© Lake County Camera Club. The contents of “Exposures” are copyrighted. No material may be reproduced in any
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Volume 3, Issue 7
Dates to Remember
March 3 Close-up and Personal: The Joy's
of Macro Photography presented
by Lou Nettlehorst, 7:00 p.m.
March 3 Images for CACCA Salon due to
Jim Ross
March 12 Chicago Flower Show
March 12 CACCA Competition
March 17 Critique Night, 7:00 p.m.
March 19 Shutter Cafe, 8:00 a.m.
March 19 CACCA Spring Salon
March 31 DPI Images Due for Interclub
Competition and Individual “Night
or Twilight” CACCA Competition
March 31 “Anchored Foreground”
Assignment and Challenge Due
April 2 The Rookery
April 7 Competition Night, 7:00 p.m.
3 total images, plus a 4th if
monochrome, with no more than 2
images in one category
April 9 CACCA Competition
April 16 Shutter Cafe, 8:00 a.m.
April 30 DPI Images Due for Individual
“Night or Twilight” CACCA
Competition
April 30 April Assignment and Challenge
Due
Questions or comments about
this newsletter please contact
Margie Hurwich, Newsletter Editor at
March 2011
A Message From the President
I want to take this opportunity
to say "thank you" to ALL of the
people who have worked so
hard this year to make this club such
a tremendous success.
Special kudos go to Bob
Kruzic, Paul Kurek and Michelle Cox for their
efforts as committee members this past
year. Bob has worked with President-elect
John Williams and Bill Sullivan (Vice President,
Internal Operations) on organizational
improvements and upgrades to our competition
system. Paul devoted a great deal of time and
effort to develop what has proven to be an
extremely strong season of educational
program nights. Michelle has been outstanding
in creatively developing a unique and
interesting program of club excursions.
A lot of work goes into making our club
successful. It is through participation of the
many club members who contribute their time
and efforts that we continue to grow and
improve as a club. If you would like to become
more involved you should consider volunteering
for a position on the Board or as a Committee
Chair. We will be electing our 2011-2012
Board and appointing Committee Chairs in our
May monthly meeting. Lake County Camera
Club needs YOU to be successful.
Ron Meyers
The Lake County Camera Club is a proud member of the
Photographic Society of America and the
Chicago Area Camera Clubs Association.
For more information about our club, visit our website at
www.lakecountycameraclub.org or come join us at
418 N. Prairie Avenue, Mundelein, IL 60060.
Competition Results
Intraclub Print of the Month
Large Color Award, Class A
“Old Fashioned Christmas”, Score 24
© Paul Kurek
Exposures, March 2011 Volume 3, Issue 7 Page 2
Intraclub Image of the Month
DPI Award, Class A
“Kelly”, Score 24
© Don Chen
Competition Results
Intraclub Awards
Small Monochrome, Class A
“Street Corner Harpist”, Score 24
Small Monochrome, Class B
“Gears”, Score 23
Small Color, Class A
“Reflections of Downtown Boston”,
Score 24
Intraclub Awards
Small Color, Class B
“Autumn Treat”, Score 23
Small Color, Class B
“Sunday at the Beach”, Score 23
Large Monochrome, Class A
“The Chickens Have Flown This Coop”,
Score 24
© Rick Myslinski
© Linda Kruzic
© Luanne Kowalke
Exposures, March 2011 Volume 3, Issue 7 Page 3
© Stevan Tontich
© Bob Kruzic
© Bill Sullivan
Competition Results
Intraclub Awards
Large Monochrome, Class B
“The Kid”, Score 23
Large Color, Class A
“Happy Face, Surprised Face, Angry
Face, Snooty Face”, Score 25
Large Color, Class B
“Autumn Color of Counsil Lake”, Score 23
Intraclub Awards
DPI, Class B
“Seven Year Old Teen”, Score 23
DPI, Class B
“Farm Truck”, Score 22
Intraclub Honorable Mentions
Small Monochrome, Class A
• “Where Eagles Soar”, Score 23
by Ron Meyers
• “Newport Mansion at Night”, Score 22
by Bob Kruzic
Small Monochrome, Class B
• “I See You”, Score 23
by Linda Kipees
© Bob Leavitt
© Ralph Durham
© Mike Trahan
Exposures, March 2011 Volume 3, Issue 7 Page 4
© Carol O’Donnell
© Daoud Ghaussy
Competition Results
Intraclub Honorable Mentions
Small Color, Class A
• “Japanese Stone Lanterns”, Score 24
by Linda Kruzic
• “Ikon”, Score 23
by Egon Schein
Small Color, Class B
• “Emiley”, Score 22
by Linda Kippes
• “Pier on Cedar Lake”, Score 22
by Rick Myslinski
Large Monochrome, Class A
• “Desert Rider”, Score 24
by Bob Kruzic
• “Winter Morning”, Score 23
by John Williams
Large Monochrome, Class B
• “Midnight Mill”, Score 22
by Ken Johnson
• “Winter Morning”, Score 23
by John Williams
Large Color, Class A
• “On A Beautiful Day”, Score 24
by Margie Hurwich
• “Please Make Up The Room”, Score 23
by Jeff Bark
Large Color, Class B
• “Sprinter”, Score 23
by Bob Leavitt
• “Raindrops on Roses”, Score 23
by Cathy Nestor
DPI, Class A
• “Heading For Daylight”, Score 23
by Mike Trahan
Intraclub Honorable Mentions
DPI, Class B
• “Barn”, Score 22
by Birgit Tyrrell
• “Finding Thumb”, Score 21
by Carol O’Donnell
CACCA Interclub Competition
Honorable Mentions
Small Monochrome
• “I See You”, Score 22
by Linda Kippes
Large Monochrome
• “Winter Morning”, Score 24
by John Williams
CACCA Individual Competition
Award
Photojournalism
“The Price of Freedom”, Score 24
CACCA Special DPI Competition
Honorable Mention
Infrared
• “Saint Mary‟s Bridge”, Score 23
by Ron Meyers
Exposures, March 2011 Volume 3, Issue 7 Page 5
© Bob Kruzic
Club Competition Reminders
Our final club competition will be held on
Thursday, April 7. Below are some
competition rules that we would like to remind
our members.
• A small print‟s area shall not exceed 11 by 14
inches. All small prints are to be mounted on an
11 by 14 inch mat board.
• A large print‟s area shall not exceed 16 by 20
inches. All large prints are to be mounted on a
16 by 20 inch mat board.
• All print entries must be handed to the
Competition Chairperson no later than 6:45 p.m.
• Competition cards must be completed, in full, and
turned in with all prints. Competition cards for
DPI will be completed by the DPI Chairperson.
• For any size print, a label must be adhered to the
back of the print in the upper left hand corner and
must include the title, maker‟s name and club
affiliation. Please ensure that these labels are
PRINTED neatly. As well, ensure that your
competition Class is clearly marked.
• Same or similar images previously submitted by
the photographer and judged in the same division
are ineligible. Images earning either an Award or
an Honorable Mention in a competition may not
be entered in any other club competition in any
category.
If you have any questions regarding our club
competition, please contact Bob Kruzic at
Interested in
Attending CACCA?
Enjoy our club competitions? Then you should
attend the March CACCA Competition on
Saturday, March 12 and/or the CACCA Spring
Salon on Saturday, March 19. Everyone is
invited!
The meetings are held at The Palos United
Methodist Church located at 121st and Harlem
Avenue, Palos Heights, IL 60463.
If you are interested, a carpool can be
arranged. Please contact Jim Ross at
CACCA Spring Salon
The Annual Spring Salon is held each year in
March for members and non-members of CACCA
clubs. The 2011 Salon is being held on Saturday,
March 19
A maximum of four (4) images may be submitted
in any and all divisions. A separate entry fee is
charged for each division. The charge this year is
$3.00 per division entered for members, and
$5.00 for nonmembers. Additionally, an entry
form needs to be filled out. There are separate
forms for DPI and Alteration of Reality. You can
obtain entry forms from Jim Ross.
Where individual competitions do not exist,
entrants having ten or more acceptances in a
division in previous CACCA salons and/or any
international salons must enter Class A in those
Salon divisions. Other entrants may elect to enter
Class B, if other class divisions apply.
You will need to give your prints, slides and
entry forms to Jim Ross before or at our
March 3 club meeting. As well, please send
all DPI entries to
later than Thursday, March 3.
The prints and slides that are accepted will be
shown in a special slide show presented
electronically on a DVD. By entering the Salon,
you are giving permission for CACCA to include
your images on this DVD for distribution to
CACCA clubs.
You may enter the following divisions:• Pictorial Slides
• Pictorial Digital Projected Images
• Small Monochrome Prints
• Small Color Prints
• Large Monochrome Prints
• Large Color Prints
• Portrait Small Prints (Color and Monochrome)
• Portrait Slides
• Nature Slides
• Nature Small Prints (Color and Monochrome)
• Alteration of Reality Digital Projected Images
• Photojournalism Slides
• Photojournalism Small Prints (Color and
Monochrome)
• Special Panoramic Prints
Exposures, March 2011 Volume 3, Issue 7 Page 6
CACCA Spring Salon-continued
Please note that the Special Panoramic
Print category was left off of the new entry
form, and those who are interested will have
to mark an indication on the form manually.
Follow normal CACCA guidelines for all
categories except the Special Panoramic
Print. For the Special Panoramic Print
category the rules are as follows:• Up to 4 images may be entered. Only one class
division in this category.
• Any subject matter is eligible.
• The longer side of the image must be at least
twice the length of the shorter side.
• The maximum dimension for a horizontal print is
30 inches. (Thus the maximum size is 15x30
inches.)
• The maximum dimension for a vertical print is 20
inches. The maximum vertical print is 10x20
inches. (Vertical prints are limited in size by our
print box and therefore cannot be taller than 20
inches.)
• Mount board length cannot exceed the maximum
dimensions as stipulated in #4 and #5. A single
mount board can be used or two 11”x14” mount
boards piano hinged together with tape on the
backside can also be used.
• Note: If using two individual mount boards, two
individual prints can be mounted separately on
each mount board. Eliminate any print boarder
where the prints meet to form a continuous
image.
Everyone is invited to attend the judging or
offer any help.
Photo Excursion
Chicago Flower Show
The 2011 Chicago Flower & Garden Show at
Navy Pier will showcase upwards of 20 display
gardens within an all-new floor design. The
theme for this year's Garden Show is: The Sport
of Gardening - Fields of Dreams. We will be
arriving 2 hours before the public for a 30-45
minute tour of the gardens so we are acquainted
with where things are. This tour will even take us
to the second floor in which the public is not
allowed!
If you will be attending, a car pool has been set
up. We will meet at the North East Corner, Lower
Level Sears at Hawthorne Mall, Vernon Hills at
6:15 a.m., leaving no later than 6:30 a.m. and
meet at the Flower Show entrance between 7:30
a.m. and 7:45 a.m. Our tour begins at 8:00 a.m.
If you plan on meeting us up there, we will be
meeting at the entrance of the show between
7:30 a.m. – 7:45 a.m. The public will arrive at
10:00 a.m. Navy Pier is located at 600 E. Grand,
Chicago. Admission is $17.00 and discounted
Navy Pier parking for $14.00.
If you will be attending, please contact Michelle
Cox at [email protected].
Michelle will need to know if you will be
carpooling or driving as well as your cell phone
number.
Exposures, March 2011 Volume 3, Issue 7 Page 7
Exposures, March 2011 Volume 3, Issue 7 Page 8
Back to the BasicsLight (Part 2)
by Margie Hurwich
As a reminder, according to
Wikipedia, “Photography is the
process, activity and art of
creating still pictures by
recording radiation on a
radiation-sensitive medium,
such as a photographic film, or electronic
image sensors. Photography uses foremost
radiation in the UV, visible and near-IR
spectrum. For common purposes the term
„light‟ is used instead of radiation.” In layman‟s
terms, photography is capturing light on film or
sensor.
In addition to the variants discussed last
month, which included:
• Color (Kelvin Temperatures)
• Time of Day
• Ambient Light vs. Flash
• Direction of Light
Other variants are:
• White Balance
• Metering
• Filters
Let‟s take a look at each of these.
White Balance
As was described last month, depending on
the type of light, light can produce many
different shades or hues. The type of light is
measured in Kelvin unit of measure. Your
camera will capture the color in which you are
shooting, unless you change your White
Balance setting on your camera to help correct
the color. White Balance settings on most
cameras are:• Auto – This will allow your camera to do it‟s best
at selecting the type of light you are in.
• Daylight – This setting is usually set accordingly
when shooting outdoors.
• Shade – This setting will add a bit of red to your
image. Shade generally produces a blue cast,
thus adding red to balance the color.
• Tungsten – Tungsten is usually found when
shooting with a normal household lamp. Light
bulbs give off a yellow/orange hue.
• Cloudy – This setting will add a bit of warmth to
almost any photo. It is best used outdoors on an
overcast day.
• Fluorescent – Fluorescent bulbs are usually found in
stores and commercial areas, so it may be
uncommon for you to use this setting. Most
common indoor lighting is tungsten.
• Flash – This is a great setting when you are forced
to use your flash as your main light source when
shooting indoors. This setting will warm up your
image.
• Custom – This setting is important when you need
all of your images to have the same color cast. This
setting allows you to measure a white point on a
white sheet of paper, which then becomes your
standard white color. By then using Custom, all of
your subsequent photos will be taken with the same
color cast. There are devices that you can purchase
that will help select your custom white balance.
If you shoot in RAW, changing the White Balance
is easily changed in the RAW conversion.
However, if you are only shooting in JPEG or
TIFF, setting the White Balance correctly is very
important as it is much more difficult to correct
White Balance errors.
Metering
There are two kinds of light (or exposure) meters.
One is a handheld unit which requires you to
point the meter directly at your subject or the light
that is on your subject and take a reading of the
light. Once you have done this, you can then set
your aperture and shutter speed to create a
perfect exposure. However, some point and
shoot and all DSLR cameras have built in light
meters with a few different kinds of metering
modes available. Types of built in metering
modes are:
• Spot Metering - With spot metering, the camera will
only measure the light in a very small area of the
scene. The measurement is usually taken from the
center of the scene (between 1-5% of the viewfinder
area), but some cameras offer the photographer to
select the area in which to meter. Spot metering is
very accurate and is not influenced by other areas in
the frame. It is commonly used to shoot very high
contrast scenes.
• Partial Metering – This mode meters a bit more of
the scene compared to spot metering. It will
measure 10-15% of the entire frame from the center.
It‟s best used when the background is much brighter
than the subject.
Back to the BasicsLight (Part 2) – continued
• Center-Weighted Average Metering – Unlike spot
metering, center-weighted average metering will
measure the light in 60-80% of the central part of
the scene. The remainder of the scene will not
be taken into account for the exposure, but
should not have overpower the whole image.
• Average Metering – This mode is often called
Matrix, Evaluative, Honeycomb, Segment or Esp
(electro selective pattern) metering. For this type
of metering, light is measured coming from the
entire scene and averaging and combining the
results to create the final exposure settings.
Depending on the brand of camera that you
have, the metering modes may be named
differently and you may not have all of these
modes. Make sure you check your camera‟s
manual to find the types of meters that are built
into your camera.
Filters
Filters are pieces of glass that can be added
over the top of a lens that will allow you to
have more control of the color and clarity of
your overall image. A filter is either square or
oblong which is mounted in a holder to the
front of the lens or a glass or plastic disk that
screws to your lens with a ring. You must
know the size of your lens in diameter in order
to purchase the correct size filter.
Some common filters are:• Polarizing Filter – This reduces the glare of any
reflective surface (i.e. glass, water or metal) when
you are at a 90 degree angle with the sun. This
helps drastically reduce harsh light when
shooting midday as the sun will be at a 90 degree
angle to you no matter what direction you are
shooting. It also helps block vertical light, giving
your overall image a more saturated and pleasing
look. One note about this filter, however, it will
reduce your light by 2 stops, thus reducing your
shutter speed.
• Neutral Density Filter – This filter reduces the
intensity of the light in a scene. The filters come
in stop increments, allowing you to reduce the
light by up to 4 stops. This filter is perfect for
when you want to reduce your shutter speed to
allow for creative effects like turning a waterfall
into something more like cotton candy or an
image that will allow you to imply motion. This
filter will not change the overall tone or hue of
your image.
• Graduated Neutral Density Filter – This filter is much
like a Neutral Density Filter, however this one is
clear in one half allowing you to render only a
portion of your image with shading. This works
perfect when you have deep shade in one part of
your image with full sun in another. Think of a
landscape on a bright day. The shading could be
placed over the sky, allowing for deeper blues, while
still allowing full light in the shadows on the ground.
These, like the Neutral Density Filters, come in stop
variations up to 4 stops.
• Diffusion Filter - This filter is sometimes called a
softening filter. It works wonderful to create dreamy
or hazing images and helps reduce contrast.
• UV Filter – These filters are used to reduce haziness
created by ultraviolet light. A UV filter is mostly
transparent to visible light, and can be left on the
lens for nearly all shots.
• Cross Screen Filter – This filter is also known as a
star filter as it creates a star pattern on any bright
object.
One last note about filters. There is always an
ongoing debate as to whether photographers
should have filters on their cameras. Some
believe that placing anything over a great piece of
glass is wrong, whereas other photographers will
always have some type of filter on their lens as
this can help protect your lens from damage if
you drop your camera.
Some other things to note regarding light, the
broader the light source, the softer the light will
be. This type of lighting will lessen shadows,
reduces contrast and will smooth textures.
The narrower the light source, the harsher the
light will be. This type of light will have drastic
shadows and contrast. Additionally, the closer
the light source, the softer the light will be and
the further away the light source, the harsher
the light will be. In the instance of harsher
light, the use of a diffusion filter would be ideal.
A natural diffusion filter would be clouds and
overcast skies.
Your challenge:
Shoot the same scene with different white
balances to see the effects each has on the
scene. For an extra challenge, use a filter to
notice those effects.
Exposures, March 2011 Volume 3, Issue 7 Page 9
Tips, Tricks and IdeasBeyond “Rule of Thirds”
Using Phi and the “Golden
Ratio”
by Ron Meyers
Perhaps the first rule of
composition that
photographers learn is the
“Rule of Thirds”. It is a simple guideline to
determine the best composition of an image
whether composing in camera or cropping
during image processing.
With “Rule of Thirds” an image is divided into
nine equal parts using two equally-spaced
horizontal lines and two equally-spaced
vertical lines. The image focal points should
be placed along these lines and/or on their
intersections (figure 1).
(Figure 1) Rule of Thirds
The “Rule of Thirds” method works extremely
well for a reason. It is a simplified version of
the “Golden Ratio”, also known as the divine
proportion, divine section, golden proportion or
golden number.
The “Golden Ratio” often denoted by the
Greek letter Phi (φ), specifically deals with
aesthetically pleasing proportions and ratios
between two elements. Phi is a “naturally
occurring irrational mathematical constant
approximately equal to 1.6180339887” that is
described as “two quantities where the ratio of
the sum of the quantities to the larger one
equals the ratio of the larger one to the
smaller”.
The Golden Ratio is commonly used in art and
design because it builds on what your brain is
hardwired to understand and find attractive. Phi
patterns commonly appear in nature in everything
from pinecones to seashells. The ratio can be
seen in ancient architectural design such as the
Parthenon and is frequently used in modern
architecture and design.
In its simplest form, the Golden Ratio can be
visually represented by building a square, finding
the midpoint on the bottom line and drawing a line
to the top right corner. You then drop the line
horizontally and extend the square into a
rectangle (figure 2).
(Figure 2) Drawing a “Golden Ratio” rectangle
This pattern can be repeated infinitely in
geometric progression to create a “Fibonacci
Sequence” that will produce a “Golden Spiral”
(figure 3).
Exposures, March 2011 Volume 3, Issue 7 Page 10
Tips, Tricks and IdeasBeyond “Rule of Thirds”
Using Phi and the “Golden Ratio” – continued
(Figure 3) Fibonacci Sequence (red), Golden Spiral
(black)
Using a similar technique you can also
infinitely explore the angles created by drawing
“Golden Triangles” (figure 4) to and from
various points of the rectangle using the Phi
ratio.
(Figure 4) Golden Triangles using Phi
The Golden Ratio in Image Composition
Golden Ratio geometric patterns can be used
in image composition in the same manner as
the Rule of Thirds. In other words, the image
focal points should be placed along these lines
and/or on their intersections.
The “Golden Spiral" leads the eye to the focal
point of the composition. It could be a visual
line or several subjects, or it could proportional
space that without leading the eyes, it fulfills its
purpose (figure 5).
(Figure 5) Golden Spirals
“Golden Triangles” are convenient for photos
with diagonal lines. Roughly place your focal
points in the triangles to determine the best
composition (figure 6).
(Figure 6) Golden Triangles
Yet another “Golden
Rectangle” can be drawn by taking the Golden
Triangles (shown in figure 4) minus the diagonal
corner to corner lines to produce a parallelogram
(figure 7).
(Figure 7) Golden Rectangle showing a parallelogram
Exposures, March 2011 Volume 3, Issue 7 Page 11
Tips, Tricks and IdeasBeyond “Rule of Thirds”
Using Phi and the “Golden Ratio” – continued
Resources for Using the Golden Ratio
Here are a few resources that will help you
incorporate the Golden Ratio into your image
editing. These tools are a great way to explore
Phi ratios and learn how to use them for image
composition.
Lightroom - The cropping tool in Lightroom
displays Golden Ratio overlay guides for the
Golden Spiral, Golden Triangles and a Phi
grid. Select the cropping tool and toggle
through the various overlay guides by hitting
the letter “O” key.
Photoshop - Here are two third party plugins
that will help you use the Golden Ratio in
Photoshop.• Golden Crop – is a free (donationware)
sourceforge automation script. It uses layers and
runs under File-Automate when installed. Go to
http://goldencrop.sourceforge.net/.
• Golden Section – is a plugin by Power Retouche
that is available for $29. Go to
http://powerretouche.com/Divine_proportion_tutor
ial.htm.
PhiMatrix - Used as a stand-alone program
that lets you explore countless Golden Ratio
patterns in grids, circles, ovals, spirals,
rectangles, squares and diagonals. It even
has Golden Ratio overlays for the face.
Available for $19.95 at
http://www.phimatrix.com.
Glossary
Just what is all of the terminology used in
photography? Find out right here…each
month new terms will be shared.
LAMP - The complete unit of an artificial light
source, including filament or electrodes, bulb,
base and other components.
LANDSCAPE - A picture of the land and its
aggregate natural features from a single
viewpoint. Scenery is the subject of a landscape
image.
LARGE FORMAT - Film format having individual
frames of 4" X 5" or larger.
LATITUDE - Commonly “Exposure latitude” - The
range of brightness, including shadow detail, that
a film can record in a single image before the
highlights wash out or the shadows become
muddy. Fast films generally have greater
exposure latitude than slow films. Knowing a
film‟s latitude lets you know how much exposure
can be varied and still produce an acceptable
image.
LCD - Liquid Crystal Display - A small flat image-
viewing screen in a digital camera.
LEADING LINES - Lines that direct the viewer's
attention to an image's center of interest.
LENS - A true “lens” is a single piece of glass (or
other transparent substance) having one or more
curved surfaces used in changing the
convergence of light rays. What we commonly
call a photographic lens is more accurately and
technically called an “objective,” an optical device
containing a combination of lenses that receive
light rays from an object and form an image on
the focal plane. However, dictionaries have come
to accept the usage of the term “lens” to mean
the entire photographic objective itself. A
photographic lens will always be called a lens,
even though it is not a lens, but has a lot of
lenses in it. A camera lens collects and focuses
rays of light to form an image on a digital
camera's sensor or a traditional camera's film.
LENS BARREL - The part of a lens that is
cylindrical and that holds the lens elements.
LENS HOOD or "Lens shade" - An accessory
that attaches as a collar to the front of a lens to
prevent stray light from striking the surface of the
lens, causing flare.
LENS SPEED - The widest aperture at which a
lens can be set. A lens with a fast speed has a
very wide maximum aperture, such as ƒ/1.4, for
example, and transmits more light than a lens
with a slow lens speed, such as ƒ/8.
For more definitions, you can visit
www.photographytips.com.
Exposures, March 2011 Volume 3, Issue 7 Page 12
Exposures, March 2011 Volume 3, Issue 7 Page 13
Tips from Bill BrownRetouching for a Better
Image: Levels and Curves
Photoshop layers are like
sheets of stacked acetate.
You can see through
transparent areas of a layer
to the layers below. You
move a layer to position the
content on the layer, like sliding a sheet of
acetate in a stack. You can also change the
opacity of a layer to make content partially
transparent.
Two of these types of adjustments are Levels
and Curves.
Using Levels in Auto Mode
1. Open an image.
2. Duplicate the background layer.
3. From the “Create New Fill or Adjustment
Layer” button at the bottom of the layer
palette, select Levels.
4. Within the Levels dialog box, click “Auto”.
Using Levels
1. Open an image.
2. Duplicate the background layer.
3. From the “Create New Fill or Adjustment
Layer” button at the bottom of the layer
palette, select Levels. (See previous
example.)
4. Using the arrow pointers at the bottom of the
histogram, move the left and right
arrowheads to the beginning of the
histogram.
5. Adjust the middle arrowhead to adjust the
mid tones.
Using Curves
1. Open an image.
2. Duplicate the background layer.
3. From the “Create New Fill or Adjustment
Layer” button at the bottom of the layer
palette, select Curves. (See previous
example to see Curves.)
Notice the difference between all of the
examples. When modifying your image, use the
adjustment that is the most effective.
© Bill Brown
Exposures, March 2011 Volume 3, Issue 7 Page 14
“Focus”
This month we put the
“focus” on Kevin and
Kaleigh Walsh.
Kevin and his daughter
Kaleigh live, work and
go to school in
Mundelein and now are
in their 2nd year with the
club.
Kaleigh is a freshman at Carmel High School
and Kevin is a local Re/Max Realtor. Kevin
became more interested in photography over
the last 3 years as a result of his work and
taking his own photos of the properties he and
his wife, Janine, list for sale in the local MLS.
After using point and shoot cameras for years
and seeing better photos of homes on the
internet, Kevin knew he had to upgrade his
equipment. Upon seeing her Dad acquire a
new camera, Kaleigh asked if she could
acquire her Dad‟s previous camera; which she
did by mowing lawns this past year.
Kaleigh likes to shoot wildlife, flowers and is
acquiring a style all of her own. Kevin likes to
shoot home interiors, landscapes and has
taken portraits for friends and their pets.
Kevin shoots with a Canon EOS 5D and
Kaleigh has her Dad‟s Canon SX10 IS, which
replaced her Nikon Coolpix L11.
Here are just some of Kevin and Kaleigh‟s
photographs.
Accomplishments and
Accolades
Each month members are highlighted for their
exciting photography news.
• John Williams just bought a new Wacom Pen and
Touch tablet to use with Lightroom and Photoshop
and is looking forward to learning all that he can do
with this new tool.
• Jerry Donahue will be showing my Australia slide
show to the Mount Prospect Women's Club next
Tuesday, March 1.
Congratulations to John and Jerry!
The Shipping Point
We are please to announce that The Shipping
Point is a supporting vendor to the Lake County
Camera Club. Please visit them for a 10%
discount!
© Kevin Walsh
© Kaleigh Walsh
Exposures, March 2011 Volume 3, Issue 7 Page 15
2010-2011 Board and
Committee Members
Without the efforts of the people listed below, we
wouldn‟t have such a successful club.
Board MembersPresident Ron Meyers
President Elect John Williams
Secretary and Vice President, Margie Hurwich
Communications
Vice President, External Jim Ross
Operations
Vice President, Internal Bill Sullivan
Operations
Committee MembersCACCA Representatives Jim Ross
Ron Meyers
Bill Sullivan
John Williams
Competition Chair Bob Kruzic
Continuing Education Jim Ross
DPI Coordinators John Williams
Mike Trahan
Facilities Coordinator Bill Sullivan
Hospitality Desk Margie Hurwich
Linda Kippes
Gina Borkowski
Judge Procurement Mike Jordan
Membership Coordinators Terry Ferguson
Margie Hurwich
Newsletter Contributing Bill Brown
Columnists Michelle Cox
Newsletter Editor Margie Hurwich
Photo Excursion Coordinators Michelle Cox
Margie Hurwich
Carolyn Lewis
Programs Coordinator Paul Kurek
PSA Representative Michelle Cox
Treasurer Jim Ross
Webmaster Don Chen
If you are interested in helping the club continue
to be successful, please see any of the board
members.
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