share moments - share photography macro photography · close-up photography as the skills, tools...

copy Lake County Camera Club No material may be reproduced in any manner without written permission of the Newsletter Editor or the materialrsquos specific contributor

A Message From The President 3

Dates To Remember 3

Capturing The Perfect Flower Macro [For

Beginners]

4

Macro Photography From Basic To Extreme 5

Macro Photography Tips for Point and Shoot

Digital Cameras

8

A Brief History of Photography

Part 8 - Kodachrome amp Color Film

10

May Challenge Images 13

Your Camera Club Needs Your Participation 14

Macro Photography A Message From The Editor

The ability to reach into lsquonear spacersquo and take a viewer to new and seldom

seen vantage points is an attractive option for many photographers The term

macro photography is used when shooting something close-up and quite

small To be technically correct the term macro refers to the capture of an

object that resulted in an image on the original 35mm film frame (24x36mm)

which ranged from a 11 ratio (life size) up to 101 ratio (10X life size) This

term has been further confused by many of the manufacturers labelling

lenses and digital cameras with macro modes that are not truly macro

either Most of these devices get to a close up point or around a 14 ratio

(14 life size) on the digital sensor Most of the time then we are talking

about close-up photography even though we use the term macro In this

edition of Exposures I will not nit-pick the differences between macro and

close-up photography as the skills tools and techniques used to make a

huge print of an insect a flower petal or any small object are very much the

same

This edition of Exposures contains several excellent articles about macro

photography I start with a so called ldquobeginnerrdquo article written by Natalie

Denton Check out Tom Biegalskirsquos article ldquoMacro Photography - From

Basic To Extremerdquo for an excellent primer on the tools and techniques

required to get started with macro photography Darren Rowse of Digital

Photography School points out that much has been written on the topic of

macro photography for those photographers fortunate enough to own a

DSLR with macro lenses ndash but what about if you own a compact point and shoot camera Can you get great macro shots too

Each of the articles emphasize the fact that macro photography

brings with it certain problems with the working distance and

depth of field When you are working at a close working distance

you will find that you need to either blur out the background using a

small aperture f-number or a large f-number to gain optimum image

sharpness and depth of field Each of these alternatives can

present problems of their own A high f-stop improves depth of

field but too high of a value will also begin to compromise image

resolution due to lens diffraction Using a small lens aperture

means you need more light so you need to extend the exposure

time to make a correctly exposed photograph With depth of field at

a millimeter or less you want to make sure that it is you who are

deciding whatrsquos in focus The one thing that every macro guide

mentions is that you would want to manual focus your camera

So reach into near space and give macroclose up photography a

try It is a great way to share moments and share photography

Inside This Issue

Share Moments - Share Photography

June 2014 Volume 6 Issue 10


2013 - 2014

Board Members President Mike Trahan

President Elect Mark Theriot

Past President John Williams

Secretary Terry Ferguson

Treasurer Jim Ross

Vice President External Operations Michelle Cox

Vice President Internal Operations Bill Sullivan

2013 - 2014

Committee Chairpersons

LCCC is a proud member of the

Chicago Area Camera Clubs Association

and the Photographic Society of America

The clubrsquos mission is to promote teach and share the ideals skills techniques

and good practices of the art of photography and the use of cameras and

photographic equipment

Visit the clubrsquos website wwwlakecountycameracluborg

The club meets at 700pm on the first Thursday of every month at

University Center 1200 University Drive Grayslake IL

Questions or comments about this newsletter

Please contact Ken Johnson Newsletter Editor at

kenjohnsonlakecountycameracluborg

Exposures - June 2014 Volume 6 Issue 10 Page 2

CACCA Representative Bob Kruzic

Challenge Coordinator Linda OrsquoRourke

Competition Chair Bob Kruzic

Community Involvement Coordinator JoAnn Sullivan

Company Contact Coordinator Open

Continuing Education Coordinator Jim Ross

Critique Coordinator Liz Rose Fisher

DPI Competition Coordinator John Rouse

Educational Events Coordinator Open

Event Communications Coordinator Sue Baron

Facilities Coordinator Bill Sullivan

Gallery Coordinator John Williams

Historian Egon Shein

Hospitality Desk Margie Hurwich

Judge Procurement Tony Roma

Librarian Larry Chua

Long Term Planning Mark Theriot

Mentoring Program Coordinator Open

Membership Chair Terry Ferguson

New Member Coordinator Judy Reinhardt

Newsletter Editor Ken Johnson

Photo Excursion Coordinator Debra Olson

Program Chair Stevan Tontich

PSA Representative Egon Schein

PSA Photo Travel Coordinator Birgit Tyrrell

PSA Photojournalism Coordinator Linda Kruzic

PSA Projected Image Coordinator Ron Sheade

PSA Nature Coordinator Jeff Bark

Small Group Coordinator Ron Sheade

Webmaster John Rouse

Year End Party Coordinators Jeff Bott

Sheldon Wecker



A Message From President - Mike Trahan

Summer is in full swing with all the warm and comfortable photo opportunities it offers Our online critiquing program is in its

second round as Liz Rose Fisher and Jim Ross continue to refine this new capability for our members to get excellent reviews

and critiques of photos Some of our small groups are close to finishing up such as the Portrait Small Group some are finished

such as the NIK Plug-ins group while others are continuing such as the NoviceIntermediate group Remember anyone can

suggest a small group they would be interested in by emailing lakecountycameraclubyahoogroupscom If enough people are

interested wersquoll start one Work is continuing behind the scenes on a new library function

Be sure to sign up for and attend the year-end party when the announcements go out It should be a fun ending to a fine year for

us

Wersquore filling in our positions for the next year Our club only can offer the great services we do to our members because of all the

volunteers who are willing to help Wersquove worked at making each job a manageable bite-sized chunk so be sure to put your

name in for something See Terryrsquos list of positions elsewhere in this newsletter If you have any questions be sure to emai l

Terry at wheelsmithysbcglobalnet or me at miket99gmailcom

Keep shooting and having fun

Challenge Due lsquoDusk to Dawnrsquo June 30

IMPORTANT NOTICE July Club Meeting Date Change - Wednesday

Program Night Night amp Low Light Photography Techniques

July 9

Board Meeting All are welcome July 17

Shutter Cafeacute 800 AM July 19

Newsletter Articles Due Editing Techniques July 21

Challenge Due lsquoCelebrationsrsquo July 30

Photo Excursion Pike River Rendezvous August 2

Dates To Remember


Capturing The Perfect Flower Macro [For Beginners] By Natalie Denton (nee Johnson)

If you appreciate the subtle beauty of a freshly bloomed bud or want to preserve the memory of that bright and bold gift bouquet

why not try putting your photography skills to good use and capture a delicate floral macro

Begin by finding the perfect specimen and if possible place it in an area with

great soft light for example in front of a window that is shielded with a sheet

or net curtain If the plant is outside either move it to a shaded location or find

a way of diffusing the sunrsquos rays with a piece of fine material if the light is

particular harsh or the sun is at a high position in the sky Shoot with your

back to the light (without blocking it) or from the side so that the light falls

gently and delicately on the flower headrsquos crevices and petals effortlessly

eventuating texture color and the intrinsic detailing An overcast but bright

day will undoubtedly harvest optimum captures but if you need to lsquoaddrsquo extra

light utilize a reflector to lift details from the shadows

Next set the camera onto a tripod or if you are lacking one try using

something as a stable substitute to support it underneath Using something

like Jobyrsquos GorillaPod for DSLRs will be extremely useful here especially

when shooting immoveable or smaller specimens as the accessory is

relatively dainty and low to the ground as it doesnrsquot have a restrictive center

column like a tripod does

In terms of glassware a macro lens or extension tube will reap stronger

images otherwise experiment with focal length you have at your disposal

and use your distance to influence the composition determine how close you

can get to secure a lock Some people prefer the simplicity of auto-focus

whereas others surmise that manual offers greater creative control either

way decide what you want in focus lock on to it and then recompose

If you are using a point-and-shoot device opt for the camerarsquos macro mode and ensure that the flash is deactivated DSLR or

hybrid users should switch into Aperture priority and experiment with the lensrsquo aperture range to alter how much detail is

captured For a crisp center and softly blurred petals or background opt for an aperture of between f18 and f4 depending on the

strength and range of the effect you want to generate If yoursquod rather keep the flower headrsquos details crisp use a narrower aperture

such as f18 or even f22Depending on the color of the flower you may find yoursquoll need to employ exposure compensation to

balance the scene

Stand above the flower and shoot the subject from various angles then lower the lens in

stages to the same level as the flower and shoot again finally fall beneath the flower head

and shoot up at its delicate underbelly

Review your captures onscreen to determine what appeals to you or what you would like to

develop If you want to tweak the captures in an editing suite it is advisable to shoot in RAW

so all of those vivid details and colors are naturally replicated

If you would like to repeat the photo session at a later date try experimenting with various

lighting techniques lenses gels and include elements such as water for that heightened level

of interest Shooting a flower macro just after it has rained or before snow or frost melts can

really exaggerate the specimenrsquos beauty and lends itself to creating a more dramatic

photograph


copy Evan Leeson

Natalie Denton (nee Johnson) Natalie Denton (nee Johnson) is the former editor of Digital Photographer magazine and is now a freelance journalist and photographer who has written for dozens of photography and technology magazines and websites over the last decade Recent

author and tutor too

copy Hamed Saber

copy Auntie P


All images copy Tom Biegalsky

Macro Photography From Basic To Extreme By Tom Biegalski

The following is an adapted excerpt from a Power Point presentation given by Tom Biegalski

Working Distance

When choosing a macro setup and desired magnification it is important to consider the working distance Longer working

distances allow for more room to add lighting or other elements and may be helpful with skittish or dangerous subjects

Equipment for Macro Photography

Extension Tubes or Bellows These devices attach between a lens

and the camera body More extension provides higher magnification

(extension mm focal length of lens = magnification factor)

These alternatives can be very economical and there is no glass to

diminish the quality of a good lens

This option may lose some light and require manual focus It may also

focus to close with wider angle lenses You need lots of extension for

high magnification

Diopters These devices screw on the front of a lens like a filter There

is normally a fixed focal point working distance Magnification increases

with diopter strength and lens focal length Diopters work well with

telephoto zoom lenses

Diopters can be easy to use and there is minimal light loss A poor

quality single element model may provide marginal results Although a

bit more costly you should select a good quality model with multi-

elements a quality coatings


Continued on next page


Equipment for Macro Photography (continued)

Reversed Lenses This alternative simply requires an inexpensive reversing adapter ring

You can focus very close You will lose all of the automatic lens functionality including

aperture control and focus

True Macro Lens These lenses may be used as normal lenses The provide very high

image quality and are corrected for flat field at

high magnification A true macro lens can focus

to a 11 ration They can be expensive Longer

focal lengths provide longer working distances

Longer focal lengths create a more narrow angle

of vies This helps to isolate the subject and

control the look of the background Shorter focal

lengths provide a wider angle of view and helps

create context by including background elements

Teleconverters These

devices attach between a

lens and the camera body

and are typically used to

increase the magnification of

telephoto lenses by a set

factor They do not change

the working distance of the

lens You may lose some image quality This alternative is moderately expensive

Focusing Rails Focusing

rails allow extremely fine movements of the macro setup forward

backward and for some models side to side This is useful for fine focus

and focus stacking

Extreme Macro An extreme macro lens like the Canon MP-E 65mm provides magnification

factors from 11 to 51 This lens works a macro only



Continued from previous page



Tips For Maximum Sharpness

Soft even overcast light is best for details A direct light helps create contrast To help control the contrast

ratio you can use diffusers reflectors andor fill flash

To get the sharpest images you may need to use a tripod One with no center column

allows you to get flat on the ground To steady subjects moving in the wind you can use a

variety of clamps A device like a Plamp (right) holds subjects steady or can hold reflectors

For best results you should use a cable release or the self timer on your camera You might

even consider the mirror lock-up feature and live view mode if your camera has this option

Extreme Macro Focus Stacking For increased depth of field in high magnification macro images you should take multiple

images of the subject moving the camera forward or backward in very small increments between each exposure (as small as

one micron per exposure) You can use a manual focusing rail a microscope stage or an automatic rail such as the Stackshot

by Cognisys You would then use software to combine all of the images into a final stack that retains the sharpest portions of

each image and discards the out of focus parts Current focus stacking software includes Helicon Focus Zerene Stacker and

Combine ZM which is free but hard to learn I use Zerene Stacker because it is good at handling insect hairs and overlapping

parts

To see more of my work go to TTBphotocom wwwflickercomphotosttbphoto or httpthomas-begalskiartiswebsitescom





Images copy Digital Photography School


Macro Photography Tips for Point and Shoot Digital Cameras By Darren Rowse

Much has been written on the topic of Macro photography for those

photographers fortunate enough to own a DSLR with macro lenses ndash

but what about if you own a compact point and shoot camera Can

you get great macro shots too

While the results achievable with a point and shoot camera in macro

mode probably wonrsquot compare with a DSLR with a special purpose

macro lens Irsquove still seen some remarkably good shots with compact

cameras (all three shots in this post were taken with compact

cameras) Here are a few tips to help you get the most out of yours

Select Macro Mode ndash this is a fairly obvious first step but Irsquom always

surprised by how many digital camera owners havenrsquot explored the

shooting modes that their camera has Macro mode is generally

symbolized with a little flower and when selected it will tell your

camera that you want to focus on a subject closer to your lens than

normal (the minimum distance allowed will vary from camera to camera ndash consult your instruction manual to find yours) Macro

mode will also usually tell your camera to choose a large aperture so that your subject is in focus but the background is not

Use a Tripod ndash in macro photography a tripod can be particularly useful even if yoursquore just shooting with a compact camera

Keeping your camera still not only improves your shots (getting rid of camera shake) but it allows you to play around with

different settings without losing your composition

Aperture ndash once in macro mode some cameras will not allow you to make many other adjustments but if you are able to play

with your aperture settings it can be well worthwhile to do so As wersquove covered in our Aperture tutorials the main thing that

aperture impacts is the depth of field of your shots Choose a small

aperture (big number) if you want a large depth of field with

everything in focus or a large aperture if you just want your main

subject in focus In macro photography yoursquoll probably want a

shallow depth of field so select the largest aperture available

Focusing ndash I find that in macro photography it is helpful to have full

control over focusing ndash especially when you have shallow depth of

fields where it is all the more important to make sure the right part of

your shot is in focus If your camera allows manual focusing select

this option and manually focus on the part of our subject that is the

main point of interest

Composition ndash remember some of the basic rules of composition

like the Rule of Thirds Make sure your image has a main point of

interest and place that focal point in a smart position in your image in

order to draw the eye of your viewer Try to select a non cluttered or

simple background for your main subject so as it doesnrsquot compete

with it visually




Flash ndash in many macro shots having some artificial light is important

The challenge with compact cameras is that most give you limited

control of your flash As a result choosing a good time of day when

there is plenty of available light is probably your best bet If you do

need more light check to see if your camera allows you to pull back

the level that your flash fires at Alternatively you might like to try

diffusing it in some way (tissue paper or cellotape over the flash for

example) Another option might be to use some other source of

artificial light or to invest in a reflector to help make the most of

available light Experiment with different methods of lighting your

subject

Take Your Shot - once you have your shot lined up and in focus take

your shot Make sure once yoursquove taken it to take a good look at it

on your LCD zooming in to make sure that your focusing is sharp

Try shooting at slightly different apertures with different

compositions and focusing on different points of your subject to see

what works best

Macro Lens Attachments ndash some compact cameras actually have

accessories available to help with macroclose up photography

These will enable you to enlarge your subject andor decrease your

minimum focal length These might be worth investing in if you

intend on doing a lot of macro work

Self Timer ndash (this point was added as a result of comments below ndash thanks team) when using my DSLR for Macro work I tend to

use a shutter cable release and tripod to make sure my shots are completely still (to eliminate the small amount of camera shake

from pressing the shutter) Most compact cameras donrsquot have cable releases but a simple way around this is to use your

camerarsquos self timer on itrsquos shortest time setting which will similarly mean you have no movement of your camera when taking

your shot (if yoursquore taking notice of the lsquouse a tripodrsquo tip above)

PS Irsquove used the term lsquomacro photography fairly loosely here Technically lsquomacro photographyrsquo is actually when you produce an

image where your subject is captured on your image sensor at life size (or bigger) with a 11 ratio

In the case of most (all) compact cameras this is not achieved and in fact lsquoclose uprsquo photography would be a better descript ion

However as most manufacturers call their close up mode lsquomacro modersquo Irsquove used the term for the purposes of this article

Darren Rowse is the editor and founder of Digital Photography Schooland SnapnDeals He lives in Melbourne Australia and is

also the editor of the ProBlogger Blog Tips Follow him on Instagram on Twitter at digitalPS or on Google+




Part 8 - Kodachrome amp Color Film By Mike Kukulski

The additive screen color photography techniques as theorized by Maxwell and as realized in the practical sense through the

Dufaycolor and Autochrome processes discussed in the previous installment of this series failed to gain broad and lasting

acceptance due to some fundamental shortcomings Additive techniques required color filters to be somehow maintained in

register both for the initial image exposure and then to view the final product These filters introduced image-degrading artifacts

in the forms of lines crosshatches or grain patterns The filters also screened out a significant percentage of the light h itting the

film emulsion effectively lowering their sensitivity and use in lower light situations

Beginning in 1869 with the published papers accompanying his patents on the

subject Louis Arthur Ducos du Hauron set forth basic concepts of using subtractive

color theory in color photography The subtractive process removes certain colors

from white light while allowing other colors The three subtractive primary colors

(cyan magenta yellow) are the complementary colors of the three additive primary

colors (red green blue) and in combined use as filters can generate almost any

color

While numerous subtractive methods for photography were tried in the following 50

years they all suffered from technical complexities Cameras had to provide 3

perfectly registered negatives for every shot one for each primary filter color using

multiple exposures multiple lenses mirrors or beam splitters The filter and color

dye technologies were also not mature enough to always render faithfully the original colors While there is evidence of some

degree of success in du Hauronrsquos heliographs Frederick E Ivesrsquo Kromskop Triple Camera and Viewer and Sanger Shepherdrsquos

one-shot camera these efforts were expensive complex and time

demanding

The real breakthrough came in 1911-1912 with the patented work of Dr Rudolf Fischer and Dr Hans Sigrist of the Neue

Photographische Gesellschaft (New Photographic Corporation NPG) Their patents describe the basic ideas behind modern

color film the concept of the formation of dyes during film development and introduced technical methodologies such as

multilayer color film as it exists today

Exposures - June 2014 Volume 6 Issue 10 0


Figure 1 Subtractive Filtering of White Light

Figure 2 View of Agen France 1877 Heliograph by Louis Arthur Ducos du Hauron

Figure 3 Feather 1902 (ca) by Sanger Shepherd


The basic concept as seen in all subsequent color films is the use of

multiple film emulsion layers each sensitive to one of the three primary

colors and separated by colored filter layers This allows during

development for three silver-based negative layers to be generated for

each exposure in perfect register each negative layer carrying the correct

exposure for one of the three primary colors Color couplers are added

(in the development chemicals in the case of Kodachrome or as in other

color films included in the film emulsion) These color couplers combine

with oxidation products during development to create insoluble dyes that

impart a cyan magenta or yellow tone to the corresponding negative

layer The silver in the emulsions is then removed through a bleaching

and fixing process leaving the three dyed layers in register to produce

the final image At this point in 1912 the major obstacle facing NPG in

producing a viable color film was the problem of the dyes diffusing

between layers creating color inaccuracies

From 1912 until the mid-1930s two competing efforts attempted to solve

this dye migration problem In the US two professional musicians

Leopold Godowsky and Leopold Mannes who happened to be

enthusiastic amateur photographers with science educations began

working on the chromogenic color photography theories put forth by

Fischer After some progress with their own research lab and

independent funding they were hired by Kodak to head a large research

effort to finish and refine their work The two who came to be known as

ldquoGod and Manrdquo solved the dye migration problem by the controlled diffusion bleach process a development process entailing 27

complicated steps which they patented in early 1935 under the Kodachrome trademark

The key characteristic of Kodachrome versus other chromogenic films was that

the color processing during development was done layer by layer Each color

layer employed a unique developer solution that incorporated the appropriate color

dye for that layer each layer was then washed bleached and fixed in turn before

the next color layer was addressed After all three layers had been developed and

bleached all the silver had been removed from the emulsions leaving the dyed

layers to create a color slide While subsequent evolution saw the Kodachrome

developing process (or K-14 process) simplify into just 16 steps the color couplers

for the dye remained in the developer solutions versus the film itself This

complicated development process was out of reach of both amateur and

professional photographers only Kodak initially had the required equipment and

expertise to process Kodachrome although an anti-trust case in 1954 compelled

Kodak to offer the processing chemicals to independent processing labs

Kodachrome was offered in ISO speed ratings ranging from 8-200 and was

considered by many the sharpest highest resolution and best archival color film

from its introduction in 1935 until Kodak ceased production in 2009 The

availability of newer color films that offered easier processing and competitive

image quality (such as Fuji Velvia in 1990) the increased emphasis on digital

imaging and Kodakrsquos financial woes sealed the fate of Kodachrome




Figure 4 Color Film Cross Section

Figure 5 Afghan Girl Pakistan 1984 Kodachrome photo by Steve McCurry for National Geographic


In parallel with Kodachrome in 1932 two German chemists working for Agfa Gustav

Wilmanns and Wilhelm Schneider while working on anti-halation backings for

monochrome films discovered that dyes carrying chemical groups known from cotton

dyeing remained intact in film gelatin layers and would not migrate between layers They

filed a patent (within days of the patent filing for Kodachrome) for a process employing

this that led to the creation of Agfacolor Neu film which saw some use by photographers

at the 1936 Olympic Games in Berlin

Because the Agfacolor process had the color couplers contained in the film emulsion

layers just one color developer solution was used to process all three color layers at one

time This yielded a much simpler process than Kodachrome with only 5 steps to create

a slide image Agfacolor methods and recipes were declared public domain at the end of

World War II in 1945 and many companies such as Adox Ferrania Fuji etc adopted

the procedures

Kodak never employed the Agfacolor process in 1937 they had developed an aerial

reconnaissance film Kodacolor Aero Reversal film when the US military specified

an in-the-field processing capability that Kodachrome could not support This process

led to Kodacolor negative films in 1942 and Ektachrome reversal films in 1946

Kodakrsquos solution to embed the color couplers in the film emulsion was simpler than

that used in Agfacolor Agfacolor initially demonstrated better image quality than

KodacolorEktachrome but over time Kodak improved the emulsions and processes

(C-41 for negative and E-6 for slide) to yield equal image quality with greater chemical

simplicity and lower cost As a result the Kodak process was adopted by other color

film manufacturers and Agfa itself gradually shifted to the Kodak process in 1978

Kodachrome (1973 Words amp Music by Paul Simon)

They give us those nice bright colors

They give us the greens of summers

Makes you think all the worldrsquos a sunny day oh yeah

I got a Nikon camera

I love to take a photograph

So mama donrsquot take my Kodachrome away

Next Time Edward Land Polaroid amp Instant Film

This is the seventh installment of an ongoing series on the history and development of the art of photography It is inspired by

the History of Photography class taught by Professor Jeff Curto in the College of DuPage Photography Program While not a

slavish copy of his work I freely admit to following his general course outline and sharing many of the perspectives he has

developed I would encourage anyone with a greater interest in this subject to follow his course online via video podcasts at

httpphotohistoryjeffcurtocom

Sources World History of Photography 4th Ed 2007 by Naomi Rosenblum History of Photography Podcasts class lectures with Jeff Curto from College of DuPage httpphotohistoryjeffcurtocom Luminous Lint For Connoisseurs of Fine Photography ldquoA Concise History of Color Photographyrdquo httpwwwluminous -lintcomIaWpublic5121020T KniPPsen Virtual Camera and Photo Museum ldquoInvention of the modern multilayer color filmrdquo httpknippsenblogspotcom201210invention-of-modern-multilayer-colorhtml ldquoThe Kodachrome story ndash History of modern color film (part 2)rdquo httpknippsenblogspotcom201211the-kodachrome-storyhtml ldquo Agfacolor Neu - History of modern color film (part 3)rdquo httpknippsenblogspotcom201211agfacolor -neu-history-of-modern-colorhtml ldquoKodacolor and Ektachrome - History of modern color film (part 4)rdquo httpknippsenblogspotcom201211kodacolor-and-ektachrome-history-ofhtml Shooting Film ldquoA Brief History of Kodak Kodachrome Filmrdquo httpwwwshootingfilmnet201404a-brief-history-of-kodak-kodachrome-filmhtml Wikipedia ldquoColor photographyrdquo httpenwikipediaorgwikiColor_photography Wikipedia ldquoLouis Arthur Ducos du Hauronrdquo httpenwikipediaorgwikiLouis_Arthur_Ducos_du_Hauron Wikipedia ldquoChromogenicrdquo httpenwikipediaorgwikiChromogenic Wikipedia ldquoKodachromerdquo httpenwikipediaorgwikiKodachrome Wikipedia ldquoC-41 processrdquo httpenwikipediaorgwikiC-41_process Wikipedia ldquoK-14 processrdquo httpenwikipediaorgwikiK-14_process Wikipedia ldquoAfghan Girlrdquo httpenwikipediaorgwikiAfghan_Girl



Figure 6 Box of Agfacolor Neu

Figure 7 Box of Kodachrome


May Challenge - Letrsquos Go Outside By Linda OrsquoRourke

This monthrsquos Challenge has included a wide variety of images They are all inspiring whether it be enjoying a stroll kids in the

park or observing things as time goes by

There is a diverse selection of images in

the LCCC Website Challenge Gallery

Here are just a few

I love the young animal life that spring

produces and Debra Olson caught a

couple of siblings ldquoOut Playing Togetherrdquo

Itrsquos been a while since Irsquove taken the time

to do this how about you ldquoEnjoying the

Park with My Dogrdquo by John Rouse

Do you remember these days A bunch

of the neighborhood kids enjoying a ldquoDay

at the Pondrdquo by Elizabeth Heneks

Sue Matsunaga has captured the action

stunningly here with ldquoShowing Teethrdquo

rdquoYummyrdquo by Julie Boatright who caught

a robin with a mouthful

ldquoViva Cinco de Mayordquo by Toma Lee

Bowers I can feel the action in this

dancerrsquos body

Please take a look at the Challenge

Gallery on the LCCC Website as there

are more images for your viewing

The June Challenge is Dusk to Dawn I

hope this gives us all a purpose to

practice some evening shooting andor

early morning as well

The July Challenge will be Celebrations

Challenge images must be newly taken

images between the first day of the

assignment month and the end of the

given month Up to ten images may be

submitted on a monthly basis by each

individual Please submit them to the

Challenge Gallery through the LCCC

Website

Give it your best shot

ldquoYummyrdquo

ldquoViva Cinco de Mayordquo


copy Toma Lee Bowers

copy John Rouse

ldquoEnjoying the Park with My Dogrdquo

copy Deb Olson

ldquoOut Playing Togetherrdquo

copy Sue Matsunaga

ldquoShowing Teethrdquo

copy Elizabeth Heneks

ldquoA Day at the Pondrdquo

copy Julie Boatright


Your Camera Club Needs Your Participation By Terry Ferguson

Right now we need to fill a position to continue to provide the excellent level of photographic learning opportunities and

communication you have come to expect

This job does not need to be handled by one person Do you have any skills or enthusiasm in writing procuring articles editing

proofing or doing layout Do you want to participate in defining the direction of our future newsletters It takes many skills to

put together our newsletter and if you are willing to give back to the club as a part of a team please reply or contact me at

secretarylakecountycameracluborg

Note from editor When I volunteered to take over this important task from Margie Hurwich three years ago I did not have any

experience as an editor I also did not have any formal training or writing experience I did write technical documents for my

previous employer but this writing task was not creative or rewarding My previous job was very technical in nature When I

took up photography again (about 10-years ago) I discovered that I enjoyed creative ldquoright brainedrdquo tasks much more than

technical ldquoleft brainedrdquo tasks Sure there are technical aspects to photography but the true reward for me was the ability to be

creative in my approach to photography This was a wonderful release from my day to day technical job I felt the same way

when I volunteered to became the editor of Exposures Again there are some technical tasks as a newsletter editor but the real

thrill is in the process of selecting themes articles and images which go into the publication For three years I have had the

privilege of being the editor of Exposures It was a wonderful learning experience for me I have recently retired from my ldquorealrdquo

job and I intend to travel for extended periods of time I may be out of country yet I will certainly be out of state For this

reason I must retire as editor of Exposures

If you have a desire to increase your creativity and compliment the creative side of your photography please consider this

important task This task is also very empowering Terry Ferguson has often said ldquoDonrsquot mess with the editorrdquo The

newsletter could be completed using Microsoft Word but I use Microsoft Publisher because it offers more flexibility than Word I

believe Margie Hurwich used Microsoft Power Point Some club members have already volunteered to write articles and help

you proof read each edition prior to publication I would also be willing to write an article on a monthly or bi-monthly basis


ldquoIf somebody offers you an amazing opportunity but you are not sure you can do it say yes

mdash then learn how to do it laterrdquo

~Richard Branson

ldquoFor the things we have to learn before we can do them we learn by doing themrdquo

~Aristotle The Nicomachean Ethics

Tell me and I will forget Show me and I may remember Involve me and I will understand

~Chinese Proverb


2013 - 2014

Board Members President Mike Trahan

President Elect Mark Theriot

Past President John Williams

Secretary Terry Ferguson

Treasurer Jim Ross

Vice President External Operations Michelle Cox

Vice President Internal Operations Bill Sullivan

2013 - 2014

Committee Chairpersons

LCCC is a proud member of the

Chicago Area Camera Clubs Association

and the Photographic Society of America

The clubrsquos mission is to promote teach and share the ideals skills techniques

and good practices of the art of photography and the use of cameras and

photographic equipment

Visit the clubrsquos website wwwlakecountycameracluborg

The club meets at 700pm on the first Thursday of every month at

University Center 1200 University Drive Grayslake IL

Questions or comments about this newsletter

Please contact Ken Johnson Newsletter Editor at

kenjohnsonlakecountycameracluborg

Exposures - June 2014 Volume 6 Issue 10

CACCA Representative Bob Kruzic

Challenge Coordinator Linda OrsquoRourke

Competition Chair Bob Kruzic

Community Involvement Coordinator JoAnn Sullivan

Company Contact Coordinator Open

Continuing Education Coordinator Jim Ross

Critique Coordinator Liz Rose Fisher

DPI Competition Coordinator John Rouse

Educational Events Coordinator Open

Event Communications Coordinator Sue Baron

Facilities Coordinator Bill Sullivan

Gallery Coordinator John Williams

Historian Egon Shein

Hospitality Desk Margie Hurwich

Judge Procurement Tony Roma

Librarian Larry Chua

Long Term Planning Mark Theriot

Mentoring Program Coordinator Open

Membership Chair Terry Ferguson

New Member Coordinator Judy Reinhardt

Newsletter Editor Ken Johnson

Photo Excursion Coordinator Debra Olson

Program Chair Stevan Tontich

PSA Representative Egon Schein

PSA Photo Travel Coordinator Birgit Tyrrell

PSA Photojournalism Coordinator Linda Kruzic

PSA Projected Image Coordinator Ron Sheade

PSA Nature Coordinator Jeff Bark

Small Group Coordinator Ron Sheade

Webmaster John Rouse

Year End Party Coordinators Jeff Bott

Sheldon Wecker











us









July 9






Dates To Remember
































balance the scene











photograph


copy Evan Leeson



copy Hamed Saber

copy Auntie P





Working Distance











high magnification






































and focus stacking






















parts














































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb











us









July 9






Dates To Remember
































balance the scene











photograph


copy Evan Leeson



copy Hamed Saber

copy Auntie P





Working Distance











high magnification






































and focus stacking






















parts














































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb
































balance the scene











photograph


copy Evan Leeson



copy Hamed Saber

copy Auntie P





Working Distance











high magnification






































and focus stacking






















parts














































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb





Working Distance











high magnification






































and focus stacking






















parts














































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb




























and focus stacking






















parts














































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb
















parts














































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb










































with it visually














subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb













subject






what works best

































color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb
















color








demanding









































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb
































































the procedures



































Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb







Here are just a few
















dancerrsquos body
















Website


ldquoYummyrdquo




copy John Rouse


copy Deb Olson


copy Sue Matsunaga
































~Richard Branson




~Chinese Proverb




























~Richard Branson




~Chinese Proverb

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