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June2009
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June 2009 Vol. 11 / No.6 Newsletter of the Bayou Woodturners
Next Meeting June 13, 2009
Harahan Senior Center
Surface Enhancements
9:00 AM
From the Headstock Table of Contents Page 1
From the Headstock
Page 2 -3
Up Coming Events
Page 4
Demo Photos
Page 5
Kitchen Challenge Results
Page 6-8
Member’s Gallery
Page 9
News & Notes
Page 10
Around the Clubs
In the Journals
Page 11
Pen Gallery
Sign Holder Photos
Page 12
Sponsors/10 Years Ago
Page 14
Safety Note
Page 15-16
Jimmy Clewes photos
Page 17-19
Photographing Your Work
Page 21
Map & Directions to Meeting
May was a busy month for those of
us Bayou Woodturners. We started
off the month with our regular meet-
ing (mini and regular) session on
turning a bowl. I want to thank Ed-
die Castelin for putting this complete
session together. Eddie had some
great slides on every-
thing from holding
the work on the
lathe, choosing the
right tools, the right
grind and a complete
review on chucks
and how to use
them. Eddie
showed examples of
work turned by
members, showing
tos of work brought in. Remember to
bring your work in and share it with
other members of the club, we want
to see everyone’s work, beginner as
well as experienced turners.
We had a wood raffle; I hope every-
one got a good chunk
of wood to turn. We
will do another wood
raffle in July so start
collecting wood for
the next raffle.
We had some nice
examples of turned
kitchen implements
and had winners in
two categories.
Thanks to everyone
the great diversity in styles and
shapes. Eddie then mounted a
bowl blank, turned a bowl and
demonstrated various tools and
tool technique Thank you Eddie
for a very good demonstration on
bowl turning.
We had a FULL gallery, thanks to
everyone who brought in work.
Jerry and I shot close to 100 pho-
who participated and brought in your
work. And the winners are: Apprentice
level- Ryan Byl, 3rd
, Rick Myers 2nd
,
and John Barrios 1st. Journeyman lev-
el: John Byl 3rd
, John Byl 2nd
, and
Ralph Rochon 1st.
We chose four members to be in the next
block buster challenge. We look forward
to seeing work by John Byl, Ron Le-
Headstock continued on page 12
On
th
e In
tern
et a
t: w
ww
.bayou
wood
turn
ers.
com
TThhee BBaayyoouu SSkkeeww
Keith Welsh – “Alien Nation”
June2009
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President
Joel Blazek
Vice President
John Byl
Treasurer
Ron D’Aunoy
Secretary
Dennis Wall
Directors
Eddie Castelin -
Carl Bordelon-Greeter
Richard Corley-Programs
Ron D’Aunoy-Challenges [email protected]
Archie England-Librarian
Brian Harrell-Sales
Charlie Kragle-Membership
Ron LeMaire-Bulk Order
Jerry Markowitz-Editor/Photographer
Jim Shackelford-Projects
Sean Sullivan-Projects
Ben Sulzer-Glue Sales
Bayou
Woodturners
Officers
June2009
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AAW
Symposium:
June 26-28
Albuquerque,
New Mexico
Turning Southern Style XV Sympo-
sium:
September 18 -20
Helen, GA
SWAT Woodturn-
ing Symposium:
October 16-18
Wichita Falls, TX
North Carolina Woodturning
Symposium:
Greensboro, NC
October 23-25
June2009
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Main Demonstration: Everything You Ever Wanted
to Know About Turning Bowls with Eddie Castelin
Eddie Castelin explains the ins
and outs of turning a bowl –
explaining the tools/grinds/
and techniques needed to
make a basic bowl at the May
Meeting. Now it is your turn to
apply the lessons learned –
The President’s Challenge for
June is to turn a Bowl.
June2009
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John Barrios – 1st Apprentice division
Ralph Rochon – 1st Journeyman division
Rick Myers – 2nd
Apprentice division
John Byl – 2nd
Journeyman division
John Byl – 3rd
Journeyman division
Ryan Byl – 3rd Apprentice division
More photos on page 18
June2009
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Andy Leonard – Spalted Pecan
Photographs on this page brought
to you by Joel Blazek
Richard Corley - Mesquite
Richard Corley – Sweet Gum
Archie England – Bradford
Pear
Jed Weldon – Silky Acacia, Mimosa,
Silk Tree
Archie England – Spalted Sycamore
Eddie Castelin – “ Mug Boss” Cherry
Eddie Castelin –“S4S”
Makwa (Padauk)
June2009
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Ralph Rochon - Mahogany
Willie Wax – Water Oak
Willie Wax – Water Oak
Laura Ousset – Ikebana Set –
Spalted hackberry/Spalted Pecan
John Barrios – “Katrina” Oak
John Barrios – Wood –Unknown –
Tinted/Waxed
Ron LeMaire – Wood Unknown
June2009
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Ray Hoffman - Cherry
Ron LeMaire – Spalted Birch
Paul Burk - Cherry
Gorst Duplessis
June2009
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Making your own Star Block
News & Notes
Our very brief business meeting was called to
order at 10:23 a.m. The third new turners' work-
shop will take place on June 6th at Joel Blazek’s
place in Bush, Louisiana. Featured topics will
be use of the skew and turning pens.
Next year we'll likely have Cindy Drozda come
and do a demo. and a workshop.
Next month's featured topic will be surface en-
hancement. It will include such treatments as
airbrushing, carving, texturing, piercing, burn-
ing and anything else we can think up. This will
be an active participation event.
On the bulk order, if you have trouble opening
the file on the club website, you can simply e-
mail your order in. Please be sure to include
such information as catalog number, description
and price. The more information the better.
Don't forget to send the money for the item(s)
as well, and no, you can't e-mail your payment
in.
The business portion of the meeting concluded
at 10:38 a. m.
Dennis Wall
Secretary
Ralph Rochon – built this
Longworth Chuck for holding bowl
rims so that the bottom can be
finished.
For insrtuctions on how to build
your own you can go to:
www.morewoodturning.net/lwc-wtm.htm
World’s Greatest Free Woodturning Library is Growing
The Bayou Woodturners enjoy one of the greatest free woodturning li-
brary in reported history. We are increasing our collection of DVD titles
at this time. If you would like to suggest a title to Archie England, drop
a note to him at [email protected]. Archie will research the
best deal and add it to our collection as funds allow.
Archie also reports that the club library has enacted some rule changes.
Members are now limited to one DVD per month (club produced videos
excluded). And there will be a strict enforcement of the late penalty for
not returning rentals on time. The fees are used to grow the library with
even more great editions. If you cannot make the meeting and wish to
avoid the penalty, you can mail the DVD to the club address: 330 High-
way Drive, Jefferson, LA 70121. If it arrives before the meeting, and is
available for loan, you don’t pay the late fee.
June2009
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If you have any questions, comments, turning
tips, articles, photos, etc. you wish to put in the New-
sletter please contact
Jerry Markowitz at:
email - [email protected]
mail - 80295 Hoot Owl Ln
Bush, LA 70431
phone (985) 886-9616
Woodturners of St Louis Meeting will cover Chainsaw Safety and Operation
At one of the meetings, club members collabo-rated to provide an interesting round-table pro-gram on turning bowl bottoms. Several members demonstrated a variety of techniques showing examples of their design choices for bowl bot-toms
Woodturners of North Texas Demonstrations include:
Segmented Kitchen Utensils
Making an M&M Dispenser
Building a Vacuum Chuck System
Woodturners Guild of North Carolina Club member Alan Leland provided the club with a demo that gave them his perspective on de-sign and proportion.
Wilmington Area Woodturners Assoc Club president, Terry Waldron will lead a presen-tation and discussion on lathe and turning safety. This is a subject that each one of us needs to re-view from time to time, no matter of our level of experience. This seems to be a rather simple subject, but if it is possible to avoid an accident it is well worth the time.
In this column we will provide an index to the latest ar-
ticles and tips found in the various wood working maga-
zines that relate to turning.
This column provides a look into what other clubs around the
country are doing; how they are organized, what their de-
monstrators are showing, and how they are promoting wood-
turning among their members and the public
Duplicating Spindles - Part 1 by Ron Odegaard:
WTD, Fall 08, Issue19, pp66-69
Tissue Box Cover by David Reed Smith: WTD, Sum-
mer 08, Issue18, pp 20-28
A Touch of Class Jazzing Up a Hobby Knife by Kurt
Hertzog: WTD, Summer 08, Issue18, pp 34-41
Foam Ball Sander by David Reed Smith: WTD, Spring
08, Issue17, pp 15-23
What Finish for light colored wood: MWT, Jun 08, Vol
13 Issue5, pp13
Purchasing Cole Jaws: MWT, Jun 08, Vol 13 Issue5,
pp14
Turning Bowls: MWT, Jun 08, Vol 13 Issue5, pp14
The Straka Chuck: MWT, Jun 08, Vol 13 Issue5,
pp15
Turn Your Talents to Pens: Want an inexpensive way
to try some exotic woods, make some nice gifts, and
learn a bit about turning? Tim Nyberg introduces you
to pen turning: WWJ, 2008, Vol32 Issue4
Bits and pieces: Nick Agar creates a hollow bowl with
some individuality, WT, Feb08, Issue 184, pp 36-40
Aspiring to tiers: Tracy Owen makes a stacking tower
box, WT, Feb08, Issue 184, pp 48-52
Colorful collaboration: Gabor Lacko thin turns a bowl
and Patricia Spero pierces and colors it, WT, Feb08,
Issue 184, pp 56-59
Nick Arnull’s step-by-step guide to turning bangles,
earrings and pendants
George Young creates a conversation piece using the
involuted turning method,
John Berkeley creates a whirling dervish spinning top,
great for young and old,
WWJ: Woodworkers Journal WD: Woodturning Design
WT: Woodturning AW: American Woodworker
MW: More Woodturning W: Wood
WC: Woodcraft AWT: American Woodturner
June2009
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Sign Holders
Several of the New Sign Hold-
ers for the Display and Gallery
Tables
Jack Meeker
Henry Alphonso
Kaan Yayman - Cocobolo
Kaan Yayman – Thurya Burl
D Schilling - Cedar
June2009
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R.J. Marchand
Contractors Specialties Inc.
3515 Division Street
Metairie, La
(504) 888-2922
Riverside Lumber Co.
5451 Morrison Rd.
New Orleans, LA. 70126
(504) 242-6624
Craft Supplies USA www.woodturnerscatalog.com
1 Industrial
Parkway
Ponchatoula,
La
(985) 386-6079
Maire, Eddie Castelin and Joel Blazek at the July
meeting.
Jimmy Clewes rolled into town and put on the best turn-
ing demonstrations we have had to date with our guest
demonstrator series. We want to thank everyone who
was involved with the two day event at the Harahan cen-
ter. Richard Corley who put the event together, Eddie
Castelin for setting up the lathe, lighting and cameras,
Charlie Kragle for cooking up a batch of gumbo, eve-
ryone who pitched in and did what had to be done to put
this event on from setting up to cleaning up. Jimmy
turned a full 2 days demonstrating turning, tinting, twist-
ing, inlay and foil. We hope everyone who came learned
some valuable techniques to make your turning more en-
joyable. For those of you that were unable to attend or
want to see Jimmy Clewes again, Jimmy will be back in
August with the Mobile club, see John Byl for informa-
tion.
Well if that wasn’t enough we followed up Jimmy’s
weekend session with 3 days of hands on turning at the
North shore turning center. 17 turners spent all day turn-
ing with Jimmy; we all turned a goblet and a square
Headstock continued from page 1
As part of the Bayou Woodturners 10th year anniversary – each
month a photo from the Club’s first year will be featured in this
space.
10 Years Ago:
Gorst Duplessis with one of his Ornamental turnings at the
Show & Tell table (now Member’s Gallery) – June 1999
Continues on next page
June2009
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oriental box. The weather was perfect and we all had a great time
together doing what we like to do best.
June is stacking up to be another full month of turning. We will
hold our third session for newer turners and those who want to
fine tune their skills on June 6th
at the North shore turning center.
We will start at 9:00 AM and end around 4:00 or when we are
tired of seeing chips fly. We will be covering grinding, using a
roughing gouge, skew and concentrating on side grain turning.
We will also demonstrate turning pens. I would encourage those
of you that may need some help in an area to come and work
with us to hone your skills. The address is 111 Affirmed Court,
Bush, La. 70431. You can download a map at turnedwood.net.
Let me know by email if you plan on coming to either work on
your skills or help other turners in the club work on their skills.
[email protected] or [email protected]. We will have
drinks and lunch is provided so let us know if you plan to attend
for lunch.
IMPORTANT: PLEASE NOTE. Our June meeting will have a
different format from our regular meetings. This session will be
on surface enhancements and will feature three turners and no
lathe, Eddie Castelin will start us up at 9:00 AM on carving and
piercing. Next at 9:35 we will feature Keith Welsh on burning
and Joel Blazek will go on at 10:10 featuring air brush work.
These three sessions will focus on equipment used, slides and
examples of work done using the medium and a quick demo on
technique. These sessions are meant to be an overview of the
three broad enhancement methods. We will then do gallery, chal-
lenge judging (bowls) and a short business meeting. During this
time the three of us will be setting up into three workshop dem-
onstration setups These workshop sessions will all be going on
at the same time; similar to a S.K.E.W. type setup. This allows
everyone to spend as much time as they want on each area and
ask questions. This will also allow for some hands on work by
club members using the equipment we are demonstrating. If you
want to add some detail work to one of your pieces bring it along
and you can try your hand at some of these techniques.
Don’t forget we have a bowl challenge for the month of June,
use some of those techniques demonstrated by Eddie and turn
and bring in a bowl for the June meeting. We would also like to
see the pieces turned at the hands on sessions with Jimmy
Clewes, bring them in and show the club what you did with one
of the master turners.
Good Turning
Joel Blazek President, Bayou Woodturners
Headstock continued from previous page
President’s
Challenge
for June:
Turn A Bowl
Beginner’s
Hands On
June 6th
June Meeting
Surface
Enhancements
Carving
Piercing
Burning
Air Brushing
Meeting Starts
at 9:00AM
June2009
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Safety Note Here is something that I would like to share with the members of The Bayou Woodturners Club con-
cerning shop safety.
As most members of The Bayou Woodturners know I am affiliated with The Freedom Pens Project and
I am always busy preparing the pen blanks and turning Freedom Pens.
Recently I had made over 150 pen blanks out of Dymondwood wedges. These are dyed Beech and are
glued together with an acrylic cement. I get these from the scrap pile of a supplier in MO. Anyway I vi-
sited Bobby McCarley's shop where he had a new table saw and had asked him if we could cut these
wedges into pen blanks. He, of course, said yes.
When I arrived we attached a vacuum hose to the exhaust port of the table saw and then attached that
hose to the intake port of a "Cyclone" and then attached another hose to the exhaust port of the "Cyc-
lone" and then attached it to a 16 gallon shop vacuum. We thought we had made sure that all connec-
tions were secure. With this "feel good" feeling we did not use face masks.
We cut 161 pen blanks. Shortly before we finished I told Bobby that I was feeling nauseated and felt
that I needed to use his restroom as I felt that I would vomit. I was feeling fine when I got to his shop.
After analyzing my nauseated condition I concluded that we must have had a small leak or there was a
certain amount of the dust created by the blade that had escaped from the exhaust system we were us-
ing. I was as close to the saw as Bobby was but it had no effect on him. This is a classic condition that
some wood is bothersome and not others such as Cocobolo, Walnut and Spanish Cedar.
I had this nauseated feeling for about 48 hours. During this time, obviously, I did not work with any
wood. This further confirmed that the acrylic cement in the Dymondwood pen blanks had an effect on
me.
I should say that we should all be more careful with the dust and vapors we create in our shops. Some
of these dusts and vapors could be dangerous to our health.
All for now.
Joe H D Kelly
Dennis Wall presents our guest
turner, Jimmy Clewes, with a
Cajun gift basket
June2009
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On Saturday and Sunday, May 16th
&17th
the Bayou Woodturners
hosted world renowned woodturner
Jimmy Clewes.
During the two day event Jimmy
turned an Oriental Bowl with Lid
form Poplar, an African Drum Box
out of Cocobolo with an Ebony in-
sert decorated with silver wire, an
end grain natural edge vase of Cher-
ry, a twisted candle stick, a long thin
stem goblet (turned without sup-
port), and turned, colored and silver
leafed a shallow maple vessel.
Jimmy also supplied numerous turn-
ing, decorating, design, and market-
ing tips.
Oriental Lidded Box
Shaving come flying off Cherry log
Natural Edge Cherry Vase
June2009
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Long Stem Goblet
Off centered
“twisted”
candle stick
below
June2009
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The meter in your camera measures the amount of
light being reflected from your subject matter into the
camera’s light sensitive photocells. This is then used
to set the shutter speed and aperture for the photo-
graph that you are taking.
A typical scene that you want to photograph will con-
tain areas of light colors – clouds, people, sidewalks,
etc. and area of dark colors – perhaps a black shirt on
a person, or a dark red car, or a deep shadow from a
building. Each of these elements will reflect a differ-
ent amount of light back to the camera’s meter. This
can easily be seen by zooming in a dark colored object
in the scene that you wish to photograph and take a
look at what the meter settings are. Now zoom in a
light color section of your scene and again notice the
settings of you meter. They will be different and de-
pending on the color (reflectivity) of the objectives
that you focused on the settings can be very different.
Pure white will reflect back about 90% of the light that
is shone on it, Pure black will absorbed most of the light
shone on it and reflect back only about 10%. Since a
typical scene contains all kinds of colors – blue sky,
white clouds, green grass, etc. it is found that such a
typical scene will reflect back approximately 18% of
the sunlight or fluorescent light, or whatever type of
light is present.
All camera metering systems are set to assume that
the scene you are shooting is a typical scene and it is
reflecting back 18% of the light falling on the objects
in the scene.
For 90% of the photographs that we take this can work
very well.
But how of many of you have taken pictures of some-
one at a beach and have had the person turn out very
dark (overexposed) or a snow scene where the snow did
not turn out white but had a gray color cast to it (unde-
rexposed)?
The reason for this that those particular scenes where
not average scenes. Remember you meter is measuring
the amount of reflected light coming back from whatev-
er it is you are trying to take a picture of and if you are
taking a picture of someone skiing wearing a whit parka
in the snow – the camera’s metering system is assuming
that the scene is reflecting back 18% of the light hitting
it – yet the white coat and white snow will be reflecting
back considerable more of the light. Your photograph
will appear to be gray because the meter system unde-
restimated the amount of light needed to properly ex-
pose the entire scene. You would have had to override
the auto exposure and using the manual mode setting
and having the camera let in more light by adding some
time to your exposure setting or using a larger f stop.
This may seen counterintuitive letting in more light in a
very bright scene – but again your metering system is
assuming this an average scene and is underestimating
the amount of light coming into the camera.
The Gray Card
With pure white and pure black at each end of the spec-
trum with respect to the amount of light they will reflect
back – an average scene, reflecting back 18% of the
light falling on it – will be a middle gray.
If you look at the your camera’s metering settings when
you are taking a properly exposed photograph of an
“average” scene and place a photographic gray card (a
photographic gray card is a middle gray color which
will reflect back 18% of the light falling on it - available
Joel Blazek - Pecan
Photographing Your Work:
Part 2- Your Camera’s Metering Sys-
tem and the Gray Card or How to take
a Properly Exposed Photograph of
Your Work
By Jerry Markowitz This is the second article in a series on taking better
photographs of your work. Part 1 appeared in the
April Bayou Skew and dealt with file size. In the Au-
gust Skew I will discuss enhancing your digital pic-
tures using some basic editing techniques -“Part 3–
Using Photoshop Elements to Correct and Enhance
your photos”
June2009
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at any photo store or on the internet a less then $10) in
the same light as your “average” scene and zoom in on
the card to fill the entire viewfinder – you will get the
same exposure reading from your camera’s metering
system as before.
So how can we make use of this gray card?
Remember the snow scene. The one that fooled your
camera’s metering system because all that white snow
reflected back more light then an average scene and
fooled your camera to underexposed the scene and
make it too dark – i.e. gray snow. What if you had
placed a gray card in the same light as the snow scene
and zoom in on the card and took a reading on your me-
ter – remember the gray card will reflect back 18% of
the light falling on it and give your meter the proper set-
ting it needs so that it will expose the snow scene as an
average scene by adjusting the f-stop or time exposure
to let in more light.
Again this may seen counterintuitive – letting in more
light in a very brightly lit scene, but since your meter is
assuming the scene in average or middle gray it is set-
ting the exposure for a photograph that sees the white
snow as gray.
To prove this to yourself – take a bright white piece of
paper and with your camera’s metering system set on
auto exposure zoom in on the white paper to fill the en-
tire viewfinder and take the picture. Try this again with
the Gray Card, and again with a black piece of paper.
When you look at the results on your computer each of
the pieces will be gray in color. The white paper was
under exposed – too dark, the black paper was over ex-
posed (too light) and gray card – the average scene was
correctly exposed.
To correct this problem you need to add more exposure
time or increase your f-stop to the white card or de-
crease your exposure of lower your f-stop to the black
card or use the meter readings from the gray card –
the “average scene” to proper expose your “non aver-
age scenes”.
This is precisely what we will be doing to get the cor-
rect exposure for photographing our turnings because
when taking a photograph of a light colored (yellow-
heart) wooden bowl or a dark vase (ebony) we are not
taking a picture of an average scene.
White Balance
All lighting is not the same. Light from the sun, a fluo-
rescent bulb, or an incandescent lamp contain slightly
different wavelengths of light. The human brain can see
a scene under these different lighting conditions and
make the corrections so that when we walk from outside
into a building lit with fluorescence fixtures we do not
see any noticeable change. A camera on the other hand
expecting a daylight scene when taking a photographic
under fluorescent light will have a greenish tinge. Most
digital cameras have a feature that can automatically
correct for difference in lighting. It is called – White
Balance. For photography your work under whatever
lights you choose to use – it is best to set your camera’s
White Balance manually (how to do this can be found in
your owner’s manual).
John Barrios
June2009
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The photographic setup
The basic setup for photographing your work consist of
your camera, a good sturdy tripod, something on which
to place your object to be photographed, some sort of
background (preferably not a sheet – they tend to wrin-
kle easily, better is a piece of poster board/from your
local art supply store (Michaels/Hobby Lobby) better
still is seamless photographic background paper – avail-
able in rolls from a camera store) and at least two lights.
While any lights will do, from desk lights to floodlights,
if you plan to take many pictures of your work it is best
to invest in day light corrected compact fluorescent
light bulbs (CFL). Special CFL for taking photos can be
found on the internet (EZcube is one source), while
somewhat expensive they will last 10,000 hours and do
not get hot. One light should be slightly higher wattage
(Main light) then the other (Fill Light). I use a 55 watt
CFL for my main light and a 30 watt CFL as the Fill
light. This is the basic setup. As you gain experience
you may which to add a third light (back/overhead
light). A” light tent”, either one commercially available
(type “light tent” into a internet search engine and you
will get hundreds of responses) or you can make one
yourself, using PVC pipe and covering it with velum
(available at art supply stores) will act to diffuse the
light and take away the harsh shadows.
There is no one correct lighting setup that will work in
every instance. Shiny items – A bowl finished with a
high gloss, textured or carved vases, tall goblets or mi-
niature items all will require you to move your lights
around and perhaps provide some further filling of sha-
dows with the addition of placing of tin foil or a piece
of white cardboard opposite your main light to reflect
some extra light into a dark shadow.
The setup discussed below is a good starting point
that will provide you with some excellent photo-
graphs.
Using a photo tent place your Main light to one side
of the tent (about 45 deg to your camera view) and
elevated so that it is shinning the light down on the
object you are photographing. The fill light should be
placed on the opposite side of the tent and at a height
about equal to the camera at an angle just in front of
the piece to be photographed (see figure 1). The sha-
dow created by the main light should be noticeable
soften by the fill light. Move your lights around to
make sure that the object your are photographing is
well lit - top and bottom. Let’s assume that you have
your background and lights and the piece that you
wish to photograph all ready setup. The most impor-
tant piece of equipment that you need in not your
camera – but your camera’s owner’s manual. In order
to take a good quality photograph of your work you
need to be able to change the settings on your camera
from adjusting the focus, the f-stop, the exposure set-
tings, white balance, and timer functions. So get out
your manual and read it!!!. Then follow the steps be-
low to get the proper exposure setting for taking a
photograph of your work.
Once everything is setup – follow the steps below to
take your photograph:
Note: You will be using the Camera’s Aperture
Priority and Manual Modes for all the setting dis-
cussed below.
1) Turn off your camera’s flash
2) Set the “film” speed (ISO) to 100 or whatever
your lower range is for your camera.
3) Set the White balance - This is done by plac-
ing the Gray Card at the same position and
orientation as the piece you plan on photo-
graphing and zooming in so that you fill the
view with Gray Card.
4) Set your camera’s timer mode/cable release –
so that there is a small time lapse after you
press the shutter button until the picture is
taken (this will help remove any shakes with
the slow shutter speeds used).
5) Put your camera in Aperture Priority mode
and using an f/stop of f/8 or f/11 (this will
give a good depth of field) once again zoom
in on the Gray Card and note the shutter
Top-Down
View
Main Light High
+/- 45 deg to sub-
ject
Fill Light Camera Height
Just in front of
subject
June2009
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speed reading (most cameras will require you to
partially depress the shooting button to get the
camera to read the shutter speed)
6) Now set you camera to manual mode and using
the setting from step 5 set your cameras f/stop
and shutter speed, frame your subject and take
your picture. If your subject is large (deep) you
may need to focus about 2/3 into the object so
that you can get a clearly focused photograph of
the entire vessel.
7) Once you take this photograph it is a good idea
to bracket your shot – that is take another photo-
graph with the same f/stop but lower your time
one or two ranges, then raise your time one or
two ranges above what the Gray card exposure
setting indicated was the correct exposure. This
will compensate for any differences in the light
falling on the Gray and the your piece since the
card is flat and the vessel is not.
Once you follow this set up a few times and learn the few
steps that your camera requires to set the White Balance,
Manual settings, etc. you will see a marked improvement
in your picture taking.
If you have any questions or comments please let me
know –either by email or at any of the monthly meetings.
Ron D'Aunoy
Ron D'Aunoy
Bobby McCarley
Bobby McCarley
Bobby McCarley
Jack Meeker
Jack Meeker
Henry Alphonso
Ryan Byl
Ryan Byl
Kitchen Utensil Challenge (continued)
June2009
- 21 -
100 Elodie St
Directions to October Meeting
From New Orleans take I-10 heading
west to Veterans Blvd. Turn left onto
Veterans and go to David Drive. If you
don't see the K-Mart on the corner, you
turned the wrong way. Turn left on Da-
vid Dr. Go South for about 2 1/4 mile.
You will cross Airline Hwy and go over a
bridge where David Drive turns into
Dickory Ave. Be careful not to speed in
these areas, police are everywhere! You
will pass Dock Av. at the light on your
right. Dickory Ave. is only a mile long
and at the end, you will first turn right
on Gardner then left onto Hickory Ave.
Stay on Hickory for two miles. After you
cross Jefferson Hwy. at River Road turn
right and go two blocks. Turn right on to
Elodie Ave. You're just about there! As
you go up Elodie about 100 yards, you
will see a red brick building. Round the
curve and turn left into the Parking lot
marked "Enter."
June2009
- 22 -
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June Meeting:
Decorating Your Work – Air brushing,
texturing, burning, and more
Bowl Challenge
