canadian camera magazine summer 2012

O F F I C I A L P U B L I C A T I O N O F T H E C A N A D I A N A S S O C I A T I O N F O R P H O T O G R A P H I C A R T

SUMMER 2012 • $7.95

Say…Cheese CAPA CompetitionsCanadian Camera Conference 2013Anatomy of a MotoGP Race: A Photographer’s Guide Photographic Workshops: The Experience of a Workshop Junkie …The Montreal International Reggae Festival

Flipside Sport AW available in two sizes and two colours; 15L shown above.

Flipside Sport AW seriesGet access on-the-go

© 2012 DayMen Canada Acquisition ULCLowepro is distributed by DayMen Canada • daymen.ca

Grab a camera while your pack is on. Quench your thirst with ease. Protect your gear when the weather turns. Keep a tripod within reach. Use as a fully functional daypack. The Flipside Sport AW is the lightweight, technical solution for photographers in pursuit of active adventures. For more info on the Flipside Sport AW visit lowepro.com/flipside.

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CANADIAN CAMERA - 1

Sheena WilkieEditor-in-chiEf

14220 71 Ave.Surrey BC V3W 2L1

E-mail: [email protected] S. Mailloux

Publishing Editor

Jozef VanVeenenArt dirEctor

E-mail: [email protected] Partington AdvErtising MAnAgEr

E-mail: [email protected]

CANADIAN CAMERA (ISSN1206-3401) is published quarterly by the Canadian Association for Photographic Art, Box 357, Logan Lake BC V0K 1W0. No part of this publication may be reproduced in whole or in part without prior written permission of the publisher and author. All photographic rights remain with the photographer. Opinions expressed are those of the individual contributors.

Articles and photographic portfolios are welcomed from all CAPA members. All articles and low resolution photographs should be submitted to CANADIAN CAMERA, c/o the Editor-in-Chief at editor-in-chief@ capacanada.ca.CANADIAN CAMERA reserves the unrestricted right to edit, crop and comment editorially on all submitted material.

SUBSCRIPTIONS: CANADIAN CAMERA is distributed automatically to CAPA members. Individual copies are available for $7.95. Library subscriptions cost $35.00 for four issues.

For further information, contact CAPA National Headquarters, Box 357, Logan Lake BC V0K 1W0.Tel.: 1-250-523-2378E-mail: [email protected] Mail Publication Agreement #1665081

Printed in Canada by

w w w . c a p a c a n a d a . c a

Jacques S. Mailloux 2 Message from the President

Sheena Wilkie 4 Phototalk

5 Canadian Camera Conference 2013

6 Club News

Ursula Easaterbrook, FCAPA 7 Plan on Spokane

Jacques S. Mailloux 8 CAPA 2012 Annual Digital Competition

10 CAPA Competitions

Barbara Cameron 16 Say... Cheese

Rick Shapka 20 Photographic Workshops: The Experience of a Workshop Junkie …

Rick Marotz 23 Member's Portfolio

Les Kalman 24 Anatomy of a MotoGP Race: A Photographer’s Guide

Text: Michiko Nishijima 30 New Brunswick: Photo Editing: Robert Imeson where the land meets the Atlantic Ocean Images: Photo Fredericton club members

Mark Lachovsky 34 One Love: The Montreal International Reggae Festival

36 CAPA New Members

THE COVER

Strawberry Marshmallowsby Barbara Cameron

CAPA is a FIAP-affiliated organization.

Contents

Vol.13,No.2•Summer2012

Founded in 1968, CAPA is a non-profit organization for photographers,

including amateurs, professionals, camera clubs, and anyone interested

in photography. The aims of CAPA are to promote good photography as an

art form in Canada, and to provide useful information for photographers.

CAPA ac complishes this through interaction with individuals and member camera clubs and by distributing slide sets, evaluating photographs, running

competitions, and publishing the quarterly Canadian Camera. CAPA also sponsors Canadian Camera Conference, an annual summer

weekend of field trips and seminars held in a different city each year.

CAPA is a member of the Fédération Internationale de l’Art

Photographique (FIAP).

CAPAOfficers & National Council Members

Messagefromthepresident Jacques S. Mailloux

Remember that in order to fully experience the new Website, you now need to login, using your CAPA membership number and a password, which should include both upper case letters and special characters. A fail safe has been added to reset your password, should you forget it, or should you lock yourself out after too many attempts. Only Individual, Family, International and Lifetime members need to login. Clubs, libraries, schools and other organizations do not need nor can create a login, as all the information pertaining to them is available in the open.

Our stats are telling us that the number of daily visits, including the length of stay has nearly tripled in the first few weeks alone. The new Search function may have something to do with it, making it easier to find what you are looking for, without having to peel at all the layers.

I would like to invite all of you to submit images to set up an album in one of our regional galleries on the new Website. It is a tremendous opportunity to show some of your best work to both members and others who come and visit. As photographers many of us take images to show our experiences, our thoughts and our art to others. An album on the Website is a great way to do this. Send an e-mail to [email protected] for more details, as well as the dimensions and resolution you should use to prepare your submission.

We are also seeking exceptional images to regularly replace the five rotating photos of the

CAPA OFFICERSPRESIDENT

Jacques S. Mailloux, Hon. FCAPA VICE PRESIDENT

Rick ShapkaSECRETARY

Michael Breakey, FCAPA TREASURER

Len Suchan, FCAPA PAST PRESIDENT

Allen P. Bargen, Hon. FCAPA

CAPA DIRECTORSATLANTIC ZONE

Leo AllainQUEBEC ZONE

Volunteer OpportunityONTARIO ZONE

Rod TriderPRAIRIE ZONE

Larry Easton, FCAPA PACIFIC ZONE

Larry Breitkreutz, FCAPADIRECTOR OF

PHOTOGRAPHIC IMAGINGDr. Bob Ito, Hon. FCAPA

DIRECTOR OF CCC William ( Bill ) Lloyd

DIRECTOR OF COMPETITIONSLeonie Holmes

MEMBERSHIP COORDINATORCAPA Membership

phone 1.250.523.2378 c/o Lee Smith Box 357, Logan Lake, BC V0K 1W0

E-mail: [email protected]: www.capacanada.ca

2 - CANADIAN CAMERA

Dear friends and fellow photographers,

The new Website was launched a few months ago, and based on members’ reactions, it is a running success. Since I am writing this only a few weeks after the actual launch, I can add that we are still in the process of selecting and adding new learning videos to the Website. Initially, we are concentrat-ing on products offered at a discount to our members, to give you an opportunity to dis-cover them before committing to a purchase. I believe that once you know what those products can do, you will see why these were selected in the first place.

main theme on the home page. These should be high quality JPEG images, at a resolution of no less than 1024 x 768. You can send a few images at a time, clearly indicating that those are for the home page rotation, at [email protected]. If the attachments exceed 5MB, please use the https://www.WeTransfer.com. There is no charge using this service, and it is fully secure. Make sure you include your full name, the title of your image, and your location for the credit. Images selected and displayed will be secured using Digimarc, the best protection available against image piracy on the Web.

We also need new articles and new content for this magazine you enjoy so much. We have an excellent editorial staff that is here to help you prepare your article, so no need to worry about not being able to write. This is an excellent opportunity to share your knowledge and your experience with your fellow CAPA members. We all excel at something photographic, and can teach it to others. Why not put your hand to paper (to keyboard in this day and age), and start telling us how you enjoyed your trip and what made it so exceptional. Take us with you to visit a part of the country, or of the world, we haven’t seen yet, and should be dying to discover. Or how about a review of a new product or gadget we should all carry in our camera bag!

Our campaign to grow CAPA is ongoing. Get a new member, and you will be rewarded for your efforts, with a $5 rebate

CANADIAN CAMERA - 3

on your next membership renewal, up to a maximum of $15. Just make sure the person signing up includes your name and membership number in the Referred by section of the membership form.

Commercial General Liability Insurance, our newest membership benefit for clubs, is proving to be extremely attractive. A large number of clubs on the West Coast and in Ontario have requested quotes and are signing on, and momentum is picking up in the rest of the country as well.

We are working on another major benefit soon to be added for Individual members. But we can’t tell you what it is yet, just that it will be major. Keep watch in the News section of the Website.

Now that the nice weather has finally arrived, and we can once again take our time setting up and taking better photos, why not explore yet again another area of photography you never thought your newfangled dSLR could do: pinhole photography! There are two ways you can do this: first buy an extra body cap for your camera, and using a very fine needle on your portable drill, make a hole at the true centre of the body cap. Make sure you drill straight down, and clean the edges when done. To use your new pinhole camera, make sure there is plenty of ambient light. Using a tripod, you will need to experiment with your shutter speed to determine what the correct exposure is. Do not delete anything based on your LCD display. Wait until you can evaluate the images on your computer screen. You will be amazed at the results. An alternative is to purchase a Pinhole Obscura Adapter from Rising, especially made for your camera. In Canada, those are distributed by Red Raven Marketing http://redravenphoto.com/products/rising/rising-main.html, and available at Henry’s, Vistek and others. Make sure to ask for your CAPA Member discount, where offered. g

Sincerely,Jacques S. Mailloux, FCAPA, Hon. FCAPA

President

www.capacanada.caTel.(250) 523-2333

CAPA Members… We need submissions for upcoming issues. Canadian Camera is YOUR magazine! We welcome your articles, news items, portfolios and reviews. We do reserve the right to accept or reject material as we see fit. We will make every effort to achieve a balance of views, subject matter and geographical representation of our members. So please, submit an article about that last photo trip you took or that last nice lens you pur-chased. You never know, you might just get your name in print.

SUBMISSION OF ARTICLES, PORTFOLIOS AND NEWS ITEMS

How to send material• Please write your article in MS Word

format, plain or rich text;• You may send your article and low res

photos by email to [email protected];

• High resolution photos can also be submitted by FTP (instructions available upon request);

• Please don’t format the text of your article. No bold, underline, bullets, indenting, or special characters;

• Photos must be JPG format;• Do not resize, final photos must be full

resolution;• If photos are scanned CMYK is

preferable to RGB;• Photos must have simple descriptive

filenames and include the photographer's name, e.g. Susan_Brown_barn_swallow.jpg;

• We may not use all of the photos you submit;

• Your article should not contain notes about where to place a photo;

• Your article should not contain wording specific to a photo;

• You may list your files and suggested captions after the text of your article;

• Please include your phone number, e-mail address and CAPA membership

number.

When to send it

You may submit an article any time but for time sensitive material our submis-sions deadlines are:

• Fall Issue July 20 • Winter Issue Oct. 23 • Spring Issue Jan. 19• Summer Issue April 20

Submitting an article and having it accepted does not mean it will come out in the next issue.

Where to send itCanadian Camera c/o Sheena Wilkie, Editor-in-Chief E-mail: [email protected]

4 - CANADIAN CAMERA

phototalk Sheena Wilkie, Editor-in-chief

All trademarks and registered trademarks are owned by their respective owners and are not associated with Red Raven Marketing.

Available from discerning specialty photo retailers across Canadawww.redravenphoto.com

From Cameras:Micro 4/3 Olympus and Panasonic, Sony NEX, Nikon 1, Pentax Q, Samsung NXTo Lenses from :•Nikon •CanonFD •LeicaM•LeicaR •PentaxK •Contax/Yashica•Olympus •T2Mount •M42Mount•MinoltaMD •MinoltaAF/Sony•Novoflex Made in Germany by Novoflex

And a bunch of great old SLR glass?

* A Mirrorless Interchangeable Lens Cameragot a milc?*

...We have the adapters for you.

Henry Ford said “Anyone who stops learning is old, whether at twenty or eighty. Anyone who keeps learning stays young. The greatest thing in life is to keep your mind young.”

I don’t know anyone who doesn’t want to stay young! Are you keeping your ideas and creativity young? It’s easy to rest on our laurels, we know how our cameras work inside and out, we know the rule of thirds, we know how to crop and sharpen. Does it end there? Do we know it all?

Our contributors to this issue certainly don’t think so. Les talks about taking on the challenges of photographing motorcycle racing, Barb gave up a business career to pursue photography as a profession, Ursula traveled to a photography seminar in Spokane USA to hear Nevada Wier speak and Rick, well Rick in his own words is a “workshop junkie”.

Myself, I pick a new genre or type of photography every year to learn more about. Last year it was time-lapse photography, this year it’s infrared. What new tip, trick or technique will you learn this year?

There’s never been a time when there are so many opportunities to learn more

about photography—opportunities that fit pretty much anyone’s budget. As CAPA members you receive educational benefits from our new website and the courses CAPA offers. If your budget is tight the Internet is a treasure of information about photography. I am still amazed at the video tutorials offered on YouTube on a host of photography subjects. All free.

A n d d o n’t f o r g e t l i b r a r i e s , museums and art galleries, many have photography exhibitions and often there is no charge for entry. Our small local museum recently hosted a showing of photographs from Ansell Adams and Leonard Frank portraying Japanese Americans during their internment in the 1940s. It was fascinating to see the two different perspectives these photographers took. Another free educational opportunity.

If you’re a member of a camera club they often offer lectures and presentations for their members. There are also many photography

schools and groups out there offering courses on photography. And travel photography workshops – wow if you can afford it these workshops can be rewarding and exciting – combining travel with your love of photography. It’s a winning combination.

Next summer (June 28-30) CAPA is going to be inviting the world to our Canadian Camera Conference 2013 in beautiful Fredericton, New Brunswick. We’ll have world renowned photographers Freeman Patterson and David duChemin as keynote speakers and a host of other exciting and talented photographers providing workshops. Michiko Nishijima, chair of the conference organizing committee, writes in this issue about the beauty that is New Brunswick. Put a pin in a map and make Fredericton NB in 2013 your travel destination. g

Sheena Wilkie MCAPAwww.phototalk.ca

6 - CANADIAN CAMERA

NOTICE OF ELECTIONDIVISIONAL DIRECTORS AND ZONE DIRECTORS

TERM 2012-2014ANNUAL GENERAL MEETING

Victoria, BC

Sunday, August 12th, 2012, 10:00 am PDT

CAPA Nominating CommitteeAllen Bargen, Sheena Wilkie, Judy Higham, jt Tse, Derek Applegarth, Ann Alimi

Divisional Directors and Zone Directors

The election of CAPA Divisional and Zone Directors will take place at the CAPA Annual General Meeting being held in Victoria, BC on August 12th, 2012.

In accordance with the by-laws of the Canadian Association for Photographic Art, the nomi-nating committee is seeking candidates for the following positions:

Members standing for re-election:

Director Atlantic Zone Leo Alain Director Québec Zone (Vacant) Director Ontario Zone Rod Trider Director Prairie Zone Larry Easton Director Pacific Zone Larry Breitkreutz Director Photographic Imaging Dr. Bob Ito Director Canadian Camera Conference Bill Lloyd Director Competitions Leonie Holmes

Nominations close 45 days (June 27th, 2012) prior to the CAPA AGM, on August 12th, 2012.All positions are open to CAPA individual or family members in good standing.Please include your membership number and expiry date along with details of regional

and/or national service to CAPA, positions held in camera clubs or other relevant experience.Members interested in standing for the above positions should send a request via e-mail

to the [email protected] or by mail to CAPA, Box 357, Logan Lake, BC V0K 1W0.CAPA’s 2012 Annual General Meeting will be held in Victoria, BC on Sunday, August 12th,

2012 at 10:00 am PDT.For those unable to attend, please request a proxy form by e-mail from Michael Breakey,

CAPA Executive Secretary at [email protected]. For those wishing to attend, please login to the CAPA Website www.capacanada.ca and go to the News Box titled 2012 Annual General Meeting for details on where the meeting will be held and where you may book accommodations.

Allen Bargen, Chair CAPA Nominating Committee

WHAT ARE CAPA HONOURS?Honours are recognition awards for members of CAPA who demonstrate a high standard of both photographic achievement and photographic service to CAPA.

If you have been a CAPA member for three years, you may qualify for the CAPA Maple Leaf (MCAPA). Members who have served on a club executive, provided service and entered photo competitions could be eligible!

To receive Honours awards, mem-bers may apply directly to the Honours Committee. CAPA members or mem-bers of the CAPA Board of Directors may make application on behalf of another member. Applications may include equivalent qualifications from NAPA, CPAC or other approved photo-graphic organizations. Apply between September 30 and June 15 each year.

Maple Leaf (MCAPA), Associate Fellowship (ACAPA) and Fellowship (FCAPA) are consecutive awards. Members who are eligible for more than one award may make applica-tion at the same time. The Committee forwards the names of approved nominees to the Board. [email protected]

Honourary Fellowship and Certificates of Honour for Service are awarded to members or outstanding contributors to Canadian photography at the discretion of the CAPA Board.

Please submit applications for Member Club Awards to [email protected]. The deadline for club awards is March 15. Please allow at least thirty days for an application to be processed.

Refer to the CAPA Member Handbook and/or on the CAPA website for qualification requirements. www.capacanada.ca

Club News

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Plan on Spokane By Ursula Easterbrook FCAPA

This was the catch phrase used by the Inland Empire Chapter, PSA, to invite pho-tographers from the Pacific Northwest and beyond to attend their 30th Annual Seminar, held from March 31 – to April 1 at the Spokane Community College.

Nevada Wier, an accomplished pho-tographer & speaker, was the draw. Twenty-eight Canadians, out of a total of 150 registrants, made the trek to lis-ten to her for 2 days, enjoy a trade show, rub shoulders with photographers from

With interesting anecdotes and wonder-ful photographs she introduced us to her world of photography – all the while teach-ing us how to do it – and convincing us to go and do it! “There is no boring subject: only uninteresting ways of photographing it!” Nevada Wier

She does do tours, but not for the faint of heart – see her website for details. www.nevadawier.com .

Steve Shining, Seminar Chair and Otto O. Stevens, Field Trip & Publicity Chair, must both be commended for another superb event! The 2013 seminar is March 23-24, in Spokane, featuring Charles Needle, Kirkland, WA flower & garden pho-tographer, who will focus on "Creativity" and "Macro Photography." www.psain-landempire.org/seminar g

Otto Stevens

Nevada Wier

many places, and admire prints from local clubs and photographers, as well as from Canada (BC). On the 3rd day, to enjoy one of 3 field trips in the wonderful Palouse area of Washington and Idaho.

Nevada is well known to Canadian photographers, as she has presented at CAPA and provincial club events with much success. She is always on the move, photographing mostly in remote Asian countries, where she can find the ethnic groups that she is attracted to.

The 2012 Annual Digital Competition is underway. Have you submitted your entries yet?The entries from the two themes were so inter-esting last year that we decided on a repeat performance, but with a twist: your assignment in 2012 is to provide our judges with Circles & Wheels – or – Harbours & Lighthouses imag-es that are exceptional, awe inspiring, or simply stunning! Look around you, drive around town or through the countryside, and find those old wheels or circles that have a certain indefinable appeal, yet say a lot to your artistic eye! For those of you living close to the coast, a marina or a har-bour, find this picture that expresses the spirit of adventure and discovery that has inspired mari-ners around the world to sail beyond the horizon towards new lands and new people. And if this harbour happens to have a lighthouse… Reveal the artist within you, discover what your equip-ment can do, and capture the very best images you can!

And what can you expect for your efforts? How about one of three fabulous prize packages! The Sony cameras are true state of the art equipment – and look at what else is included to help you with your next great creation. Plus, ten additional participants will be the recipients of a prestigious CAPA Honour Award – and – a $25 Gift Certificate towards a Blurb Photo Book of their own!

This competition is open to CAPA Individual and Family members only, who are permanent Canadian residents. So, if you belong to one of our many CAPA clubs, we encourage you to join as an Individual or Family member. By taking part in this competition you will have a chance to win one of three fabulous prize packages.

Legal Terms:With proper credits to the photographer and a reference to the CAPA 2011 Annual Digital Competition Prize, winners give CAPA, Sony of Canada Ltd. and Adobe Systems Canada Inc. the right to publish their winning photograph in Canadian Camera and on the CAPA Website, and use them at any CAPA, Sony and Adobe exhi-bition, publication, promotional or educational event. Entry into this competition implies accep-tance of the above practice, unless refused in writing by notifying the Chair of this competition.

Our deep gratitude and appreciation go to our sponsors for their support: Sony of Canada Ltd.; Amplis Foto Inc.; DayMen Photo Marketing; Adobe Systems Canada; and Blurb Canada. We are deeply indebted to Roy Hooper of the Camera Club of Ottawa for hosting the CAPA Digital Website as well as providing and fine-tuning

the software that makes it possible for contestants to submit their entries electronically.

CAPA recommends that the photographer obtain a model release for presentation and publica-tion purposes, prior to submitting an entry, and have these available if requested. In case of legal challenge, the photographer agrees to hold CAPA, Sony of Canada Ltd. and Adobe Systems Canada Inc. harmless, and assume all liability or injury

that may arise from entry into this competition. Photographers retain all creative rights to their art.How to Enter:All entries must be submitted electronically no later than midnight (Pacific Standard Time: GMT-8:00) September 30th, 2012, through our Website at www.digitalcapacanada.ca. If you par-ticipated in a previous year, you need not register again; you can use the same login and password. For new participants, all you need to do is register using your CAPA Member Number (i.e. 28999) and a valid e-mail address. Please make note of the password the software will generate for you. All participants will be confirmed as mem-bers in good standing and living in Canada against our database, before their entries are accepted and judged at the end of the competition. Your registration will also make it possible for you to change your mind and submit a different entry up to the very last moment! E-mail and regular mail entries will NOT be accepted, and will NOT be returned. The Rules and Guidelines governing this competition are posted on the CAPA Website and can be downloaded and printed for your convenience. E-mail enquiries should be sent to [email protected]. Make sure you include the title of the competition and the word CAPA in the Subject line, or your message may be tagged as spam or junk mail and not reach its destination.

Contestants may enter one image per theme, or both on the same topic. The themes are Circles & Wheels and Harbours & Lighthouses, as detailed above. Participation is limited to 2 Entries per member, both on topic. You can submit either colour or B&W images. Manipulation in Adobe Photoshop and other software is permitted. Keep in mind though that we are looking for digi-tal photographs and illustrations originating from photographs that have been produced with taste and imagination. Remember, CAPA is all about photographic art. And art should be created with care and love. Judging will be carried out in Ottawa in early October, and the results will be announced on the CAPA Website shortly thereafter.

Jacques S. Mailloux, Hon. FCAPACompetition Chair

First Prize:

• Sony SLTa55VL 16.7MP Digital SLR Kit w/18-55 Zoom Lens

• Lowepro PhotoSport Sling 100 AW Camera Bag

• Manfrotto 496RC2 Compact Ball Head• $100 Gift Certificate towards your own

Blurb Photo Book • Adobe Photoshop CS6• Adobe Lightroom 4

Second Prize:

• SonyaNEX5NKB 14.2MP Interchangeable Lens Digital Camera w/18-55 Zoom Lens

• Lowepro CompuDay Photo 250 Backpack

• Photoflex PX229 30” White Ajustable Umbrella

• $100 Gift Certificate towards your own Blurb Photo Book

• Adobe PhotoShop CS6• Adobe Lightroom 4

Third Prize:

• Sony Cyber-shot DSCWX7B 16.2MP Digital Camera w/5x Optical Zoom

• Lowepro ILC Classic 100 Camera Bag• 2 packs of Hahnemühle Bamboo 290

gsm 8-1/2 x 11” Paper• $100 Gift Certificate towards your own

Blurb Photo Book• Adobe Photoshop CS6• Adobe Lightroom 4

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CAPA 2012Annual Digital Competitionwww.digitalcapacanada.ca

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CAPA Competitions

Digital Altered Reality Individual Competition

20 January 2012Host: Kimberley Camera Club, Kimberley BC

Gold Medal Janet Kempster, Brantford ONSilver Medal Jim Hatch, Surrey BCBronze Medal Judy Griffin, Etobicoke ON

Bruce Gunion, ChairDigital Open, Altered Reality, Theme [email protected]

Certificate of Merit 2nd Janet Kempster, Brantford ON “Early Snow”

Certificate of Merit 1st Judy Griffin, Etobicoke ON “Lilliput World”

Certificate of Merit 3rd Jim Hatch, Surrey BC “Free Doves”

CANADIAN CAMERA - 11

CAPA Competitions

Digital Altered Reality Club Competition

20 January 2012Host: Richmond Photo Club, Richmond BC

Gold certificate Toronto Camera Club, Toronto ONSilver Certificate London Camera Club, London ONBronze Certificate Kelowna Lightroom, Kelowna BC


Certificate of Merit 1st Mary Chambers, London Camera Club “Odyssey”

Certificate of Merit 2nd Christi Battrick, Kelowna Lightrroom “Peggy in the News”

Certificate of Merit 3rd Kathy Neudorf, Langley Camera Club “Ghost Ship”

Sheri Belanger, Toronto Camera Club “Forbidden Fruit”


CAPA Competitions

Digital Theme (Architectural Interiors) Club Competition

20 February 2012Host: Welland Camera Club

Gold Certificate Delta Photo Club, Delta BCSilver Certificate Victoria Camera Club, Victoria BCBronze Certificate Trillium Photographic Club, Dundas ON


Certificate of Merit 1st Larry Kearns, Chatham Camera Club “Fort Malden”

Laurie Laing, Delta Photo Club “Waves of Glass”

Certificate of Merit 2nd John Overmeyer Trillium Photographic Club “Notre Dame”


CAPA Competitions

Certificate of Merit 3rd Jamie Allen, Kamloops Photo Arts Club “Silent”

Greg Shurman, Delta Photo Club “Stairwell”

James Kissinger, Victoria Camera Club, “Seville’s Alcazar”

Juliet Fricker, Delta Photo Club “Modern Church”


CAPA Competitions

Digital Theme (Architectural Interiors) Individual Competition

20 February 2012Host: Welland Camera Club

Gold Medal Toni Wallachy, Toronto ONSilver Medal Janet Kempster, Brantford, ONBronze Medal Mary Chambers, London ON


Certificate of Merit 2nd Janet Kempster, Brantford ON “Deserted Factory”

Certificate of Merit 3rd Janet Fricker, Richmond BC “Modern Church in Switzerland”

Certificate of Merit 1st Toni Wallachy, Toronto ON “Industrial Beauty”


CAPA Competitions

2011 4-Nations competition results - Corrections

CAPA sincerely apologizes for the errors made in the Spring issue of CCM for this competition. Here are the affected images with their correct titles and makers names.

For more stunning images from this competition, go to www.capacanada.ca and visit the Galleries, then click on the International Gallery to see the 4-Nations Album.

Honorable Mention, Gerhardt Nieuwoudt, South Africa, Redlip

Honourable Mention, Evan McBride, New Zealand, Macaque

George Hardy, Australia, Boobook Owl

Honourable Mention, Norma Hush, South Arica, Bad Hair Day

Michel Soucy,Canada, Barred Owl on Branch

Kaeyla McGee, South Africa, Curls


Say…CheeseBy Barbara Cameron


There are life transitions that are subtle and keep you on a straight path. And then there are life transitions that veer in a completely different direction than you ever thought you would follow. That’s how food photography fell onto my plate (pun intended!).

I received a Canon rangefinder camera as a gift from my sister on my 16th birthday. Once I started shooting and getting positive feedback, I was hooked. I learned then that I have a photographer’s eye. But in my infinite teenage wisdom, I didn’t think it was a viable career so I followed a different path.

I have a B.A. degree in Communi–cations and spent many years chasing a business career, mostly behind a desk. When I took up the lens again I seriously started following my passion for photography.

While studying the Photography Certificate at SAIT (Southern Alberta Institute of Technology) with an eye towards developing my hobby, I received a seminal assignment: choose a restaurant, and offer to shoot the food

and décor of the location as if it were a commercial assignment. Luckily a friend of mine owns a restaurant and a specialty cheese market and was happy to oblige me, so I spent a full afternoon shooting the chefs at work in the open kitchen, the food, the menus, and the interior of the restaurant. I remember it as a blissfully creative few hours and was really happy with the results. The restaurateur was also pleased, and subsequently hired me on a couple of occasions to shoot her cheese offerings for corporate gift and event marketing.

About the same time, one of my photos was purchased by General Mills and published on a cereal box.

Those events changed the course of my life. Rather than following the road towards a hobby, I chose then to make photography my life’s work.

Trends

Art imitates life, yes? Food photog-raphy naturally follows the current trends in food culture, most notably…

• organic, natural, locally-produced, in-season, high-nutrition, health-conscious foods

• “foodie” events, where patrons pay to nosh and drink the latest food fads

• “low-brow” dishes, comfort foods of the past that are not-quite-up-scaled to meet contemporary palates (think grilled cheese sand-wich on artisan bread with 12-year old cheddar, or chicken pot pie with organic free-range chicken and double-zero ground flour)

• hand-held foods (notice how food carts have become de rigeur in Canada’s big cities?)

• let’s not forget the drinks that go with the food – craft cocktails, fine wine, specialty beers and spirits are all the rage

• small bites, aka portion control sizes – mini cupcakes, hamburger sliders


Over the ensuing years I tried my eye in a variety of different photographic avenues – art, greeting cards, babies and families, a couple of weddings (and no more than a couple!), sporting events, corporate and public events, corporate and model headshots, architectural interiors… you get the picture.

Last year I was fortunate to do a commercial shoot for a catering company and again, I was really pleased with the results, as was the business owner. It got me thinking. Since digital photography had come on the scene, the commercial photography profession was saturated and the competition fierce. Seemed to me that finding a niche was one way for me to survive and maybe even thrive in this industry. And since I really enjoyed shooting food and seemed to have a good eye for the subject, why not give it a go?

So I’ve spent considerable time learning and testing technique, observing what others do, pulling tear sheets from magazines and recipe

Hints & TipsWhile I’ve never formally studied specifics about how to shoot food photography, I have learned quite a bit from observation, from photography blogs, and my own trial and error. And I try as much as possible to shoot naturally, without artificial ingredi-ents that are made to look like food. I haven’t yet used glue for milk (but that’s not to say I won’t have to at some point.)

And while basic photographic composition knowledge is required, here are some key tips for shooting food:

• Tilt your camera! I’m sure there is a lengthy psychological explanation as to why our human eye prefers to view food photos on an angle. I don’t question why, I just know that I typically prefer an angle shot over a straight-on composition.

• Break the rules! While most often in a photo you want to have tack-sharp focus on the part of the subject that is closest to the front of the frame, in food photogra-phy you can easily break this composition rule for great effect. Go ahead and use selective focus on the most enticing and delectable part of the food, even if it’s a point in the middle of the frame.

• Play with depth of field! Probably 80% or so of food shots have a very shallow depth of field to emphasize the yummy part of the shot, and that is great. But sometimes a smaller aperture, f16 or higher, works better for the particular subject. Try your shots at various apertures, and choose which one you like later.

• Less food looks better! Use a lot of white space on the tableware to frame the food.• Use strategic styling! Think very carefully about your background and other props

to help tell the story and set the mood. I am constantly on the lookout for great looking napkins, tablecloths, silverware, unique plates and glassware. Have fun looking for props at garage sales, flea markets and antique stores.

• Get close! Shoot close-ups often. It’s how we look at food.• Shiny food looks more appetizing. Mist fruit, vegetables and glassware with water

to create condensation. A bit of sugar in the water makes water droplets stick. And a light spritz of oil works wonders on other foods.


books, and generally marinating myself in the genre. I am now confident enough to specialize in food photography, although I never turn down a commercial job in any

other realm. And I’m thrilled to have a regular gig with Edible Vancouver magazine, cooking/baking/styling and shooting food for their feature stories and seasonal recipes. g

It’s a simply delicious profession! Say…cheese?

www.barbaracameronpix.com


Photographic Workshops:

The Experience of a Workshop Junkie …

You may be thinking about taking a photographic workshop to improve your skills, or you have taken one recently, which did not turn out as expected. You are wondering what you can do to make certain you receive excellent value and learning experience for your money at a photographic workshop.

is, I do not consider a one-day event a workshop, but that is my definition. A two-day event presented to two hundred people is not a workshop. As they say in real estate, “location, location, location” for the workshop can be a crucial consideration.

My concept of a worthwhi le photographic workshop is one that is conducted by a master (well known, well skil led) photographer who presents or teaches the material in an understandable way, provides their own images and work as an example, explains or sets up shooting opportunities as exercises, and provides positive critical evaluations of your work after seeing the results of these shooting exercises. A successful workshop will result in a skills transfer opportunity to the attendee.

These workshops and courses are available most everywhere, from many different sources. Pick up any photo publication, search on line for photo workshops, or check at a photo school or college, each of these sources provide a multitude of offerings. But how do you select a workshop that will deliver great results for you?

While I may not be a workshop expert, in the past number of years I have chosen to take many, many workshops to improve my photographic skills. Some

workshops have been clearly a better choice than others. I thought sharing some experience and observations might assist other CAPA members considering whether, or how to select a workshop.

Generally I differentiate a photo workshop from a photographic tour, or a specific course at a photography school or college. Instructor, theme and content, which provide a general context for the workshop, are important considerations. Length of time generally makes a difference, but not always. That

By Rick Shapka


Those skills transferred could be technical, aesthetic or artistic. The best workshop instructors in my experience leave the participants with some form of learning that can be reinforced with practice after the fact by providing notes, books or perhaps videos of the work and exercises covered.

My most successful workshop experiences have been where I have some specific objectives and take the time to do some serious research about potential workshops. Sounds too much like a business problem? Choosing to invest your time and $ in a photo workshop is a business problem. My least successful workshop experiences have been those where I registered because I simply liked the instructor’s work. If I did not have personal learning objectives for the workshop, it was not likely to deliver much value! Similarly if I knew the instructor was known for landscape expertise, while the workshop exercises were conducted in studio or cityscape, it likely failed to deliver much personal value.

My criteria for finding an appropriate workshop include the following:

• Determine what I want to learn about a specific aspect of photography. Do I want to improve my understanding of natural lighting for landscapes, or do I want to inject much more of my personality into my images?

• How important is the workshop location to achieve these learning objectives? Do I want to learn more about shooting dramatic fall color, or do I want to learn to shoot the grittiness of the city?

• Is there a technical skill, or artistic component of photography to be taught that is critical to making my images better? Will the workshop instructor demonstrate, and be willing to transfer that technical skill or artistic component? There are some who will not!

• Who are the better and/or best photographers that offer a workshop which will meet my needs? Is the instructor noted for a specific learning style, with the learned cability to transfer knowledge?


• Do I like to show my images in a group environment? The better, or best photographers/instructors will require a small number of images to be shown during critiques in a group environment.

• Wil l there be a photographic assignment based upon the workshop material that wil l help me to improve my overall skills? The best

photographers will conclude the workshop with an assignment that has the potential to reinforce how the information has been learned and transferred.

• Will the master photographer and instructor be prepared to ‘park their ego at the door’? A workshop instructor who introduces him, or herself before I enter the classroom then remembers

my name when I ask a first question is concerned about my learning, not their own ego.

These criteria can all be researched. Once I have set out my learning objectives, I do some research on the web. Most importantly I try to find someone to speak to who has taken the workshop, but do not necessarily rely on the testimonials posted on the photographer’s website. A positive personal reference(s) is critical. I look at the images on the instructor’s website to determine if these images excite my photographic interests. I will look at and likely purchase, if I am serious, a book or publication that the photographer has produced. On a number of occasions when the photographer has come to town for a public lecture, I attended the event. I can then make a knowledgeable decision about whether the photographer’s workshop could help me build my photographic skills.

These are some images that I have made at workshops taken over the past few years. g


Flight Paths by Rick Marotz (Rick is 84 years young)

I am not a bird nor wildlife photographer but I like to photograph geese and other birds in their habitat and using them in a scenic picture. It is an unforgettable spectacle witnessing a flock of thousands of snow geese rising into the air.

I admire bird photographers for their patience and skills but I don’t have an 800mm lens. Now I am working with a Nikon 7000 and an 80-400mm zoom lens. Some of these images were captured on film with a Nikon FE2.

I watched a flock of Canada geese for three days in their flight pattern. Every morning they would land on the lake at the same time coming from the same direction. On the third day the sun rose through the fog to give the picture the perfect back-

ground. Some of these images, like the”Sunrise”or “Evening Flight”, are sandwiched slides.g

M E M B E R ’ S P O R T F O L I O


Anatomy of a MotoGP Race:A Photographer’s Guide by Les Kalman

As a budding photographer, I remember the early days. I would select a perfectly clear, warm and sunny day for my

adventures. I would grab every piece of gear I owned and head off to capture that ideally framed image of a flower or barn. If I was feeling really adventurous, I might even consider photographing a person. I would carefully set up my tripod in just the right spot, make all the necessary camera adjustments, and then I double-checked them. Then with the gentleness of a neurosurgeon, I pressed the shutter release. I still enjoy those predictable and controlled days, but as experience grows, you tend to embark on new adventures that test or even embarrass your skill.


As my interest in motorcycle racing flourished, I thought that integrating my spectatorship with photography seemed logical. I had the equipment, the passion, and I thought I had the skill. However, the ability to artistically capture images of adrenalized riders, unpredictable events and motion in excess of 300 km/hr required both patience and time to perfect. Add to the mixture changes in weather, safety concerns, limited access and the urgency of time and the photographer’s abilities

became pushed to the limits. The following is a guide, from my experience, to future photographers who would like to extend their abilities at MotoGP races, the most prestigious motorcycle series in the world.

Thursday: ReconnaissanceTypically, a MotoGP race extends from Friday to Sunday. However, Thursday is a critical day for reconnaissance. The first requirement is actually getting to the track. Most tracks are enormous

and away from any urban areas. If it is a foreign land, add to the confusion the issue of unreadable signs and insane drivers. Once the track has been located, you must acquire your credentials. Provide identification and then say a quick prayer because in a moment you will discover how much access you have been granted.

The security at these races parallels that of the Pentagon, and access is strictly enforced. Off to the media centre. At first glance it looks like the control room


for a NASA mission. Try to stay calm. Greet the media officer and plead for a vest; it allows pit lane and grid access. Get a locker and pack away your power bars, Gatorade and all supplies. Find a terminal, get your computer wired, and set up all your essential devices. Now it’s time to find a schedule and a map of the track. Use basic meteorology and calculus to predict sun locations and shade pockets and select your ideal

spots for image acquisition. Most race weekends will have three classes of races, the largest bikes being the GP riders. Look around and get comfortable, this is your home for the next 4 days.

Friday: Organized ChaosYou have been up and at the track since dawn. There have already been numerous press releases and Twitter feeds to add to your schedule. You are

constantly online, scouring to ensure that you do not miss any activity. Keep the smart phone on airplane mode though; your last bill was $1400 due to roaming charges in Spain. Around 8 am the riders start to be escorted in. Grab your cameras, lenses, batteries and an espresso and head out. This is a great time to capture some candid images of the riders. As the premier class stars saunter in, there is the sound of engines starting in pit lane. The smaller bikes roll out from the garages, riders are getting geared up and the track is ready for the first assault. Once the fleet has been deployed, you run to one of your perches and start taking images. You have the option of lugging a monopod or using any natural stabilizer.

You migrate from section to section, adding variety in track locations and rider positions. You are hoping for a non traumatic crash to spice up your compilation. The 60 minute session has ended, time to rush back to the media centre and quickly assess which ones are worth editing, edit those images, export, post online, erase the cards, clean your equipment and head back out for session 2. The same routine applies for session 3,4,5, and 6-each day. Don’t forget sunscreen, constant hydration and some food. You’ll be doing this until 5pm.

Saturday: QualifyingThe next morning you feel like a 98 year old. Your arms are stiff from carrying equipment, your legs burning from


10 miles of sprinting and your shoe soles have burned through. Get ready, because today is even crazier. This is the official start to the race weekend. Fans are arriving by the thousands. Riders are required to have the fastest time per lap to indicate where they start from on Sunday. It is a frenzy of activity. The routine is the same as yesterday, but the pace has doubled. A media vest is mandatory. Without it, you are a spectator.

It is crucial to monitor the activity first, as the orchestrated events in qualifying are dangerous and serious. The qualifying round typically spans 60 minutes: riders enter the track and ride like they have stolen the bike. After

several laps the rider enters the garage and may jump onto another bike or yell and scream at their crew for improper set-ups. Changes are quickly made to the bike and the rider re-enters. It all appears as a silent movie, as everyone has ear protection due to the incredible noise created by the machines.

Photographers tends to have 2-3 bodies with lenses. The zoom captures entrance and exit from pit lane. The wide angle captures the rider mounting and dismounting. Try to get within inches of the rider, to create the unique sense to the photo. Do not make contact with the rider; they are in the adrenalin zone. Do not touch the million-euro blend of carbon and magnesium. Make

sure you have time to run to your favorite track perch: action shots and crashes are mandatory during this phenomenon. Once the session has ended, the top three riders enter a special area. The photo opportunities are excellent and required. Finish up by heading back to the media centre and prepare to edit those images. Tonight will end around 7 pm.

Sunday: Race DayMost races will have 60,000 to 120,000 spectators. To avoid the congestion you have arrived at the track at an ungodly hour. The security is so tight that port-a-potties have swipe cards. The arrival of riders is similar to the red carpet at the Oscars: thousands of fans line every


entrance point, screaming for a photo or autograph. Photo opportunities are plentiful, once the excitement becomes background. Masses of media are present with live television feeds. Try to be in the heart of the action but be prepared for surprises and etiquette (especially when it involves celebrities or royalty). Morning practice sessions are brief. Using the masses of spectators as a background for rider images offers a unique perspective.

As the start of the race draws nearer, it is crucial to map out your location. Starting grid imagery is monumental, but the photographer must be able to relocate to trackside vantage point just prior to the race start. Track migration has to allow for the return to the finish line. Here riders stylishly cross the finish line and return for podium ceremonies. Media conferences follow, along with individual rider interviews. The entire cavalcade packs up and heads to another city for another weekend of racing fun.

After shooting roughly 5000-6000 images, editing 200-300 and submitting to several sources; the potential to have just one image published remains priceless. g


New Brunswick: where the land meets the Atlantic OceanText: Michiko Nishijima • All Images: by Photo Fredericton club membersPhoto Editing: Robert Imeson

It was 1994 when I moved to Fredericton, New Brunswick, direct-ly from Japan. Most of my friends in Japan didn’t know much about this part of Canada, but they knew it was far east of the continent and very far from Japan. Although I was not the excep-tion at the time, I am now proud to tell people that I am a New Brunswicker!

Fredericton is the capital of New Brunswick. It is not a big city at all, as you may know, with a population of 56,000. However, it is the location of the provincial government, and it has two universities and several colleges. The city centre is nicely compact and

easy to walk around or to drive without traffic jams. Saint John River, Canada’s most storied river, runs through the city, and there are walking trails and parks along the river where you can see a picturesque landscape. The city also has a number of historic sites and

architectural interest at its centre. If you have a couple of hours you can walk around and photograph the sites with pleasure. Beautiful it is, in all seasons.

Driving half an hour from the city you will see the countryside: farming fields, apple orchards, Mactaquac Dam, lakes, and one of many provincial parks. If you visit Kings Landing Historical Settlement you will be swept into 19th century New Brunswick. A great place to spend a day with your camera.

New Brunswick is a relatively small province. From Fredericton, it is 3 hours to Quebec, 2 hours to Nova Scotia,


and 1 hour to the U.S. border. Still, the province has many jewels of nature: rich forests, lakes, rivers and waterfalls, and the coastlines that together span 2,250 km (1,398 mi.). The Bay of Fundy has the highest tides on earth. It is also characterized by lighthouses and covered bridges.

First, let’s look at the amazing tidal movement of the Bay of Fundy. Everyday, the ocean tides rise and fall twice. In the Bay the difference reaches 12 meters which is equivalent to a four story building. At the lowest tide, you can walk on the ocean bed and explore for the marine life. You will not get tired of watching and photographing the patterns of the sand formed by the waves. When you are at the wharf in St. Martins or Alma you will see the boats sitting on the ocean bed, tipped a little on their side, uselessly. At Hopewell Cape when the tide is low, you will enjoy examining the amazing rock formations carved by the current while you walk on the ocean floor.

The Bay of Fundy is also a great place for whale watching. Several kinds

of whales and porpoises can be seen at various places such as St. Andrews by the Sea and Grand Manan Island. There are many opportunities to photograph marine life and birds when you are on a whale watching boat. Speaking of birds, you might be interested in seeing Atlantic Puffins. They are so unique in feature. Puffins live the winter months at sea. They breed in large colonies on

coastal cliffs or offshore islands. The best places I would recommend to see them in New Brunswick are Grand Manan Island and Machias Seal Island.

Fundy National Park is located right at the Bay of Fundy near Alma. You can camp or lodge there, and walk on the trails in the woods, view the ocean, waterfalls, basins, and sand beaches. This park is one of the most popular


places for people to spend their summer holidays; exploring the park, visiting a fishing village nearby, or going on a day excursion to Cape Enrage and Hopewell Cape.

Inland, there are rivers such as Miramichi and Nashwaak where you can enjoy salmon fishing and canoeing. You might see moose, deer, or bald eagles in the valley. Well maintained walking trails are accessible, and there are many waterfalls you can hike to easily.

I should not forget to mention the French communities in the province. As you know, New Brunswick is the only province in Canada that has two official languages; English and French. There is 35 % of its population whose first language is French. You may not want to miss an opportunity to visit Acadian villages and experience their rich culture.

New Brunswick shows the beauty of nature in all seasons. In the spring, we see lots of wild flowers in the field, especially the lupins, which are

magnificent. In the summer, we feel the energy of life: bird migration, whales and other marine life activity; the forests are rich in green. In the fall, the colours in the trees and fields are just incredible: maple trees in red and orange, birch and tamarack in yellow, and oak trees in brown. The blueberry fields are like a finely woven tapestry. Then winter. We don’t stay in the house even in the cold weather. Photographing the crisp snow scenes and ice formations around just pleases your eye.

Above all, I would love to mention a treasure we have in New Brunswick. It is the Maritime hospitality. People

are warm and kind. You should not hesitate to stop people to ask for help, or you may want to ask about their life in New Brunswick. People will be happy to talk with you. Obviously I am a visible minority here. But I was never treated as a foreigner. That is why I feel so comfortable and at home in New Brunswick.

Finally, I am including a few URLs you may want to explore for more information and images of Fredericton and New Brunswick. I do hope I see you walking around the area with your camera and a big smile. New Brunswick, the Picture Province! g

City of Fredericton: http://www.tourismfredericton.ca/en/index.asp New Brunswick: http://www.tourismnewbrunswick.ca/Home/AboutNewBrunswick/OurPeople.aspxNew Brunswick Slide Show: http://www.enchantedforest.nb.ca/Michiko/Shows/nbpictures.html


One Love: The Montreal International Reggae FestivalBy Mark Lachovsky

Many people swear they can smell the ocean when they hear the soothing sounds of reggae music fill the air. Reggae music, originally from the tropical island of Jamaica, is now known universally as the feel good music of peace, love and equal rights.

The heavy bass sounds of reggae music, with its inspirational messages, originate from the Jamaican ska music of the sixties. Bob Marley became the prophet of reggae music, bringing the message to people from his home outside of Kingston to the rest of the world.

Having survived an attempt on his life by ruthless gunmen, Marley left this world early, his body giving in to

the cancer that killed him at the age of 36. Others have continued the reggae message including some of Marley’s sons. Naturally reggae is huge in Jamaica. In fact, it is integrated into all aspects of Jamaican society. Music and politics are never far apart from each other.

While reggae is best enjoyed on a beach, for those who can’t be and want to experience the live reggae experience,

The Montreal International Reggae Festival has been hosting a weekend of various acts for almost 10 years.

If you are looking to photograph live musicians and singers there are a number of challenges to deal with. Let's start with the equipment. Ideally you need a zoom that will allow you to get close without having to move to the front. In my experience, the best location to photograph a singer is from just off center about 30 to 40 feet back. This gives you the best chance of getting a head on shot with the artist's eyes connecting with the lens.

In terms of how to get great images, you need to use manual settings.


The lighting is often too variable to use an automated setting. I set my camera to manual, aperture as small as possible (f/stop of 2.8 is great if you want to separate the artist from the background), ISO ranging from 200 all the way up to 1600 if necessary, depending on the lighting. Some performances include low lighting to create mood that can be challenging to photograph. Though it is better to maintain a lower ISO, the newer digital SLRs do allow for relatively low noise level even at the higher ISO levels.

By observing the movement of the artist and the flow of the lighting,

you can experiment with the speed to capture the right image. If you are not spot on, adjust the ISO and/or speed and try again—and again. Photographing artists live on stage is a very tricky challenge that takes a lot of practice to perfect.

The Montreal International Reggae Festival is held in an open air setting in Old Montreal, overlooking the St. Lawrence River. Though you can’t smell the ocean or hear the waves, it is a truly fantastic spot to listen to live music.

Shooting outdoor performances brings with it new challenges such as the weather. I used a rain cover for my

lens and camera body but the rain was coming down so hard that at times I had to put my camera into my rain proof backpack. When I was taking photos with the rain coming down, some nice people offered some cover with their umbrellas which was greatly appreciated. I even experimented with fast and slow speeds in order to slow down or freeze the rain drops pouring down.

If you want to experience this music with a message in a live setting, then be sure to look for details on the next Montreal International Reggae Festival.

As Bob Marley said, “One love, one heart”. g


SUMMER 2012 CAPA NEW MEMBERS

AtlanticJohn Chardine NB

Lynn Ellis NS

OntarioCiro Colonna

Trudy Ferguson Lynda Holly

Clifton 'Bud' HuttonLes Kalman Larry Kearns

Mimi Lo Theodore LoLily MarkovicJulie Nixon

Bay Photography Club Alana Scharf

Catherine StarrRex Taylor

Joyce TraskJonathan Van Bilsen

Dianne WerbickiKara WilsonJeffrey Wu

PacificMel Baly

Rebecca BlissettDenise CallanderElizabeth DavisJason Duncan

Ian FaulksJudith Fisher

Stanley FrenchJuliet FrickerUrs Fricker

Michael GarsonKeith Graham

Richard Hulbert

Geert KuiperDavid Laronde

Herb LeRoyJorge Ligason

Barbara LohnesJo-Anne,Owens

R. Keith PurchaseGail RobertsonCarol-Ann Roos

Kobus RoosSharon Shales

Robert SheridanElise Stanley

Randolph Wm. StanleyJanet TullisTim Tullis

Nicci TyndallErnst VegtTatijana Ye

Prairie Central Alberta

Photographic Society ABVictoria Dillen ABPaul Favreau SK

May Haga SKLarry Hildebrandt AB

Michelle Lane SKShea Long SK

Sean Simmons ABLinda Treleaven ABMary Wagner AB

Quebec Colin Earp-Lavergne

Andre GeickPLANETpicturePatrick,LauzonAlbert Limoges

USA & International

Arabella S Dane NH United States

Mohammad Reza Raeesi Iran

Parvin Zamanian United Arab Emirates

May 7, 2012

CORRECTION

Donations David Maguire

Andrew KowalskiMargaret Fellmann

Robert & Mary SmithDonald Brown

In the spring issue when we reported the results of the Digital Open Club Competition,

we neglected to mention that the Latow Photographers Guild of Burlington, Ontario,

was the winning club. Way to go Latow!

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