National Photographic Club
Best Photo Journalism Image & NPC Image of the Year
“Poverty” - Carina de Lange -
Best Mono Image:
“Dead Vlei Tree”
- Louis Lotter -
Best Nature Image:
“One giant leap”
- Gonnie Myburgh -
The National Photographic Club was founded on
17 September 1995 and was officially opened with
a ribbon-cutting ceremony on 16 November 1995
by the then President of the Photographic Society
of Southern Africa (PSSA), Frank Reuvers.
Bob Reid, Martin Osner, Mercia Osner and
Stephen Kuhn, all of the National Photographic
Academy (now the National College of
Photography) also attended the evening. They
were also instrumental in the founding of the
Club. The Club’s first monthly competition took
place in January 1996 and was judged by Reg and
NPC’s Mission is to establish and manage a
camera club where members can improve their
photographic techniques in an atmosphere of
friendly competition and constructive criticism.
NPC also aims to establish national and
international connections with a view of staying
abreast of photographic trends and to promote
NPC is affiliated to the
Photographic Society of South Africa (PSSA),
as well as the
Photographic Society of America (PSA).
National Photographic Club
HATFIELD CHRISTIAN CHURCH,
551 January Masilela Drive (previously Genl. Louis Botha Ave) ,
WATERKLOOF GLEN, PTA
Meeting Room: Note that we have moved to a new venue at the Church.
Please use the parking and entrance on the Chapel side of the main building
(January Masilela Drive Entrance) .
POSTAL ADDRESS: PO Box 12623, Hatfield, Pretoria, 0083
AS PER THE PROGRAMME ON THE NEXT PAGES, BUT AS A
GENERAL RULE, THE LAST MONDAY OF EVERY MONTH
Entry cut-off time:
off time: E-Photos: 23:55 on the Friday before
the club event via www.PhotoVaultonline.co.za.
Prints: 18h30 of the club event evening
Implication: NO entries will be accepted after this time because it prevents
the evening from starting on time and gives the print packers no
opportunity to listen to the judge’s presentation.
HOW TO CONTACT US:
Dawid Mouton (President)
Phone: 082 565 8376; email: email@example.com
Dieter de Lange (Vice President)
Phone: 083 457 7751; email: firstname.lastname@example.org
Malie van der Vyver (Member Representative)
Phone: 082 331 1378; email: MalievdV@tswhane.gov.za
NPC ShutterPress Magazine
Queries: admin @npcsa.co.za or email@example.com
Editor: Wikus Visser
Printing: Q-Photo Hatfield
Cover Image: Three springbuck at Sossusvlei - Louis Lotter
All intellectual property rights, including but not limited to copyright and trademarks vested in the
material contained in the NPC Publication, belong to the club and the relevant members and may not be
reproduced, adapted, published or distributed in any form whatsoever without the prior written consent
of the club or specific author.
Hereby a personal reminder to please pay your
membership fees if you have not done so yet. Please
note that only paid up members will be allowed to
enter photos from the April club evening onwards for
Members must pay annual membership fees.
Membership fees consists of the following:
An annual fee (R 275.00)
A once off joining fee, (R 50.00) (Only new members)
The following members are entitled to a discount of the
annual fee (R150.00 annual fee) :
- new members joining the NPC after 30 June;
- full time students; and
- an immediate family member of an NPC member
Normal submission rules apply:
- Entries per person: 4 (Max 2 images per category)
- Bonus entry: You may enter a 5th entry if it is a
print (but still max 2 images per category)
PORTFOLIO NAME E-mail Cell no.
Chairman Dawid Mouton Dawidmouton@gmail.com 082 565
Vice-chairman Dieter de
Ddelange@rdlog.co.za 083 457
Treasurer Clarinda Kugel Ckprok@mweb.co.za 082 900
Malie van der
Malie van der
MalievdV@tshwane.gov.za 082 331
MalievdV@tshwane.gov.za 082 331
Competition Secretary Dawid Mouton Dawidmouton@gmail.com 082 565
Editor of Club
Entries & Certificates
firstname.lastname@example.org 083 258
email@example.com 083 258
Wikus Visser firstname.lastname@example.org 083 376
PSSA Liaison Sarel Naude email@example.com 071 895
Please note that a new committee will be selected
during the AGM at the February club event
NPC 2013 Calendar
NPC February Club Meeting & AGM
SS - Long Exposure / Painting w Light (No Manipulation)
NPC Workshop - Dance Photography
NPC March Club Meeting
SS - Love to Live / Live to Love (Manipulation Yes)
NPC Workshop - Layers & Composites
NPC April Club Meeting
SS - Natural Light Portraiture (No Manipulation)
NPC Workshop - Food Photography
NPC May Club Meeting
SS - Food (No Manipulation)
NPC June Club Meeting
SS - Mono Abstract (Manipulation Yes)
NPC Workshop - TBA
NPC July Club Meeting
SS - Poverty (No Manipulation)
NPC August Club Meeting
SS - Shadow(s) (Manipulation Yes)
NPC September Club Meeting
SS - Beautiful blur / Motion blur (No Manipulation)
NPC Workshop - TBA
NPC October Club Meeting
SS - Macro: Getting up close & personal (Manipulation Yes)
NPC November Club Meeting
SS - Keep it simple (No Manipulation)
SS = Set Subject
PSSA 2013 Calendar
1st Midrand Camera Club Monochrome Salon
2nd Randburg Digital Salon
1st Southern Suburbs Mono Salon
2nd Edenvale Digital Salon
Limpopo Monochrome Circuit Salon 2013
3rd VPS Landscape Salon
3rd PACV AV Salon
Nelspruit-Baberton Monochrome Circuit Salon
3rd West Rand Photo Club Salon
1st SAVAS Mono Digital Salon
Beachcombers Digital Salon
Sandton 40th Anniversary Mono Digital Salon
Laeveld Digital Salon
2nd Magalies Foto Fun Club Mono Salon
Please see PSSA Website for the full PSSA Salon Calendar
Letter from the Editor
Welcome to the first edition of the Shutterpress for 2013.
May your focus in 2013 be fast, sharp and continuous!
We kickoff the new year by celebrating the various
awards and achievements our members have obtained.
For the start of the New Year, the committee thought it
good to dedicate this ShutterPress edition to getting
back to basics.
We have welcomed a number of new members in the last
couple of months, and thought it a good idea to explain
some items that might seem obvious to some.
In this edition:
• New Year, New Gear
• Kick the year off in style;
• We reveal the NPC Award winners of 2012;
• Talk about Composition;
• Tips on Food Photography;
• The PSSA;
• We talk about salons (the photographic kind);
• Review Scott Kelby’s Light it! Shoot it! Retouch
Please send your feedback on what you would like to see
in future editions of ShutterPress
NPC Member Achievements
2012 Photo & Film Expo Print Competition
Louis Lotter’s image “Three springbuck at Sossusvlei” (our cover image) won Best
Wildlife Image at the 2012 Photo & Film Expo Print competition.
FIAP Distinctions 2012
Congratulations to the following members on achieving their AFIAP distinctions from
The International Federation of Photographic Art (FIAP). Included are images as from
the PSSA Website.
The distinction "Artist FIAP" (AFIAP) is the first artistic distinction that can be
obtained. It is awarded to photographic artists whose artistic qualities,
technique and production of work have been acknowledged through the
participation in international salons under the FIAP Patronage.
New Year, New Gear
It’s the start of the New Year, you’ve seen the club’s set
subject list and you have all these great ideas. You only
have one problem: Father Christmas didn’t fill your stocking
with the latest in photographic gear that you have been
dreaming of since your weekend pass expired at the 2012
Photo & Film Expo. You decide to upgrade, but where do
you start The most common replies to this question are:
What is your budget
What will you be your main subject
Do you really need it
Unless you are going to be making money with
photography, you shouldn’t compromise on any of the
The real question probably is: how much are you
prepared to invest in your hobby
I think photography is cheaper than playing golf, but the
starting costs could be more. An entry level digital SLR
body, lens, memory card is all you need to start out. But
then you need a tripod. Or a flash. Or a longer lens. In my
short time as a photographer I have seen how easy it is to
justify a new piece of gear. But will you take better photos
If you ever have the time, do some research about Zak
Arias, with his OneLight philosophy. Zak’s insights are:
• Don’t believe buying more gear will make you a better
photographer. Taking more pictures will make you one
• Don’t buy more gear until you master the gear you
• If you can’t afford it, you don’t need it
• One light - in the right place with the right modification
- can create all the light you need.
If you have to expand your photographic kit this year, I
have three tips to help save some money.
Borrow / Hire before you buy
You wouldn’t buy a car before test driving it, right Same
principle applies – borrow the lens/flash/tripod from a
willing friend or family member and see if it meets your
expectations. Perception is a very strong motivator, and
what marketers want you to perceive of the product, might
not work in the field. If you can’t borrow it, try and rent it
from a reputable shop.
Invest in glass
The technology advances in camera bodies are such that
manufacturers are replacing them every 12 – 18 months.
Lenses get replaced less often. In monetary terms this
means that should you want to resell your gear, your
camera body will lose more value percentage wise than your
lens. If need to take your photography to the next level,
rather add a lens to your kit than a camera body.
Search the classifieds
Let me start off with a warning – watch out for scammers!
Now that I’ve mentioned the elephant in the room, there are
some pretty good deals available online or at your local
dealer. When buying a pre-loved piece of gear, try and meet
the seller in person and get a nice look and feel for the item.
Look for scratches or dents. You can even search online to
see if it was stolen (www.tagga.co.za is one website you can
use). There are some good deals if you are patient enough,
and you will be saving money in the process.
2013 Kick-off Function
On Saturday 16 February 2013, NPC hosted it’s annual
Awards ceremony in conjunction with a 2013 kick-off
function. Over the years the versatility and quality of entries
have grown that the committee decided to expand the
number of awards presented to members. This includes the
introduction of the Versatile awards as well as the Photo
Safari winners. See the following pages for the
photographer and image winners.
The venue that played host to the function was Bekker’s
Bos Lapa in Equestria. Here attending members could enjoy
a feeling of being at a bushveld boma while actually being in
the city. Old and new members alike enjoyed the sociable
atmosphere around the campfire, while grilling their choice
of protein (from steaks to schnitzels) on the braai’s
Thank you to all who contributed to and attended the
function. For those who could not make it, we hope you can
join us at the next function.
2012 NPC Award Winners
Congratulations to the following winners, whose contributions were
acknowledged during the Year Kick-off function
· Junior Photographer of the Year: Jacques Fourie
(most NPC club on 1 – 3 star grading)
· Junior Ambassador of the Year: Clarinda Kugel
(most Salon points on 1 – 3 star grading)
· Ambassador of the Year: Marguerite Vermeulen
(most National & International Salon points)
· Print Winner of the Year: Marguerite Vermeulen
(most NPC club points for Prints entered)
· Mono Winner of the Year: Nadia Jansen van Vuuren
(most NPC club points for Monochrome images entered)
· Nature Winner of the Year: Gonnie Myburgh
(most NPC club points for Nature images entered)
· PJ, PT & SP Winner of the Year: Denise Peters
(most NPC club points for PJ, PT & SP images entered)
· Pictorial & VA Winner of the Year: Marguerite Vermeulen
(most NPC club points for Pictorial & VA images entered)
· Set Subject Winner of the Year: Carina de Lange
(most NPC club points for Set Subject images entered)
· 2012 Photo Safari Winner : Pieter Cronje
(Best panel presented during the NPC Annual Photo Safari)
· Photographer of the Year: Gonnie Myburgh
(most NPC club points for all images entered)
· President’s Award: Gawie Jansen van Vuuren
(Awarded by the NPC President for exceptional service to the club)
Versatile Photographer of the Year
Club members were invited to submit a panel of up to 2 of their best
images per category, which they entered during 2012 at club events. The
idea was to acknowledge not only the best images in each category, but
also award members for their versatility over various categories. An
independent judge adjudicated the entries. Here are the selected the
· Versatile Photographer of the Year (Senior): Louis Lotter
· Versatile Photographer of the Year (Junior): Almero Grey
· Best Overall Photo (Photo of the Year): Carina de Lange
· Best Mono Photo: Louis Lotter
· Best Nature Photo: Gonnie Myburgh
· Best Pictorial Photo: Malie van der Vyver
· Best Photo Journalism Photo: Carina de Lange
· Best Photo Travel Photo: Morne Grobler
· Best Sport Photo: Marguerite Vermeulen
· Best Visual Art Photo: Morne Grobler
All winning images are shown in the hardcover of this edition of the
Once again congratulations to all the winners, and the committee hopes
that this inspires all members for the year ahead.
Over the years The Digital Photography School have published many
composition tips for photographers. Here is a summary of the more
The Rule of Thirds
The basic principle behind the rule is to
imagine breaking down the image into
thirds, so you have 9 parts (see image ->)
The theory is that if you place your points
of interest on the intersections or along the
lines that your image appears more
balanced to the viewer.
The questions to ask yourself are: where are the points of interest in my
shot, and where am I going to place them
The rule of thirds can also be broken to create powerful and confronting
images, particularly portraits where the subject is looking straight at you,
or in land-and-cityscapes where the scene is filled with symmetrical
Getting your horizons straight
We have seen many lovely landscapes
entered at the club, only to have the judge
mark it down due to the horizon not being
straight. This is an elementary mistake that
many photographers make. It makes the
viewer “dizzy” or it has them tilting their heads to view the image.
The easiest way to straighten your horizon is to line it up with the
bottom or top of your viewfinder. Some cameras have a rule of thirds
grid built in to assist you in lining up the horizon. A bubble level is also
helpful when shooting with a tripod.
Breaking this rule for landscapes is very difficult. But for portraiture or
still live, holding your camera at an angle (give your wrist a real twist!)
and purposefully breaking the rule, can create images that have drama
Give your subject space to look/move into
If the subject you are photographing looks or moves into one direction, it
is better to place them in the opposite side of the frame. The reason is
that if the subject looks or moves in a certain direction, the viewer tends
to follow that same direction. If you leave space for the subject to look/
move into, you create a natural flow for the viewer to follow.
Breaking this rule purposefully (by ignoring
the active space) can add tension and
intrigue to your image. This works well for
fast moving subjects, like planes with
smoke trails, to convey a sense of speed
Frame your shots
Framing your subject is a technique of
drawing attention to your subject by blocking
other parts of the image with something
in the scene. By doing this you will
give your image context, a sense of depth
and layers, you will lead the viewer towards
the main focus point and create a
sense of intrigue.
You can use any element in the foreground
(in focus, or out of focus) to frame
the main subject in your image. Just remember
to ask yourself if your adding or
taking away from the image. Framing runs
the risk of cluttering your image.
Photographic Composition (cont.)
Use Leading or converging lines
Using multiple lines that converge to one point in your image can be a
great technique to lead the viewers into your image. The classic example
is where you place yourself in the middle of two railway tracks and
you will see them getting closer the more you look at them into the distance.
The same effect is true for roads, stairs, fences, power lines,
pathways or other lines that run parallel into the distance.
When trying this technique, remember to experiment with different positioning,
use a wide angle lens and keep in mind where to place the
‘convergence’ point. Add some interest to the image by placing an extra
subject (like a person at the end of a pathway) at the point of convergence.
Getting your backgrounds right
Backgrounds create opportunities and problems for photographers. It
can place a subject in context or it can overwhelm and distract from the
subject. A typical example would be a nice portrait of a person, where
there seems to be a tree “growing” from the subject’s head.
Some tips to avoid this is to
• Always scan the background of the image
before hitting the shutter button;
• Move the subject away from the distraction;
• If you can’t move the subject, change your
• Use a wide aperture to blur the background
(f2.8-f4 works well)
• Use a long focal length to blur the background
• Fill your frame with the subject
• Make your own background
• And if all else fails, do it in post processing (i.e. on the computer)
Over the years The Digital Photography School have published many Apart from
photography, one of my favourite hobbies is to cook. While I’m no master chef or
braai master, I do love to experiment with food, which is usually how my photography
also unfolds. The creative processes going into both are in a way similar.
Now combining the two is a perfect pairing! May 2013 ‘s setsubject is food photography,
so here are a couple of tips I have found handy:
Light it well
Natural light compliments food well. You don’t need all the fancy lights and reflectors
that commercial photographers use, a windowsill works just as well (just
avoid direct sunlight). Never use direct flash light, but bouncing a flash’s light off
the ceiling or nearby wall could add balance to the image. If you want lovely soft
light, diffuse the light source (or window) with a lace curtain. Backlighting the
food will create a dramatic effect with hard shadows. If you have one light source
you can add reflected light by placing a white foam board next to the plate (out
of view of course) or take away some light by placing a black cardboard next to
the plate. Most important point is to balance the light. My final tip – avoid yellow
lights, as the colour cast it creates makes the food look unappetising.
Play with Perspective
Set up the shot you had in mind, and after
getting the shot try different points of view to
take your image. If you page through cookbooks
or cooking magazines you will see
which angles worked well for the dishes.
Your angle will also be determined by your
lighting setup. The three mostly used angles
are from right above, slightly above sitting
eye-level view or from the side. Explore
which angle compliments the food the best.
Remember that you don’t want any of the
other elements to compete or distract from
the main food element. Use a shallow depth
of field to keep the focal point on the main
subject. Shoot the food in portrait and landscape
Enhance the colours of the food that you want to make pop. One way is to add
props (kitchenware or side dishes) to the main meal. As with all photography you
want the focus to be on the main meal, so don’t overwhelm or clutter the image
with too much colour or props that steal the meal’s limelight.
- Red and green usually stands out on their own, so compliment it with
neutral colours like white or pastel
- Beige or taupe colours are complimented by black or grey
- Yellow or orange is complimented by blue
- Deep purples are complimented by brown or beige
If you don’t have a wide variety of cutlery to work with, remember that a white
plate is like a blank canvas. Neutral colours like wood or steel also bring out textures
in the food.
Food Photography (cont.)
Be prepared and Shoot fast
Although you should approach the subject like still life, you have to shoot fast
like during a portrait shoot. Freshly plated food has the disadvantage that it
will lose its appetising look (think melting, wilting or colour changes) within a
couple of minutes. Set up the lighting and angle setup with stand-in plates
before plating the fresh food.
Good enough to eat
One quote I heard on Masterchef Australia was when Gary, one of the show’s
hosts, gave a tip to one of the contestants – you eat with your eyes first. If it
doesn’t look good on your plate, it won’t look good on the image. Think what
element makes the dish in front of you yummy. Now focus on that and make
that the main attraction. You have to present, light, prop and compliment it so
well that you leave the viewer hungry. Adding some oil to the food will make it
look juicier and fresher as the light will reflect off the shinier surface.
Take a bite or add a human element
“Messing-up” the dish by taking a bite or showing a human hand holding, say, a
spoon, will add interest. You can create a story by adding a moving hand, drips
of gravy, breadcrumbs or splattered flour. A half-eaten plate of food can also
look more appetizing than a plated still life. If you are working in a team, try and
get some work-in-progress shots (you know, to test the lighting) – you’ll be
amazed at some of the results.
Quick technical tips:
- Use a tripod to ensure your images are as sharp as possible
- If you can use a macro lens, but a 50mm prime will work as well
- Use manual focus to ensure the area you want in focus is indeed
- Use your histogram to ensure you don’t blow out the whites
- Shoot in RAW if you can to make tweaks in post-production
All images sourced from www.buzzfeed.com ‘s 50 best food photography images
The Photographic Society of Southern Africa was founded in 1954 as a nonprofit
• to bring together all people interested in photography;
• to promote the highest possible standards of photography;
• to promote the interests of photography amongst all its members.
PSSA represents its members and fosters their interests at all levels.
What is PSSA
The Photographic Society of Southern Africa is the officially recognised Body
representing photographers in Southern Africa. It is the South African
equivalent of the Photographic Society of America to whom it is affiliated.
PSSA is an autonomous Society and through its affiliations affords members
contact with the international affairs of photography. PSSA aims to weld
together the photographic and associated efforts of individuals and clubs into
one strong unit.
The Society is recognised by Government though the Performing Arts
Council. It is consulted on aspects affecting photography in South Africa as
well as being able to negotiate protection and exemption for photographic
clubs and members. The Society monitors and censors images deemed
unfit for public viewing. PSSA provides medals to and participates in the
organisation of National and International Photographic Salons. Honours
are bestowed and awards made by the Society. These titles and honours are
respected throughout the world. A Photographic Congress is staged each
year in conjunction with the Annual General Meeting of the Society. This
affords photographers a platform to meet fellow photographers and hear
speakers who are recognised as leading authorities in their particular fields.
The Society is controlled by a Board of Directors elected by the
BENEFITS OF JOINING PSSA
- PSSA creates and upholds the highest possible standards and ethics in
the discipline of photography.
- PSSA keeps the individual in touch with the South African photographic
- Through affiliations, members have contact with the International
- The PSSA subscription includes a quarterly glossy A4 magazine “IMAGE’
- In the months between the published magazine, an online newsletter
keeps you informed and up to date on PSSA and members’ activities.
- Publish articles and/or display your images in “IMAGE”
- Communication through PSSA’s exciting website.
- Evaluation of members’ photographs on the website.
- Learn new skills through workshops, tutorials and training DVDs
- PSSA members have the opportunity to apply for nationally and
internationally accepted Honours and Awards.
- Further your participation in photography with the opportunity to evaluate
and judge photography by attendance at “Judging” workshops.
- As a member enjoy discounted rates at PSSA Congresses and
Conventions as well as National and International Salons recognised by
- Through National salon successes and achievements, members can
participate in an Impala Trophy for the top ten awards and if a member of a
photographic club, the top club awards.
- Diamond Rating achievements are awarded to members who achieve
successes at National and International Salons
- PSSA offers awards for service and excellence in photography.
The Judging Accreditation Programme (JAP in short) is an effort initiated by
PSSA to help members become more proficient photographic judges. As a
photographic society, one of our most important roles is to nurture and
encourage photographers at all levels to increase their knowledge and
Judging is and always will be subjective; the intention is not to train a series
of clones but for judges to see photographs with an open mind and against
the background of an awareness of the larger world of art and photography
beyond the limits of the club.
This year the PSSA National Congress will be held in St. Lucia in KZN from
22-27 September. We hope to bring you more about the congress in the next
edition of the ShutterPress.
Honours (as per PSSA Honours manual)
There are various acknowledgements the PSSA awards to applicants in
recognitions of photographic skill and achievement. They are known by their
acronyms as LPSSA, APSSA and FPSSA.
Licentiateship: The LPSSA is the entry level Honours and is awarded for
a high level of basic skill and competence. Based on the PSSA club judging
summary the LPSSA standard is that of a Gold Award in the 3 Star
club grading in a relatively strong club. The applicant must hold a 1 Diamond
Rating in Digital.
Associateship: The APSSA is awarded for a high standard of technical
skill, competence and creative ability. This award recognizes a high standard
of achievement in the art and science of the medium and is awarded
in recognition of work of a good aesthetic and technical standard. The applicant
must already hold a LPSSA in digital or must have been awarded a
3 Diamond Rating in Digital.
Fellowship: The FPSSA is awarded for excellence and distinguished ability.
The Fellowship recognizes a high standard of achievement in the art
and science of the medium and is awarded for excellence. The applicant
must already hold an APSSA in Digital.
In the interest of consistency and fairness to both applicants and PSSA,
the process of assessing Honours panels will be run under a pilot scheme
for the next two years whereby a single panel of twelve judges will meet to
judge all the print, slide & digital applications for LPSSA, APSSA &
For more information please visit www.pssa.co.za
Entering a salon, or even knowing what it is when just starting out in photography,
could be a daunting task for many photographers after joining a club. But it doesn’t
have to be. Here are a couple of questions and answers set to guide you through the
What is a photographic salon
A photographic salon (or just “salon” when talking in photographic terms) is an event
where a photographic club invites photographers to compete for acceptances by
submitting images in specified categories with an entry fee required. There are no
prizes to be won, but entrants will compete for acceptances, Certificates of Merit and
medals. Clubs usually organise a salon to generate revenue and to promote the club,
a specific photographic genre or photography in general.
Why should I enter
At NPC, as with most clubs affiliated with the PSSA, members require a certain
number of points (earned by entering images at the club event) to advance to the next
star grading. By entering images at club level, junior workers ( 1-3 Star) measure
themselves against other NPC members. When NPC members reach a 3 Star
grading, they are required to obtain XXX National Salon acceptances to advance to a
4 Star grading, or XXX National Salon acceptances to advance to a 5 Star grading.
Junior workers are, however, encouraged to start entering salons as soon as
possible, but salon acceptances are not compulsory for advancement. The
requirement to obtain salon acceptances at a higher star grading aims to challenge
NPC members to measure themselves against other photographers on a National
level and thus not only improving their own photography, but also the National
photography standard. Members usually have an option to buy a catalogue (either on
disc or paper copy) to view images that received acceptances. This is worthwhile to
use as yardstick for your entries.
How do I enter
The entry mechanism is set out in the Salon guidelines. Most digital salons affiliated
to the PSSA can be entered via PhotoVault, which makes managing your entries very
What images should I submit for a salon
The criteria set out in the NPC guidelines for submitting images are exactly the
same criteria used for the submission of images in the salons. If the image is
nice and sharp, correctly cropped, contains a good measure of composition and
is correctly exposed, you have a good starting point. A good starting point would
be the images that received a Gold award at the club event. Just note that salons
receive thousands of entries, with only 25% to 30% receiving an acceptance.
An image with good but unusual composition should create a wow-factor,
ensuring you stand out from the rest.
How many images may I enter in a salon
Entrants are usually not allowed to enter more than 4 images per salon category.
Please refer to the salon guidelines for entry restrictions.
How does the Salon Scoring work
The PSSA guides clubs (via a Salon Director guide, available in pdf-format on
the PSSA Website) with regards to the points for acceptance to a salon. Each
image should receive a score value between 6 and 15 (inclusive) which, in effect,
gives a scoring range of 10. Anything lower will be disqualified. A score of
6, 7 or 8 usually indicates that the image did not meet the standard the judges
are expecting; a score of 9 or 10 could be borderline cases for acceptances; a
score of 11, 12 or 13 usually indicates an acceptance while a score of 14 or 15
could qualify for an additional award. The top 25%-30% of entries will receive an
How many times may I enter the same image
At NPC you may enter an image at as many salons as you like, but after the
same image has been accepted more than three times the points do not count
for your promotion credits.
Light it! Shoot it! Retouch it!
Author: Scott Kelby
Scott Kelby’s latest photography book
(okay, it’s the latest on my shelf, but has
been around for almost a year), totally
Why should you trust Scott’s insights Scott is the Editor and Publisher of Photoshop
User Magazine; President of the National Association of Photoshop Professionals
(NAPP); CEO of Kelby Media Group; author of best selling technology
books (like this one); co-host of PhotoshopTV, and the list goes on. Bottom
line – when it comes to photography, he knows what he is talking about.
Why is this book special For me it all lies in the layout of the book and how it
is presented. Out of the 13 chapters in the book, 12 show you a completely
different lighting setup. Before I break it down, here are the contents of the
• Chapter 1: Clamshell Lighting (3 Light Classic Beauty Setup)
• Chapter 2: High Contrast Lighting (2-Light Edgy Setup)
• Chapter 3: Dramatic Glamour Lighting (2-Light Dramatic Setup)
• Chapter 4: Lens-Flare Lighting (3-Light Lens Flare Setup)
• Chapter 5: Using Ring Flash for Fashion Lighting (1-Light Ring Flash Setup)
• Chapter 6: Edgy Lighting (3-Light Sports Setup)
• Chapter 7: Full-Length Fashion Lighting (1-Light Full Length Setup)
• Chapter 8: Soft Glamour Lighting (1-Light Home Interior Setup)
• Chapter 9: Fashion Side Lighting (2-Light On-Location Fashion Setup)
• Chapter 10: Lighting for Composition (4-Light Sports Composite Setup)
• Chapter 11: Dramatic Side Lighting (1-Light Dramatic Setup)
• Chapter 12: 1940’s Hollywood-Style Lighting (2-Light Beauty Setup)
• Chapter 13: If You Use Hot Shoe Flash Instead…
Each chapter is divided in four sections: Set Up; Gear Guide; Camera Settings;
and Post Processing.
The Set Up
This section will immediately show
you why this book takes lighting set
ups to the next level. Scott goes one
better than hand-drawn set-ups or 3D
-diagrams. In “The Set up” you will
see multiple angles of behind the
scenes photographs, so that you can
get the exact position of the light
modifier used, as opposed to the
guestimates of using hand drawn or 3D-diagrams.
Gear guide & Camera Settings
Scott goes to great lengths to show you all the gear he used for each section,
as well as the settings for each piece of gear lighting and camera gear. But
you don’t have to copy cut and paste settings. You can use them as a great
starting point to experiment with. And if you don’t have the big fancy lights
Chapter 13 is devoted to people who shoot with speedlights. See, now you
don’t have an excuse not to shoot great portraits.
Each chapter ends with this section that shows the out-of-camera image, and
covers the editing involved to get it ready for print. This will add that extra
“punch” to your portraits, and show you some tricks of the trade that many
people use for editorials.
To wrap it up
This book is very informative, great in detail, and creates the believe that
shooting great portraits is just a few steps away. I highly recommend this
book to anyone who wants to improve their photographic skills.
Price at time of writing:
Amazon - $25 (paperback); $18 (Kindle)
Kalahari R300 (paperback); R341 (e-book)
All images & artwork copyrighted to Kelby Media Group
On the web:
This is by far one of nicest websites to navigate around. It’s
a good all-round website, full of how-to tutorials, inspirational
photos, breaking industry news and in depth gear reviews
and quite a comprehensive buying guide.
The site was originally created to partner the magazine
Popular Photography (available at leading literature outlets).
But with the evolution of digital media, this site has grown to
such that you can now get digital subscriptions to your tablet
or e-reader of choice.
You might want to buy some more airtime for your 3G card,
or get an ADSL line, as you will get lost (by choice) on this
very informative site.
(Ed - Great variety of photography subjects to read up on)
On the web:
Digital Photography School
If you Google anything that has to do with photography, you
are more than likely to find this site on one of the first
pages of the search engine. The site was started in 2006
by Darren Rowse, a highly respected photographer and
blogger. Since then it has reached almost a million
There is a reason why so many keep coming back to the
site, and it’s because of the content. DPS is a community of
photographers of all experience levels that get together
online to share, learn and grow in their understanding of
With a great number of guest writers (and more being
invited as photography evolves) there is almost nothing
that isn’t covered on this site.
Club Entry Rules
General entry rules
Except for submissions under the Visual Art category, no
electronically added text or wording may appear on an image.
Only members whose club fees are paid up may enter images.
All elements of an image must be the exclusive work of the
member submitting the image.
All electronic post capture processes and digital manipulation
must be done by the member submitting the image.
Specific rules on the submission of a print
Every print must be clearly marked on the reverse side at
the bottom left hand corner with the authors’ name, photo
title, category and star level.
Prints must be mounted on a mounting board.
Print size may not be less than 203 x 254 mm (8” x 10”) or,
including the mount, more than 406 x 508 mm (16” x 20”).
Prints must be submitted together with an entry form 15
minutes before the published start time of the meeting
Specific Rules for submission of e-images
Landscape (horizontal) images must be resized to 1024
pixels on the horizontal axis and 768 pixels, or less, on the
vertical axis with a resolution of 72 pixels per inch.
Portrait (vertical) images must be resized to 768 pixels on
the vertical axis and 768 pixels, or less, on the horizontal
axis, as shown in the following diagram.
The JPEG file format must be used.
Final file size may not exceed 500kb.
Frames or borders are acceptable in all cases and may be
included or omitted based on the preference of the author.
Images must be submitted electronically by 23:55 on the
Friday before the club event via PhotoVault
Best Photo Travel Image:
“Tides are changing”
- Morne Grobler -
Best Sport Image:
“BMW S 1000 RR”
- Marguerite Vermeulen -
Best Pictorial Image:
“Red Yellow Blue”
- Malie van der Vyfer -
Best Visual Art Image:
- Morne Grobler -