The View Finder - cvcameraclub.orgcvcameraclub.org/Newsletters/CVCC_March_News14.pdf · THE LATEST CAMERS? 2 CALENDAR OF EVENTS 2 CONTINUED FROM PAGE 1 FIELD ETIQUETTE ( OR LACK THEREOF)

Volume 3, Issue 3 March, 2014

As Ron and I started writing our first e-book on photographing Iceland, we decid-ed to include a section on photography etiquette since we had encountered a string of distressing behavior from other photographers during some recent trips. These incidents started becoming so com-mon that Ron gave them the nickname of Crimes Against Photography, some of which are included below. While the vast majority of my experiences with other landscape photographers have been posi-

tive, these other less-than-positive inci-dents have become frequent enough to suggest that the landscape photography community could benefit from practicing some common etiquette principles.

Considering that landscape photographers should be ambassadors for and respectful of the wild and natural places we visit and photograph, it is surprising to find that an important topic like this receives almost no attention from the typical sources of

FIELD ETIQUETTE ( OR LACK THEREOF) IN LANDSCAPE PHO-

TOGRAPHY

1

IMAGINATIVE ARCHITECTURE QUIZ

3

WEB SITES TO TRY 3

SPINSTER’S THREE WISHES. 3

BLACK MTN FIELD TRIP PHOTOS

4,5,6

CLUB OFFICERS, PRESIDENTS REPORT

15

DO YOU NEED TO UPGRADE TO THE LATEST CAMERS?

2

CALENDAR OF EVENTS 2

CONTINUED FROM PAGE 1 FIELD ETIQUETTE ( OR LACK THEREOF) IN LANDSCAPE PHO-

TOGRAPHY

7,8,9, 10,11,

12

CONTINUED FROM PAGE 2

DO YOU NEED TO UPGRADE TO THE LATEST CAMERS

13,14

APPLICATION FOR MEMBERSHIP 16

Inside this issue:

C a t a w b a Va l l e y C a m e r a C l u b

The View Finder

Continued on page 7

Field Etiquette (or Lack Thereof) in Landscape Photography

by Sarah Marino

http://sarahmarinophoto.com/

2


Camera-envy is the bane of many photog-raphers. Discussion forums are filled with conversations about the benefits of the lat-est and greatest camera gear, and our com-mercial-driven societies fill us with the deep-seated need for more, more, more! But do you really need to upgrade to the latest camera?

What matters more: the

camera or the photog-

rapher? This is the question truly at the heart of

most photography gear debates: what

really matters? Is it the camera or the

photographer?

You know what you want the answer to

be. When you show someone a favorite

picture, you are looking for compliments

and congratulations for yourself, not

your equipment. You likely don’t post an

album on Facebook hoping to get a “Way

to buy that new camera!” style of com-

ment. If you compare yourself to a chef

and use the analogy that no one would

“Many of the latest

and greatest benefits

touted by newer

model cameras are

those that will rarely

be used or exploited

by the vast majority

of camera owners.”

Calendar of Events

Mar 5 Meeting - CVCC Student Portfolio Critique Joe Young

Mar 13 Kevin Adams - Exploring & Photographing NC Patric Beaver Library

Mar 15 Field Trip - Clines Country Antiques Doreen Sugierski

Mar 19 Competition - Print - Open Ed Lane

Apr 2 Competition - Projection - Signs Ed Lane

Apr 16 Instruction - Making Panoramas Benjamin Porter

Apr 26 Weekend Trip - Beaufort, SC Robert Hambrick

May 7 Favorite Photography Location ( No Competition) Ed Lane

May 17 Raffaldini Vinyard / Winery, Ronda, NC Donny Teague


Continued on page 13

Do You Need to Upgrade to the Latest Camera?

by Katie McEnaney

http://digital-photography-school.com/author/katie-mcenaney

3



Imaginative Architecture

North Carolina designers know that a building can be more than four walls and a roof.

1. Sometimes called the “Strangest Home in America,” Korner’s Folly is know for its eccentric architecture, in-cluding windows that open into other rooms. The circa-1880 house is located in what town east of Winston-Salem?

A. Clemmons

B. Kernersville

C. Rural Hall

2. The Natuzzi “ship building” looks like an oceangoing ves-sel sawn in half lengthwise. It’s actually the U.S. head-quarters for the Italian firm Natuzzi Group, located in what city known for furniture?

A. Statesville

B. High Point

C. Cary

3. Love Valley, a village made to look like the Old West, was the longtime dream of its founder, Andy Barker. Barker started construction on Love Valley in 1954 in what coun-ty?

A Rowan

B. Catawba

C. Iredell

4. There’s a cornucopia of interesting buildings in Asheville, including city hall with its octagonal, pink-and-green-tiled roof. Outside Miami, Florida, Asheville has the largest collection in the Southeast of what style of architecture?

A Art Deco

B. Greco-Roman

C. Colonial Revival

5. Bojangles’ Coliseum, originally known as Charlotte Coli-seum, was at the time of its construction the largest unsup-ported steel dome in the world. When did this architectural marvel open?

A. 1945

B. 1955

C. 1965

Answers on page 12

http://500px.com/popular

http://digital-photography-school.com/

http://photonaturalist.net/

http://www.digital-photo-secrets.com/tip/

http://www.steeletraining.com/

http://www.digitalcameraworld.com/

Click on the links above

Web Sites to try

Spinster's Three Wishes

The old spinster was rocking on her front porch with her tomcat at her feet, when a good fairy suddenly appeared before her and offered her three wishes. "Aw, go on," the little old lady said in disbelief, "if you can grant three wishes, let's see you turn this rocking chair into a pile of gold?" The good fairy waved her hand, and "pouf", the rocking chair turned into a pile of pure gold. Her face lighting up, the lady said "I really get two more wishes?" "Yes", the good fairy assured her. "Anything your heart desires." "Then make me into a beautiful, voluptuous young wom-an." Another wave of her hand, and the wish was granted. "Finally, make my faithful old cat into a tall, dark and handsome young man." The good fairy waved her hand and disappeared as the third wish came true, and a handsome muscular young man stood where the tomcat had just been sleeping. The young man approached the once-old lady, took her in his arms and murmured... "Now, aren't you sorry you sent me to the vet?"

4



Black Mountain Photo Walk Field Trip Photos

Photograph by Doreen Sugierski

5




Photograph by Tom Devlin

6




Photograph by Donny Teague

7


photography information. This also helps explain why the behavior we have observed occurs so frequent-ly. With some landscape photography locations only be-coming more crowded and more people taking up this pursuit, this topic is only becoming more important.

Before getting into examples and suggested principles, it is also worth noting that many of my personal experienc-es and those shared by friends occur when one or two photographers encounter a large photography workshop. It seems that many of the very people who should be teaching the principles I describe below are actually do-ing the opposite: modeling arrogant and abhorrent behav-ior that teaches their students that such behavior is ac-ceptable. It is also important to note that many of these experiences have happened in off-the-beaten path places, so this is not just an issue at iconic locations where pho-tographers tend to congregate. While getting away from the crowds can minimize these kinds of encounters, doing so unfortunately does not eliminate them as we have learned time and time again.

Examples of Landscape Photographers Behaving Badly

To help back up my point that bad behavior is quite com-mon, I provide a long but hopefully entertaining and demonstrative list of examples below. All of these exam-

ples have happened to me directly or to photographers I know.

#1: The Shadow: The photography shadow is a common and particularly annoying figure, especially when visiting places where there is more than enough room to spread out. Let’s start with an example from a beach in Iceland (featured above)… My photography shadow started by setting up right next to me (on a beach that is a half-mile long with only a few other people around). He decided that I am in the best place, so he inched even closer and then closer still. My shadow then moved forward, ignor-ing the fact that I am using a wide-angle lens and he is now firmly in my composition.

Not being in the mood for a confrontation, I move on. Before I know it, my shadow has found me once again and continues following me around for the rest of the long sunset. The culmination of the evening comes as I am photographing some small shards of ice and wave streaks. Soon, he sets up right next to me – again! – and apparently doesn’t like the ice shards so he walks into my frame, picks up the pieces of ice, and throws them out into the oncoming waves without ever considering that I might be photographing them. Well, thanks for ruining my composition!

A friend shared a similar example from a canyon over-look in Utah. With no other people around the very ex-pansive viewpoint, another photographer set up his cam-era so close to our friend’s camera that their cheeks could touch when looking through the viewfinders. Most of us would never get this close to a stranger in any other set-ting, so why do so when photographing?

#2: The “I Want a Free Workshop” Guy: The Zion Nar-rows is an excellent place for experimentation, with a lot of composition options along the 1.5 miles of hiking in the Virgin River to get to the typical turn-around point. With this much interesting scenery, there is no need to set


Continued From Page 1 Field Etiquette (or Lack Thereof) in Landscape Photography

Continued on Page 8

8



Continued From Page 7 Field Etiquette (or Lack Thereof) in Landscape Photography

up near other photographers. Still, Ron had a shadow in the Zion Narrows who was even worse than the guy I de-scribed above. The guy followed Ron relentlessly, setting up right next to him over and over again. The guy also kept on asking detailed, endless questions and seeking de-tailed photo tips. This guy was behaving like he was on a personal Ron Coscorrosa photo tour, even though he was a complete stranger (and offered no payment).

Ron finally asked the guy to give him some space and picked up his pace to try to get ahead of him. The guy caught up and continued his previous behavior, even after being directly asked to stop. This is an extreme example of the more common scenario: a photographer who keeps a running dialogue of technical questions going while oth-ers around the person might prefer to concentrate on their own photography.

#3a, 3b, and 3c: The Screamer: Delicate Arch in Arches National Park is a busy place, with both photographers and hikers arriving in the late afternoon to watch the sunset. Nearly all of the photographers set up in the same place at the top of a large sandstone bowl. Not surprisingly, most of the people visiting for a reason other than photography want to walk up to the arch to experience it up close. This becomes too much for two photographers who start screaming at the hikers to get out of their frame. Different hikers arrive. More screaming ensues. Sorry, but at a place like Delicate Arch, hikers should not have to stay behind some invisible line because you are set up for a photograph and then be the object of aggressiveness be-cause they are exploring the place they have just as much right to be as we do.

A fellow photographer recently relayed a similar story of photographers yelling at non-photographers at the Zion Subway, a small, remote slot canyon that is accessed by a difficult, nine mile round-trip hike. It is absurd for a pho-tographer to be yelling at people who have just hiked for a few hours to see a special destination and will probably

only be in the canyon for a few minutes to get out of his way because he is photographing.

A second common variation on The Screamer involves photographers screaming at or aggressively talking with each other at locations like Mesa Arch in Canyonlands National Park and Maroon Bells in Colorado because of minor but easy to anticipate events like accidentally bumped tripod legs. In places like this, a little of civility and adult behavior would go a long way in making the experience more pleasant for everyone.

A third common variation, and an especially annoying one, is the Barking Workshop Leader who screams com-mands at students while the leader is mostly focused on taking his own photos. The rest of us do not need your advice to “USE f/14! AND MAKE SURE YOU ARE PROPERLY FOCUSED!!! BRACKET! REMEMBER TO BRACKET!!! JIM, COME OVER HERE AND TAKE A LOOK AT WHAT I’M DOING!” One of the only acceptable reasons to be loud and obnoxious in a natural or wild place is if you are trying to fend off an attacking animal. Screaming at other people or being loud is just not appropriate in the places where landscape pho-tographers visit.

#4: Damn Nature Getting in the Way of My Nature Pho-tography! What do you do when a pesky and annoying river otter keeps on messing up your reflection? Throw rocks at it! This seemed like the best plan for a photogra-pher who clearly cares more about getting a photo than respecting the wildlife that lives in the place the photogra-pher was visiting. Hurting or disrupting wildlife for a landscape photograph shows a complete lack of regard for the places we visit and photograph.

#5: Mr. Really Important Workshop Leader: I have enough personal experiences and anecdotes from friends to create an entirely separate blog post on this topic, but think these two examples illustrate this one best. First, a

Continued on Page 9

9



Continued from Page 8 Field Etiquette (or Lack Thereof) in Landscape Photography

well-known photographer is leading his large tour group to a public backcountry archeological site. A member of the tour leader’s staff heads out in advance of the tour to make sure that no one will be there to ruin the experience for the tour group. The staff member encounters two other pho-tographers, set up and ready to go once the best reflected light of the afternoon comes, and tells them, “Really Im-portant Photographer’s group is about ten minutes behind me and you need to be gone by the time they get here.” The staff member delivered this as an order, not a request – an order that the photographers ignored, considering they were in a public place with as much right to be there as any other photographer.

Some friends also shared a similar experience in which a workshop instructor told them that they needed to move so the workshop students could set up in the “best” spots on a long public beach, the spots where our friends were al-ready set up for sunset (and had been for some time). After they did not move, the instructor told his students to just squeeze in and lock tripod legs with our friends – all on a beach with many other options. All ten of the workshop students crowded around our friends, just as instructed and without a second thought.

#6: The Oblivious Whirlwind: We arrive well before sun-rise to photograph a lake in the Canadian Rockies and set up on the lakeshore. About ten minutes before sunrise, a car speeds along the road and screeches to a halt at the lake. A guy jumps out, runs down to the shore, and clumsi-ly walks out into the lake with no regard to the fact that we are already photographing the perfectly still lake reflec-tion. After deciding he didn’t like the view in the lake from that spot, he walks along the shore and jumps in at a differ-ent spot, again with no consideration of the fact that he might be interfering with other people, people who were there much earlier than he was. After more in-and-out of the lake, he started throwing something (probably food of some sort) at a goose, apparently trying to get it to come

closer to him so it would be in his foreground. Further pur-suit of the goose ensued to add a little more fun to the in-and-out of the lake routine.

Minus the goose, we had the same experience at another lake in Washington. With filters flying, lenses going on and then coming off, and tripod height changing every few frames, this Oblivious Whirlwind was dodging right in front of us, behind us, and around us for the duration of the sunset. In addition to his distracting physical presence, he was chattering relentlessly. Both of these guys, and the others like them we have encountered in many other plac-es, never stopped to consider that their behavior might just be negatively impacting the other people who were there first, both in terms of photography and in disturbing the peace that most of us seek when going to natural places.

#7: The Attention Seeker: The Attention Seeker comes in many forms, including the Gear Expert, the Gear Snob, the Look at My Expensive Gear Guy, the Camera Brand Fanboy, the Technique Critic, and the Exaggerating Story-teller. What these people all have in common is talking loudly to attract attention in their direction. Another com-mon hallmark is offering unsolicited, condescending ad-vice to other photographers around them (like, “You should really be using a filter. Professional photographers don’t blend exposures, just FYI” or “That lens is not the right focal length for this scene” or “Hey, the lake is be-hind you” to a photographer taking a photo of a smaller scene). While all photographers probably fall into at least one of the categories above (I know I do!), most do not feel the need to draw attention to themselves in a manner that is distracting and disruptive to others around them.

#8: The “My Photograph is More Important than Your Photograph” Guy: After hiking deep into Colorado’s Great Sand Dunes and setting up to wait for late afternoon shad-ows to appear on the dunes, another photographer walks right across the crest that is my photography subject. He can clearly see I am set up and photographing the dune he

Continued on Page 10

10



Continued from Page 9 Field Etiquette (or Lack Thereof) in Landscape Photography

just walked all over and doesn’t seem to care a bit. After finding this spot the day before, I arrived a little early to capture better shadows on the dunes. Thanks to him, both today’s opportunity and the next few days for this compo-sition are ruined because he couldn’t take five minutes to walk around me in the otherwise remote and pristine area of dunes. Same goes for the guy who sauntered into the large field of wildflowers I was photographing at a remote backcountry lake in Colorado and set up right in front of me, plus the many others like him I have encountered dur-ing my travels.

#9: The Disruptive Workshop: A few times a year, I actu-ally enjoy the camaraderie that can come with being at a popular spot with other photographers – places like Tunnel View, Oxbow Bend, or a Grand Canyon overlook. It can be fun to meet new people and quietly talk shop while waiting for sunset. The social experience is part of photo-graphing this kind of place and most of the time, everyone is nice and friendly.

Acting like it is a rowdy happy hour, on the other hand, is probably not appropriate behavior for a group of landscape photographers visiting a popular public overlook. An ex-treme (but real) example of this scene which took place at a popular and busy overlook in a US national park: Copi-ous amounts of alcoholic beverages are passed out to par-ticipants. Loud, rambunctious talking and laughing ensues, punctuated by frequent screaming across the overlook be-tween participants. Little photography takes place (with the exception of the workshop students who walk below the overlook, getting in the way of everyone who arrived well before they did). More alcohol is passed out and the crowd gets even more rowdy. Workshop students continuously dodge cars passing along the busy public road between the workshop vehicle and the overlook, causing traffic to back up and creating the possibility of someone getting hit by a car – over and over again. Seriously! Have a little respect for the place you are visiting and the others who are around

you. Save the party for the bar after sunset.

A List of Principles to Consider

I end with this example to make a specific point. Having a fun and enjoyable experience is one of the best parts of landscape photography for me and I am not suggesting it should be otherwise. What I am suggesting is that a small minority of landscape photographers do behave badly and it negatively affects the experience for others and, as I’ll talk about in a future post, can be damaging to the places we photograph.

I strongly believe that landscape photographers have a re-sponsibility to be good ambassadors for and stewards of the places and subjects we photograph and part of that re-sponsibility comes in the form of behaving in a civil, re-spectful manner to the people we encounter when we are out practicing our art and craft. With this responsibility in


11



Continued from page 10 Field Etiquette (or Lack Thereof) in Landscape Photography

mind, I hope you will consider practicing the following principles for field etiquette in landscape photography:

Be kind and courteous to other photographers and non-photographers. They have as much right to be visiting a place as you do and a little courteousness will go a long way to helping make the experience pleasant for every-one.

By definition, landscape photographers typically photo-graph natural places. Behave like you are in a natural place and treat the location with the respect it deserves. Having fun and making quiet conversation with friends and other photographers is one thing. However, being loud and disruptive in natural places is almost always in-appropriate.

Give other photographers some space! Refrain from set-ting up right next to someone who is already set-up and never follow another photographer around, repeatedly set-ting up next to them.

If you are traveling with another photographer, remember that photographing together will require some give and take. If you find yourself always setting up first or staying planted in one spot, you might not be giving your com-panion fair opportunities to get the photos they want to take.

Avoid yelling and being loud to help maintain solitude in both wild and not-so wild natural places.

Remember that many landscape photographers are moti-vated to photograph in part by the ability to get out and experience solitude and peace. Incessantly talking or dis-rupting another photographer could be negatively affect-ing their creative process and ruining their experience in a special place.

Wide angle lenses are called that for a reason – they take in a wide angle of view! Don’t assume that you will not

be in someone’s frame. Ask! And if you are in their frame and the person was set up before you, move!

If you are at a location and a photography workshop ar-rives, remember that you have as much right to be there as they do. Although you might not want to be around a large group of photographers, never let a workshop in-structor intimidate you into leaving.

Generally, you should respect another photographer who has arrived before you by staying out of their way and not walking into their composition. If you had something else in mind, striking up a friendly conversation can some-times lead to a compromise. If not and you didn’t get there first, you either have to accept their presence in your composition, move, or get to the location earlier on an-other day.

If you are photographing from the roadside, park your car in an appropriate spot. Do not block the road for others driving through. Also, parking your car in a spot to pre-vent other photographers from setting up in that same spot is rude.

Refrain from making insulting or demeaning comments about other photographers, their gear, or their technique or bragging about your own gear or photographic prowess (how sharp your lenses are, how much your camera cost, how you can’t possibly understand how someone could be using that other brand, what magazine just featured your work, how popular you are on 500px, etc). Striking up a friendly conversation with other photographers helps built rapport and possibly even lasting friendships. Diss-ing other people or bragging about how important you are just makes you look like a jerk.

If other people are also photographing a scene, do not do things like moving elements in or out (like the ice I de-scribed above or a large boulder like someone else de-scribed to me). Asking if you can do a bit of clean-up is

Continued on page 12

12


Imaginative Architecture

1. B. Kernersville

2. B. High Point

3. C. Iredell

4. A. Art Deco

5. B. 1955


one thing but messing with the natural elements of a scene that another photographer has chosen to photograph is just bad behavior.

And a Few Final Observations for Workshop Leaders: Unless you have a specific permit allowing you exclusive access to a place, you do not have some special right to public places just because people are paying you to show them around. Instead, you have the responsibility to mod-el good behavior for your students. If your group arrives after other photographers are set up, can you please kill the self-important attitude and show a little respect to the photographers who arrived to the location first? Please never say, “I’m Really Important Photographer” in an effort to intimidate others to leave a public place. And if you are on a workshop with this kind of leader, do not use their abhorrent behavior as permission to model the same kind of rudeness during the workshop or after when you are on your own.

Continued from page 11 Field Etiquette (or Lack Thereof) in Landscape Photography

2014 Membership Dues

Don’t forget, March 31 is deadline for payment of your 2014 dues. Your participation in club activities is im-portant to the club so lets get out and have fun with pho-tography this year.

13



Continued from page 2 Do You Need to Upgrade to the Latest Camera?

think to praise the frying pan for an excellent meal.

But yet. . .

You see the photographs of others and immediately start

making excuses. “Oh, well, he has a 400mm zoom lens” or

“Well, she has a full frame sensor,” and at the same time

we overlook the years of training or the hours of planning

that went into that shot or that set-up. You choose not to

wake up early or to stay up late and then wonder why your

sunrises or sunsets do not have the same pizzazz or punch

as another’s. You choose to shoot quickly and move on,

rather than staying around, observing, and find that

‘decisive moment.’

You are the variable that matters. If you want to take better

pictures, there are unlimited steps you should be taking

before you worry about upgrading to the latest and great-

est. Think about the time and energy that you put in to

your photography. Are you truly pushing your camera to

its maximum potential?

Many of the latest and greatest benefits touted by newer

model cameras are those that will rarely be used or exploit-

ed by the vast majority of camera owners. 61 compared to

9 possible focal points are not necessarily useful if you con-

sistently use the center point to focus-and-recompose or if

you rarely use auto-focus or servo-focusing modes for

moving subjects.

A faster frame rate of 6 compared to 3 frames per second

is useful, perhaps, if you are shooting a rapidly changing

subject like a bird in flight or kids jumping into a pool, but

you do not need six (or even three) identical photographs

of a rock formation or a bouquet of flowers. Ask yourself

how often you even shoot in such a burst mode.

You should also think about the strengths and limitations

of the current lenses that you own. A fast prime lens can

open up a wide-range of new shots and opportunities. If

you do not already have at least a 50mm f/1.8 lens, then

you have not even begun to explore the potential of your

current camera body. Many photographers recommend

putting your purchasing power into lenses, especially ones

that you can hold on to and use down the line.

What I shoot

Full disclosure, I shoot with a Canon T1i (500D for the

European naming system), a camera that went on the

market in early 2009 and has since been upgraded four

additional times. At nearly a year-old, the current Canon

T5i is likely due for an upgrade in the near future: the


14



Continued from page 13 Do You Need to Upgrade to the Latest Camera?

Canon T5 was just announced February 12th. In many

photography circles the T1i would be considered a nearly

‘ancient’ digital model. It is also in the entry-level line of

Canon DSLRs, with multiple tiers of both cropped and full-

frame sensor cameras above it. All photographs in this post

(other than the shots of cameras and gear) and my other

articles on dPS, were taken with this camera.

I will readily admit that there are trade-offs and lim-

itations to my camera. I know that I cannot push the

ISO very high without introducing significant noise

into the final images. I know that my buffer will fill

quickly and then stall if I take a series of RAW shots

in rapid succession. I know that I cannot adjust my

LCD screen or see myself while standing in front of

the camera for a selfie. Has that ever negatively im-

pacted a shot that I was trying to take? Not often.

I also know that I can carry a tripod and use it if

shooting in low light. I know that I can switch into

just JPEG if I am trying to take a hurried sequence

of shots. I know that I can use cues from a test shot

to figure out how to tweak a self-portrait and use a

remote to set the focus when I am in position. I

know that 15 MP can look great at web sizes as well

as printed on canvas or aluminum and hung on my

wall.

What frustrates you about your current camera?

Think about whether it is something that you could

change or whether it really an issue with your cam-

era.

Agree or disagree:

Will you upgrade your camera?

Are you a frequent camera-upgrader or are you

shooting with an “old” digital camera too?

15


Our planned field trip to photograph abandoned buildings had to be changed due to the lack of buildings to shoot.

We original thought we had permission to enter two old hosiery mills, but at the last minute we found out that one build-

ing was not available to us. With only one building to shoot we decided to make a change in our field trip, and in the

end I think it turned out for the best. Our last minute “Photo Walk” in Black Mountain, NC was a lot of fun with good

attendance of club members, fourteen in all. The weather was a little cool, early in the morning but as the day pro-

gressed it warmed up with sunny skies and very mild wind. So it was a beautiful day to get out with your camera and

take pictures of about anything.

Just a reminder that we don’t want to loose anyone as a club member, so if you haven’t already done so, don’t forget to

pay your 2014 dues by the end of this month. We’ve had a number of new club members sign up recently so the club is

growing. Let’s all welcome the new members and make their membership in the club a friendly and interesting experi-

ence. After all we are all here because we love photography and want to learn how to be better photographers. If you

have a family member, friend, or neighbor that is interested in photography, invite them out to one of our meetings.

Coming up on May 7th we have a meeting scheduled to discuss our favorite locations to take photographs. This is your

opportunity to influence the program committee as to where we go on field trips in the future. So don’t hold back sites

that you may want to keep to your self, share them with the club so that everyone who wants to can visit these sites.

Keep on shooting.

Donny Teague

Presidents Report

We’re on the Web

http://cvcameraclub.org/

Club Officers

President: Donny Teague [email protected]

Vice President: Richard Griffin [email protected]

Secretary: Judy Young [email protected]

Treasurer: Chip Young [email protected]

Image Coordinator: Ed Lane [email protected]

Webmaster: Scott M. Powell [email protected]


16



Application for Membership

NAME_____________________________________________________DATE__________________

ADDRESS_________________________________________________________________________

CITY_____________________________________STATE________________ZIP_______________

PHONE: HOME (____)____________WORK (____)___________CELL (____)_______________

E-MAIL___________________________________________________________________________

Dues are $35 per year. Meetings are the first and third Wednesday of each month. Students: $15 per year.

New Member ____ Renewal ____ CLUB USE ONLY: Date Received______________ Cash_______ Check______

Please indicate your preference for committee membership on which you would serve if asked.

Program ____ Field Trip Leader ____ Working on Website ____ Newsletter ____ Mentoring ____ Social Events ____

Publicity ____ External Judging ____

Club Website: www.cvcameraclub.org

Please print clearly as our club correspondence is conducted via e-mail.

Occupation:____________________________________________________________________________

Website:_______________________________________________________________________________

My skill level in Photography would best be described as: Beginner ___ Intermediate ___ Advanced____ Professional ____

Do you have accounts with: Facebook ____ Google+ ____ Twitter ____ Other ___________________________________

Shoot Mostly: Film ____ Digital ____ Both ____

Camera Make: Canon ____ Nikon ____ Sony ____ Other _____________________________________________________

Photography Interest: (Check All that Apply)

Architecture ____ Eclectic ____ Events ____ Family ____ Landscapes ____ Macro ____ Nature ____

Photojournalism ____ Portraiture ____ Sports ____ Travel ____ Underwater ____ Waterfalls ____

Wild Flowers ____ Wildlife ____ Other ____________________________________________________________________

Computer System: Mac ____ Windows ____

Photo Editing Software: Aperture ____ Elements ____ Lightroom ____ Photoshop ____

Other _____________________________________________________________________________

Documents

The View Finder - cvcameraclub.orgcvcameraclub.org/Newsletters/CVCC_March_News14.pdf · THE LATEST CAMERS? 2 CALENDAR OF EVENTS 2 CONTINUED FROM PAGE 1 FIELD ETIQUETTE ( OR LACK THEREOF)