February 2013 Shutterpress ver2 for print - National Photographic ...


February 2013 Shutterpress ver2 for print - National Photographic ...


Awards Edition

National Photographic Club


February 2013

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 -

About NPC

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

Amy Ansell.

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

photographic excellence.

NPC is affiliated to the

Photographic Society of South Africa (PSSA),

as well as the

Photographic Society of America (PSA).


National Photographic Club




551 January Masilela Drive (previously Genl. Louis Botha Ave) ,


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




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.




Dawid Mouton (President)

Phone: 082 565 8376; email: dawidmouton@gmail.com

Dieter de Lange (Vice President)

Phone: 083 457 7751; email: ddelange@rdlog.co.za

Malie van der Vyver (Member Representative)

Phone: 082 331 1378; email: MalievdV@tswhane.gov.za


NPC ShutterPress Magazine

Queries: admin @npcsa.co.za or president@npcsa.co.za

Website: www.npcsa.co.za

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.


NPC Admin

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;

- pensioners;

- 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)


NPC Committee


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



Member Affairs


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







072 474


Points Administration

Entry Administration

Editor of Club


Announcement of

Entries & Certificates

Gawie Jansen

van Vuuren

Gawie Jansen

van Vuuren

gawievv@tshwane.gov.za 083 258


gawievv@tshwane.gov.za 083 258


Wikus Visser wiekman.visser@gmail.com 083 376






072 474


PSSA Liaison Sarel Naude sareljnaude@gmail.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


Wikus Visser


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

currently have

• 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

General Winners

· 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.


Photographic Composition

Over the years The Digital Photography School have published many

composition tips for photographers. Here is a summary of the more

popular tips:

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

and energy.

16 18

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

and anticipation.

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

shooting angle;

• 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)


Food Photography

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


Complimenting colours

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


Mission Statement

The Photographic Society of Southern Africa was founded in 1954 as a nonprofit


PSSA aims:

• 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



- 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

photographic community.

- 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.


PSSA (cont.)


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.


Honours (cont.)

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


Photographic Salons

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.


Book Reviews

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.

Post Processing

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:

“Classical Violin”

- Morne Grobler -

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