained what the judges are looking for. Her philosophy on being successful in print competition is “Go for the loan and hope for the Merit.” With this philosophy the road may be vigorous but the rewards can be very exciting. Booker Shelton owns Prentice Photography specializing in events families, seniors, weddings and head-shots. He is a member of the Professional Photographers of America and a Director of PPGH.

CPP Corner What are the benefits of Certification? You can't just declare yourself certified. Certification is granted by Professional Photographers of America, the world's largest non-profit association organized for professional photographers, and that speaks volumes to potential clients about your skill. When potential clients become aware that Certified Photographers must recertify every three years, they understand that education, training, and the latest industry techniques and skills are important to you and your images. For more info on Certification go to From PPA. By Curley Marshall, Cr., CPP, Author CPP Liaison and PPGH Past President



Did you know you can enter the PPGH Local Photographic Competition at any level of membership? The image competition held at our monthly PPGH meetings is a great way to hone your skills and get feedback from proven and respected professionals in this industry. These talented individuals volunteer their time to judge images and provide valuable feedback utilizing the 12 elements of a merit image. You can earn merits on a local level and progress your image to the next level of competition to earn recognition and even degrees through the Professional Photographers of America. All district competitions lead to the annual International Photographic Competition. Visit these links to learn more about entering competition.

To learn about the guidelines for entering image competition at PPGH meetings visit: Documents/Image%20Competition/2015%20PPGH%20Image%20 Comp%20Rules.pdf

Follow along with image judging on the Game Day App, downloadable from Membership is optional but if you join you can search thousands of archival images to see scores and hear audio from the image competitions. It is a terrific resource.

To learn about upcoming competitions throughout the region visit:

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First Place

Are you coming back? by Kim Hartz, M.Photog., Cr., CPP

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Second Place

The Odd Couple by Kim Hartz, M.Photog., Cr., CPP

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Third Place

In The Beginning (Album) by Karen Butts, M.Photog., Cr., CPP

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First Place

X Marks the Spot by John Nader, CPP

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Second Place Tie

Glass Lake at Midnight by Michael Reiland

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Second Place Tie

Mid Winter's Dream by Michael Reiland

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Third Place Tie

Bride on the Rocks by John Nader, CPP

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Third Place Tie

Pit Stop by Curley Marshall, Cr., CPP, Author

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First Place

Vintage Chic by Karen Butts, M.Photog., Cr., CPP

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Heather by Karen Butts, M.Photog., Cr., CPP

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Second Place



Third Place

The End is Near by Teri Whittaker, M.Photog., Cr., CPP THE VIEWFINDER Fonts: Aparajita and Mistral

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Shrinking Violet by Laura King, CPP

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First Place



Second Place

Majestic Magenta by Maryanne Keeling, CPP

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Third Place

Prayers at Sunset by Maryanne Keeling, CPP

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What’s Murphy’s Law for photographers?… If someone can trip over a cable, knock over the key light, catch the wedding gifts on fire, or cause the sprinkler system to ruin everyone’s day, they will!

partner, Lockton Affinity, protects working photographers against: • Bodily injuries • Defamation & slander • Invasion of privacy • Property damage and more!

Why risk the worst when you can keep your business safe with PPA’s General Liability Insurance? Plus, most venues now require photographers to be insured!

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Whether you specialize in wedding, school or sports & events photography, PPA’s insurance

Don’t be held responsible when Murphy’s Law strikes!

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PPGH Viewfinder March 2018  
PPGH Viewfinder March 2018  

A Publication of the Professional Photographers Guild of Houston