focal point jul-11

Focal Point JU

LY 2011

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orthern California Professional Photographers

Focal Point JULY 2011

2 Northern California Professional Photographers

Officers

Committee Chairs and Coordinators

President Kevallyn Paskos 925-766-3121 [email protected] 1st Vice President Programs / Education Michael Kirwan 925-287-8421 [email protected]

Membership Stacey Flurscheim 925-330-7130 [email protected] blog / Website Wayne Miller 925-330-8737 [email protected]

Send Newsletter information to: Tom O'Connor. [email protected] Deadline for submission of articles and ad copy is the 24th of each month. Information received after the deadline cannot be guaranteed publication

2nd Vice President Image Competition Trina Tuel 925-595-3794 [email protected]

Newsletter - Focal Point Editor Tom OConnor 925-586-2745 [email protected] FP Copy Editor Wayne Miller 925-330-8737 [email protected] Hospitality Nicole Gee 925-785-7772 [email protected]

3rd Vice President Membership Stacey Flurscheim 925-330-7130 [email protected] Treasurer Malcolm Slight 925-330-8737 [email protected] Secretary Mark Gebhardt 925-408-8175 [email protected]

Photographer Tony Gotelli

Chairman of the Board Wayne Miller 925-330-8737

Advertising Costs: 11 Issues per year Contact FP Editor NCPP Members: You supply camera ready

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Focal Point is published by Northern California Professional Photographers. Articles and comments are invited; publication is subject to space available and editorial approval. Note: Articles are the opinion of the author and do not necessarily represent the position of NCPP. Ads and flyers may or may not have the endorsement of NCPP or its Board of Directors.

Northern California Professional Photographers

Newsletter Info.



Presidents Message Kevallyn Paskos 4 July Speaker Joerg Lehmann

All About the Light 5 Preparing an image for "Projected Image Comp" 6 7 Print Comp Winners and Print Comp Calendar

"PPA Style Projected Comp" 8

Best of Show May 2011 9 June Meeting Images 10 - 12 Understanding Histograms Maggie Wendel Photography 13 - 18 Speaking on August 9th, 2011 Scott Robert Lim

Amazing Light Anytime, Anywhere 19 Membership Information 20 Certification Information 21 NCPP Presidents, Awards & Degrees 22 - 23 PPA Certification, Merit & Degree Programs 24 NCPP Focal Point / Image of the Month History New 25 - 30 NCPP Membership Classifications and Fees for 2011 31 Member Advertisements & Ad Specs. 32 NCPP Sustaining Members 33 - 38 Our Neighboring Affiliates 39 Calendar - Important Dates 40 Sunset Chart 41 NCPP MEETING THIS MONTH TUESDAY, July 12th, 2011

Doors open at 6:15pm, meeting starts at 7pm

Come early at 6:15pm to socialize!!

Table of Contents



Dear NCPP, June 29, 2011 I would like to express gratitude to the entire NCPP organization in selecting me as your new President! This is a complete honor and will work hard to lead the team and exceed your expectations. NCPP has made all the difference to me in realizing my professional aspirations and can only hope to return the favor to this awesome group of photographers! With over 20 years of experience in both special events and customer service industries, taking on the Presidents role made perfect sense. This will be an exciting new chapter for all of us! NCPP is a very honorable organization and always cared for by dedicated volunteers. We are fortunate to have founding and former board members readily available for counsel and guidance. It is with great hope that our new board member team can continue to keep with tradition and yet, create new trails to blaze! President Kevallyn Paskos 1st VP Programs - Mike Kirwan 2nd VP Print Comp Trina Tuel 3rd VP Membership Stacey Flurscheim Secretary - Mark Gebhardt Treasure - Malcolm Slight Chairman of the Board Wayne Miller

NCPP Goals for 2011-2012 include; Grow and double our membership base Improve new membership referral program Increase membership communication, feedback and participation Create opportunity spotlights to encourage member networking Revive the Mentor/Mentee program Return of quarterly Night School and field trips Target and utilize local talent/speakers to educate Generate more interest and improve digital print submission/competition Focus on cross marketing with other meetup groups, vendors and photography organizations Plan the NCPP Holiday Party NCPP would also like to share our appreciation for Gary Bergren, our presenter at the June 2011 meeting. Gary Bergren was awesome and gave an information packed presentation. Much of his content was so fundamental and basic yet will now change forever the way we look at things in regards to composition. Fantastic choice of speakers! In closing, we have lots of work ahead and with a team effort, anything is possible! This is going to be a great year! Thank you for your trust, Kevallyn Paskos President NCPP

Presidents Message Kevallyn Paskos

NCPP Mission Statement: The Northern California Professional Photographers is an organization dedicated to advancing the business of professional photography. Our purpose is to create an environment amongst professional photographers that

will inspire each of us and to help one another grow as business professionals and artists.



All About the Light This program will cover the essentials of studio lighting for the portrait photographer. Starting from the basic properties of light: quality, direction, quantity and color, Joerg will introduce lighting concepts and discusses various types of studio lights. Triggering options will be compared and the use and advantages of light modifier such as softboxes, umbrellas and grids will be explored. Joerg will explain function and use of the different lights in portrait setups, such as main, fill, accent (kicker, hair) and background lights. He will show lighting patterns and discuss their effects.

After showing possible setups for high key and low key lighting in the studio, Joerg will venture outside the studio and show how he combines ambient light with strobe lighting for the best effect. The program is supported by BayPhoto and by Cottage Industry Designs.

Bio: As a third generation photographer Joerg Lehmann has been taking pictures since a young age. According to his great grandmother, his very first word, uttered while being pushed by her in a cart through a cold winter night in Germany, was "Licht" (light). To this day, Joerg is excited about light and he shares his excitement with photographers in programs, classes and lighting workshops, partially as his way of giving back to the community but mainly to have fun with likeminded people. Joerg is a Certified Professional Photographer (CPP) and holds the degree of a Photographic Craftsman. He is also certified by Special Kids Photography of America (SPKA), with specific training to sensitively work with children with special needs. Joerg strongly believes in professional organizations. He has served on the board and as president of his PPA affiliate and he is currently a PPA councilor and CPP liaison and print judge. While the goal of his work is to create images for his clients and himself, he considers himself fortunate in that some of his photographs have been recognized in competitions from the regional to the international level.

NCPP Proudly Presents on July 12th, 2011 Joerg Lehmann



Preparing your image for "Projected" Image Comp This article will remain permanently in the Focal Point.



Here are the basics for creating your "Projected Image" file. We will be setting the file type, dimensions, color space, jpg quality, pixels per inch and file name that that will qualify for NCPP Projected Image Comp. These requirements are the same as PPA with the exception in NOTE 2 below.

1. Create a file that will become the background for your image that is 4,000px Wide x 2,200px High @ 200 pixels per inch. (20" x 11") This size fits our monitor and will be displayed at its optimal.

2. The color space can be sRGB or RGB1998. 3. The file type is a jpg with a Quality setting of 10. Total file size not to exceed 3.5mb. 4. You can apply a color or pattern to this layer just as you would do for a printed image that you

would have entered previously in print comp. 5. Next prepare the image that you are going to insert over the background. The color space, ppi

etc needs to be the same as your background layer. 6. Size the image as you wish in either a vertical or horizontal format. The image size must be at

least 80 square inches. An example is 8" x 10". The image may be placed anywhere you want to put it on the background layer. The positioning of the image on the background layer will be part of your "Presentation" score just like with Printed print comp.

7. Add a stroke or any other edge treatment to the edge of the image you want, or not. 8. All images will be shown only with the background in the "Horizontal Format". This is the same

way that PPA is handling it. The monitor will not be rotated for vertical images. They will be shown just like the example images on the previous page.

9. There is to be no photographer name or studio name on the image. 10. Name your file with the following convention:

Member's First Name_Last Name_Image_Title_.jpg (Use _ for spaces). Example file name: Bill_Jones_Mount_Diablo_Sunset.jpg

11. More information for download or viewing at.

NOTE 1: If you plan to submit any of these images to PPA, I would initially save this file as a layered PSD or TIFF. When I was done and ready to submit to NCPP, I would then save it again as a jpg with all of the requirements listed above and submit the jpg. This way if you later decide to enter this same image with PPA, you can open your PSD/TIFF and make any changes required for PPA. NOTE 2: PPA Projected Submission Specifications match what is required for NCPP, except:

PPA requires your PPA# in place of your name in the file name: Example: 12345_Mount_Diablo_Sunset.jpg Link to the PPA site for a video on How To: http://www.ppa.com/competitions/tutorials.php

ENTRY RULES AND DEADLINES:

Cost per each image is $5.00 prior to the Monday, (at midnight), prior to the Tuesday meeting. Fee is to be paid via the NCPP PayPal link.

E-mail images to [email protected]. Limit of 20 Projected images allowed per meeting. This is at the discretion of the Print Chair on a month by month basis.

Preparing your image for "Projected" Image Comp This article will remain permanently in the Focal Point.



For PPA Style Competition, Only Projected Images will be accepted. Peoples Choice remains as it has been and you can also submit Projected images on a laptop or iPad. If you are interested in volunteering with image comp, please contact: Trina Tuel at 925-595-3794 or Email Trina @ [email protected] July is Peoples Choice Image Competition.

2011 Print Comp Calendar: Jul: Peoples Choice / Aug: PPA Style / Sep: PPA Style / Oct: PPA Style / Nov: Peoples Choice

CONGRATULATIONS!!!!

Print Comp Winners and Calendar

1st Place - Michael Van Auken Mommie and Me

2nd Place Wayne Miller Second Thoughts

3rd Place Peg Jackson H t



The Making of "Mommie and Me" For twenty years I have been driving past this miniature horse ranch outside of Petaluma, CA to visit my mom in Fort Bragg. On a recent trip to prepare for her 88th birthday party I noticed a number of recently born foals in the pasture with their mothers. The setting sun was throwing long shadows across the still green grass, I was thinking about my mom and I had a camera. How could I resist? The horses closest to the highway were indifferent to me and remained at a distance. So I drove a bit further up the back road and discovered a herd closer to the fence. This group was much friendlier and some even allowed me to pet them. I was fascinated by the fact that most of the foals were like clones of their mothers. OK, I'm getting lots of pretty pictures of horses but where is the story here? How and when do I capture something that says something about the relationship? And then it happened, the foal looks up at me for just a second and made the connection I was searching for. You can even see his mouth moving as if he was speaking to me. This image was inspired by a number of women in my life. Bambi Cantrell whose extraordinary images of horses in Iceland combined with a variety of texture layers is an obvious influence. My best friend Peg Jackson who is always cheering me on and penned the title "Mommie* and Me" My own daughter and her relationship with her mother Theresa. And of course my own incredible mom who supports , loves and cares for me unconditionally. Ok tech heads, here come the nuts and bolts. The photograph was made with a Canon EOS-1Ds Mark II at iso 3200 (it was getting dark) 1/100s at f/2.8 and the 24-70mm lens was at 70mm. In post I added two "Vintage" texture layers by "Graphic Authority" and set the blending mode to soft light in Photoshop. Not only do these layers add warmth and an ethereal look but they camouflage the noise created by the high iso. The two horses in the background were also moved into a better compositional area. I guess the moral of the story is to keep persevering, keep pushing yourself and say something with your imagery. And one more thing enter print comp. It's fun, educational and rewarding. MVA * I know that Mommie is misspelled. I have my reasons for spelling it that way.

Best of Show June 2011 - "Mommie and Me" by Michael Van Auken



June Meeting Images



A Photographers Guide to Understanding Histograms Posted: 20 Jun 2011 06:00 AM PDT

Show of hands: how many of you currently use the histogram to immediately adjust your shooting strategy during a session? If youre thinking hist-o-what, then this is the blog post for you! It explains the basics about a histogram and answers the following questions:

What is a histogram? How do I read a histogram? What does a correct histogram look like? Why should I use a histogram?

What is a histogram?

The histogram is the graph that you can view on the back of your digital SLR. Its the graph that looks sort of like a mountain range.

Pardon me while I break into some techno-mumbo-jumbo for a moment here: a histogram shows you the brightness values of all of the pixels in your image.

I knowI know. That last sentence does not really clear things up, does it?

Let me explain it another way: imagine that you took every pixel from your digital image and organized them into piles, separating them by how dark or how light they are. All of your really dark pixels would go into one pile, your middle gray pixels would go into another pile, and your really light pixels would go into yet another pile. If you have a lot of pixels in your image that are the same color, the pile will be really big.

That graph that looks like a mountain range on the back of your camerawhich well now refer to as the histogramis showing you those piles of pixels. By looking at the histogram, you can quickly determine if the shot you just took is a correct exposure. Read on to learn how.

How do I read a histogram?

If there is a big peak to the left side of the histogramor if it is all bunched up on the left side of the gridit means that you have a really big pile of black pixels. In other words, your image might be underexposed.

Understanding Histograms by Maggie Wendel Photography



If the histogram for your image looks like the following sample, you may need to increase the amount of light hitting your sensor by slowing down your shutter speed, open up your aperture, or both:

If there is a big peak to the right side of the histogramor if it is all bunched up on the right side of the gridit means that you have a really big pile of pure white or light pixels. You guessed it: your image might be overexposed. If the histogram for your image looks like the following sample, you may need to decrease the amount of light hitting your sensor by speeding up your shutter speed, stopping down your aperture, or both:

If your piles of pixels are fairly well spread out across the entire grid from left to right, and if they are not bunched up in any one spot, your image is a correct exposure.

What does a correct histogram look like?

There is no such thing as a correct histogram. As I said earlier, the graph shows you the brightness values of all of the pixels in your image. So while I said earlier a big pile of dark pixels might indicate an underexposed image, it doesnt always indicate an underexposed image. Lets look at a real-life example. Assume you took a picture of someone holding a sparkler.




The histogram for the previous image looks like this:

A lot of the pixels in this image are dark, which means that the histogram displays a peak on the left side of the histogram. A big pile of dark pixels? You bet. Underexposed? Not for the desired look of this particular image. The same limitations using a histogram might occur on a bright day, especially with a scene such as snow.

Why should I use the histogram?

Some of you might be thinking, Why do I need to bother with the histogram? Cant I just tell by the LCD monitor on the back of the screen if I have a correct exposure? Well, sometimes your shooting conditions arent great. Bright light or dim light will make it hard to see the thumbnail view on the back. Andmaybe this is just mebut have you ever looked at an image on the back of your camera and thought you nailed it, but then you upload it and it doesnt look so hot on the big monitor?

No? Thats just me? Okmoving on then.

Sure, you can adjust exposure in image editing software, such as Photoshop or Elements. But isnt it better to capture the image correctly in camera? Taking a peek at the histogram of your image while youre shooting can help you figure out if you have room to tweak the exposure of your image while you are shooting.

What about clipping and blown out highlights?

No, the following section is not about hairstyles; it is still about the histogram. Promise.

Some of you might have your camera set so the LCD blinks at you to warn you if you have completely overexposed your highlights. If you have this feature on your camera, I have absolutely no doubt that at least one time in your life you looked at the back of your camera and saw that the sky in the image that you just shot is blinking wildly at you.

Why is it doing that?!

Your camera can only successfully capture detail within a certain range of dark to light tones. This means if a part of your image has a tone that is outside of the range that your camera is able to capture, the sensor will not be able to capture detail in that part of the image. The blinking is trying to tell you, Hey, look! The area that is blinking madly on your LCD will not have any detail in it!




If you have ever taken a picture and the sky is blinking wildly at you, it is because that area of your image is so overexposed that the sensor has rendered it as one big blob of solid white pixels. In technical terms, this means the highlights are clipped or blown. In more realistic terms, it means that no matter what you do in your image editing software, like Photoshop, you will never ever be able to pull out detail from that section of the image.

Its probably ok if the highlights are blown out in the sky of your family snapshot at the beach on a sunny day. Not so great, however, if the highlights are blown out and lose the detail on a brides wedding dress.

Instead of relying on the blinking, you can also use your histogram to quickly see if there is any clipping. If you have a big pile of light colored pixels piled high to the right side of the histogram, the detail in your highlights will be clipped, blown out, and completely lost.

What about color?

Up until now, weve been discussing the brightness histogram. Earlier I asked you to imagine that you took every pixel from your digital image and organized them into piles, separating them by how dark or how light they are. The piles were a combination of all the colors in your image.

Many digital cameras also provide three histograms to show you the color level for each individual RGB color channel (Red, Green, and Blue). Andjust like the brightness histogramthe Red, Green, or Blue histogram shows you the individual colors brightness level throughout the image.

For example, if you look at the Red histogram it shows you the brightness of only the red pixels in the image. So if you have a big pile of pixels on the left side of the Red histogram, it means the red pixels are darker and less prominent in the image. If you have a big pile of pixels on the right side of the Red histogram, the red pixels are brighter and denser in the image, which means the color will be too saturated and will not have any detail.

Why should we care?

Lets say you take a picture of someone who is wearing a red shirt. Imagine the red shirt is brightly lit. You look at the overall brightness histogram and it doesnt appear to be overexposed. Then you look at the Red histogram and see a big pile of pixels piled all the way to the right side of the graph. Youll know that the image will lose all of the texture in anything red in your image. That red shirt could end up looking like a big red blob




in your image, which means that no matter what you do in Photoshop, youre not going to be able to pull any detail from that red shirt.

Looking at your histogram will help you determine if you need to tweak your settings to keep the shirt from looking like a big red blob.

In summary

The histogramlike so many other areas of photographyallows you to determine what is correct for the type of image you are trying to capture. The next time youre taking a shot, take a look at the histogram of your image to see if you have room to make any adjustments to your settings while youre shooting. Histograms are also useful in post processing when using various adjustment layers.

Maggie is a recovering technical writer who is the photographer behind Maggie Wendel Photography. Based in Wake Forest, NC, Maggie specializes in portraits of newborns, babies, and children.




Amazing Light- Anytime, Anywhere Learn Scott Robert's amazing off camera lighting techniques that has turned him into an international Superstar. Scott will teach his simple techniques using available light and portable strobes that will allow the photographer to create amazing images on location and almost anywhere within minutes. See how to shoot in extreme bright sun and in low light situations, how to find the best light. Discover how to maximize shooting time to create a variety of stylized images Bio Master photographer and internationally renowned photographer, Scott Robert Lim (Photog Cr., AOPA) is the 2009 Kodak Award recipient and has won over 50 international awards. He is one of America's top photography educators. His work has been published in books and magazines all over the world and has taught and mentored many professional photographers worldwide. Scott is a popular international speaker with an exciting and inspirational style.

NCPP Proudly Presents on Tuesday, August 9th: Scott Robert Lim



Contact Stacey Flurscheim with / for any Membership Information

Stacey Flurscheim @ 925-330-7130

NCPP has a new web presence with a Meetup group.

Join NorCalPhotogs now for free. NCPP-Meet-Up

If you have comments or information regarding new applicants, please send them to: Stacey Flurscheim, NCPP Membership Chair: [email protected]

NorCalPhotogs - Meetup

WELCOME NEW NCPP MEMBERS

PROSPECTIVE NCPP MEMBERS

Membership Information



NCPP Past Presidents

1998 Michael Van Auken 1999 Judy Host 2000 Jim Fidelibus 2001 Linda Johnson 2002 Walter Guasch 2003 Kimberly Peterson 2004 Jim Fidelibus 2005 Michael Gan

2006 Michael Gan 2006-2007 Laura Cottril 2007-2008 Leslie Artis-Gan 2008-2009 Brent Walton 2009-2010 Randy Cazinha 2010-2011 Wayne Miller 2011-2012 Kevallyn Paskos

NCPP Member of the Year 1998 Peg Jackson 1999 Michael Van Auken 2000 Jim Fidelibus 2001 Jim Fidelibus 2002 Kay Simon 2003 Shelly Najera 2004 Linda Johnson

2005 Heather M. Whiting 2006 Michael Gan 2007 Laura Cottril 2008 Tom O'Connor 2009 Brent Walton 2010 Wayne Miller

Photographer of the Year 1998 Peg Jackson 1999 Jim Fidelibus 2000 Richard Stahlberg 2001 Michael Gan 2002 Richard Stahlberg 2003 Shelly Najera 2004 Leslie Artis

2005 Richard Stahlberg 2006 Leslie Artis-Gan 2007 Michael Van Auken - Tie 2007 Richard Stahlberg - Tie 2008 Richard Stahlberg 2009 Wayne Miller 2010 Wayne Miller

NCPP Presidents and Member Awards



PPA Master Craftsman Photographers Lisa Evans Peg Jackson Michael Gan Judy Host Leslie Artis-Gan PPA Master Photographers Jim Fidelibus Linda Johnson Deidre Ligenfelter Mary Small

PPA Craftsman Photographers Denny WeigandWayne Miller PPA Certified Professional Photographers

NCPP Member Degrees

Leslie Artis-Gan Laura Cottril Lisa Duncan Michael Gan Jill Hager Judy Host Greta Heintz Tammy Hughes Linda Johnson

Scott Kouns Dana Smith Richard Stahlberg Arleen Thomas Darleen Tom Denny Weigand Wayne Miller Brent Walton Pam Biasotti

Jennifer Chesterman Jennifer Fink Stacey Flurscheim Nicole Gee Tod Gomes Ann Gordon Malcolm Slight Terry Riggins Mary Small



If you are interested in becoming a Certified Professional Photographer, Master of Photography, Master of Electronic Imaging or a Photographic Craftsman, click here. Or, contact Wayne Miller or Denny Weigand PPA CPP Liaisons. This link will take you to the PPA website and you will see the page shown below. The image below is just a screen shot of the website, the links are not hot on this screen shot.

PPA Certification, Merit & Degree Programs



Professional Active:

Annual Dues $135. A professional photographer is an individual who on a regular basis, takes and sells photographs or photographic services. Must satisfy federal, state (resale permit), & local license requirements. Professional Active members have full membership privileges (Free meetings, voting, use of NCPP logo for self promotional use, and image competition).

Aspiring*: Annual Dues $135. An individual who does not work in the photographic field, or derive any income from photography but plans to enter the profession. Limited to one year. Membership privileges: Meetings and entering image competition, but may not vote, hold office or use the NCPP logo. May not actively sell their photography or advertise/promote themselves as a photographer for hire. Limited to 20% enrolment. Student*: Annual Dues $50. Members preparing for a career in photography and currently enrolled in a school as a full time student. Applicant must show evidence of enrollment. Membership privileges: Meetings and entering image competition, but may not vote, hold office or use the NCPP logo. Limited to 10% enrolment. Sustaining: Annual Dues $150. Membership issued to the business name of the organization, which is a supplier, vendor, or manufacturer of photographic materials, supplies or photographic services. One representative of the organization shall have meeting privileges only, additional pay guest fees. *Aspiring & Student Classifications must assist/help six events per year to maintain classification, submit 2 images per month in Aspiring image competition (free), and attend Business 101 A to Z a new photographers guide to business success ($99) in order to move to Professional Active

NCPP Membership Classifications and Fees for 2011



Ad sizes are: 1/4 Page: 4-1/4 Wide x 5-1/2 High 1/2 Page: 8-1/2 Wide x 5-1/2 High Full Page: 8-1/2 Wide x 11 High Spec is: Jpg @ 94ppi Color Space: sRGB Include at least 1/8 of white space at the outer edges the

sizes listed above.

Focal Point Advertising Information

Advertising Costs: 11 Issues per year Contact FP Editor NCPP Members: You supply camera ready

art work and text. 1/4 page for 3 months per

year - Free Additional / Larger Ads: 1/4 Page for 3 months -

$25 1/2 Page for 3 months -

$50 Full Page for 3 months -

$75 Change to ad -

$25 Note: Members can use the Yahoo Group email to advertise at no cost. Sustaining Members: You supply camera ready

art work and text. Full Page per year - Free Non Members/Non Sustaining Members: You supply camera ready

art work and text. Full Page per year - $500



Sustaining Members are companies that manufacture or distribute photographic equipment, laboratories, publishers or firms providing services to photographers. These Sustaining Members also contribute to the welfare of NCPP, with monetary and technical support. Sustaining Members may participate in all NCPP events, however they may not vote or hold office. We encourage our NCPP members to support our Sustaining Members. If you are interested in becoming a Sustaining Member, contact Denny Weigand. 925-336-7994 or E-mail @ [email protected] -Listed Alphabetically- THE ART OF PICTURE FRAMING APF is a full-service wholesale custom framing facility. We work closely with Fine Art and Framing Galleries, Interior Designers, Professional Photographers, Art Consultants, Retailers and others in need of custom framing at wholesale prices. APF specializes in creating custom programs or packages to your individual business or market needs. We offer superior quality with flexible pricing to fit your individual needs. Contact: Mike Moretti 1084 Shary Circle, #B Concord, CA 94518 (Located behind Costco) E-mail: [email protected] 925-689-5177 web: http://stores.apfwholesale.com/StoreFront.bok

NCPP Sustaining Members



BAY PHOTO LAB Contact: Debbie Thomas E-mail: [email protected] 510-585-7049 web: http://www.bayphoto.com/ 2161 Delaware Ave. Santa Cruz, CA 95060 800-435-6686 fax: 931-475-5257




PPC Professional Photographers of California Affiliates

Company Name City Phone Web Site

All Valley Professional Photographers - AVPP La Canada Flintridge

(818) 262-7903

Associated Image Makers - AIM Fairfield 1-888-442-6606

Central Valley Professional Photographers - CVPP Fresno 559 266-0305

Channel Islands Professional Photographers Association - CIPPA Camarillo (805) 573-7637

Gold Coast Professional Photographers Association - GCPPA Pismo Beach 805 733-5197

Inland Empire Professional Photographers & Videographers - IEPPV Riverside 951-737-7310

Northern California Professional Photographers - NCPP Walnut Creek 925 330-8737

Professional Photographers of California Escondido

Professional Photographers of Los Angeles County - PPLAC Culver city (818) 344-0671

Professional Photographers of North Valley - PPNV Redding 530-241-2191

Professional Photographers of Orange County - PPOC Mission Viejo 949.916.2471

Professional Photographers of Sacramento Valley - PPSV Sacramento 530 363-0138

Professional Photographers of San Diego County - PPSDC San Diego (858) 695-9563

Professional Photographers of Santa Barbara County - PPSBC Santa Barbara (805) 403-6556

Professional Photographers of Santa Clara Valley - PPSCV San Jose 408 244-2293

Professional Photographers of the Greater Bay Area - PPGBA So. San Francisco

530 574-6033

Professional Photographers of the Redwood Empire - PPRE Santa Rosa 707 548-1181

Stanislaus Professional Photographers - SPP Modesto 209 847-0540

Our Neighboring Affiliates

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This information is for Walnut Creek. You can obtain sunset times for other locations by clicking on the link below. http://www.sunrisesunset.com/

Sunset Table for Walnut Creek

What is a histogram?How do I read a histogram?What does a correct histogram look like?In summary2011 Planner June 2011.pdf6-2011

focal point jul-11

Documents

ncpp focal point image

ncpp sustaining members

ncpp presidents

endorsement of ncpp

position of ncpp

membership information

newsletter information

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