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Pro Photo West Spring 2021

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<strong>Spring</strong> <strong>2021</strong><br />

Congratulations Mel Carll!<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California<br />

People’s Choice Award 2020


Welcome to the <strong>Spring</strong> <strong>2021</strong> Edition of <strong>Pro</strong> <strong>Photo</strong> <strong>West</strong> Magazine!<br />

I’m Kevin Karzin and I have been asked to take over the reins of the magazine. Diane Costello<br />

and I have been working very closely to get this edition up and running. I’ve got a lot to learn<br />

about the layout program but with practice and getting a few issues under my belt, I’m sure I’ll<br />

get it.<br />

I spent about twenty years working as a photojournalist, however, page layout wasn’t one of my<br />

duties, so this is new to me. I am asking you, the members of <strong>Pro</strong>fessional <strong>Photo</strong>graphers of<br />

California, to help me with articles and photographs. This is your magazine and I’d like to run<br />

stories about you and your business. What type of photographs do you produce? What do you<br />

like to do when you’re not working? What process do you use to make your images? Any<br />

gadgets that you use to make things easier?<br />

When submitting articles please follow the following guidelines:<br />

1. Your article must be in a Word document, not a PDF or other type.<br />

2. Use 12 point font, single spacing and no more than 1,000 words.<br />

3. Associated images must be jpeg’s at 4,000 pixels on the longest side at 300 dpi.<br />

I truly believe that people like looking at photographs, so I will try and run the photos as large as I<br />

can and since this is a photographic magazine, please submit images you’d like to see run.<br />

Send your images to: editor@ppconline.com<br />

Kevin<br />

ON THE COVER<br />

Mel Carll, M.Phtog, S-PPC Winning entry of the People’s Choice Award<br />

2<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


A Huge Thank You to Our<br />

www.prophotoca.com<br />

Your Support is Greatly Appreciated!<br />

<strong>Spring</strong> <strong>2021</strong><br />

3


INSIDE THIS ISSUE<br />

6 Meet Your Executive Team<br />

President’s<br />

8 Message 9<br />

Gadget Guy<br />

14<br />

Large Format is For Beginners 22<br />

<strong>Photo</strong>shop Zero to Sixty<br />

4<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


SPRING <strong>2021</strong><br />

12<br />

From the Smoker 20<br />

Meet your Affiliates<br />

26 Holi! Holi! Holi!<br />

32 <strong>West</strong> Coast School<br />

www.prophotoca.com <strong>Spring</strong> <strong>2021</strong><br />

5


<strong>2021</strong> OFFICERS<br />

PRESIDENT<br />

Jim Trapp, M.<strong>Photo</strong>g.Cr, CPP,<br />

S-PPC<br />

president@ppconline.com<br />

FIRST VICE PRESIDENT<br />

Larry Skibiski, M.<strong>Photo</strong>g.Cr, CPP<br />

firstvp@ppconline.com<br />

SECOND VICE PRESIDENT<br />

Karna Roa<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California, Inc. is a non-profit, 501(c)6<br />

trade association of professional photographers, employees, suppliers<br />

and others allied to the profession. <strong>Pro</strong>fessional <strong>Photo</strong>graphers of<br />

California offers a variety of opportunities and benefits to its Members and<br />

is one of the largest state affiliates of <strong>Pro</strong>fessional <strong>Photo</strong>graphers of<br />

America. <strong>Pro</strong> <strong>Photo</strong> <strong>West</strong> is the official publication of <strong>Pro</strong>fessional<br />

<strong>Photo</strong>graphers of California and is published quarterly for the purpose of<br />

keeping Members informed of photographic information, news and<br />

activities of the state. Subscription is included with Member dues.<br />

Articles, with or without photographs, are welcome for review for inclusion<br />

in this publication. However the Editor reserves the right to edit and use<br />

articles on a space-available basis. Materials will not be returned unless a<br />

postage paid envelope is provided. Letters and contributions must include<br />

Name, email and phone number. Send all communication, articles or<br />

advertising to the Editor. Articles appearing in <strong>Pro</strong> <strong>Photo</strong> <strong>West</strong> reflect the<br />

opinions of the writer. They do not necessarily represent those of the<br />

Editor or <strong>Pro</strong>fessional <strong>Photo</strong>graphers of California. Permission to reprint<br />

contents of this magazine is granted to similar photographic publications,<br />

provided the author, <strong>Pro</strong>fessional <strong>Photo</strong>graphers of California and <strong>Pro</strong><br />

<strong>Photo</strong> <strong>West</strong> are credited as the source.<br />

secondvp@ppconline.com<br />

SECRETARY<br />

Kevin Karzin<br />

secretary@ppconline.com<br />

TREASURER<br />

Robin Swanson, M.<strong>Photo</strong>g.Cr, CPP,<br />

F-PPC, S-PPC, CPA, CGMA<br />

treasurer@ppconline.com<br />

CHAIRMAN OF THE BOARD<br />

Diane Costello, M.<strong>Photo</strong>g.Cr, CPP,<br />

M-PPC, S-PPC<br />

cob@ppconline.com<br />

STAFF<br />

EXECUTIVE<br />

ADMINISTRATOR<br />

Mel Carll, M.<strong>Photo</strong>g, S-PPC<br />

exec_admin@ppconline.com<br />

DIRECTOR,<br />

WEST COAST SCHOOL<br />

Michelle Pennings, CPP<br />

director@westcoastschool.com<br />

6<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


www.prophotoca.com <strong>Spring</strong> <strong>2021</strong> 7


President’s Message<br />

One Team, With One Dream<br />

Here we are one year later. We all were moving along then out of nowhere, our entire business was turned upside<br />

down. The same happened to our Affiliates, as well as PPC. As I assumed the duties as your president, I knew there<br />

would be challenges ahead.<br />

You, as individual business owners and affiliate members, also had to make some challenging decisions. I would<br />

even guess some of you, halfway through 2020 possibly said, “I’m not sure if I can go on.” Some of you may have<br />

been forced to close your studio. Or, you’re even re-evaluating your purpose in this industry.<br />

This last year PPC had to make decisions that were in the best interest of its members and the organization as a<br />

whole.<br />

• We canceled <strong>West</strong> Coast School for 2020<br />

• We had to suddenly go virtual with our board meetings<br />

• We had to refocus how we were going to serve you - the member.<br />

So here we are in <strong>2021</strong> and challenges are still in front of us. There is a vaccine now and it appears that things are at<br />

least moving in a good direction. As tradition goes, the incoming President will select a theme which keeps him<br />

focused during the year. So for <strong>2021</strong>, I have selected, “One Team, With One Dream”.<br />

The dream seems easy, “get things back to the way they were”. Again, we are still faced with challenges. But these<br />

challenges can be overcome by forming a great team. We are all in this together. PPC is a volunteer organization.<br />

So, we need your help to succeed. How are we going to do this? I look at this year of <strong>2021</strong> as a three-legged stool:<br />

Education, Member Personal Growth, and <strong>Pro</strong>fessional Growth of its Affiliates.<br />

Education: PPC provides some of the best education around. At <strong>West</strong> Coast School we are pushing forward, and<br />

we have a fantastic director in charge: Michelle Pennings.<br />

Personal Growth: The California workshops will be progressing with a number of workshops that have been<br />

planned for <strong>2021</strong> helping members place more tools in their tool box.<br />

<strong>Pro</strong>fessional Growth for Affiliates: This year we will continue with the PPC Judging Academy, helping Affiliates<br />

have a strong judging panel for their members. Also for <strong>2021</strong>, PPC will move forward helping Affiliates increase<br />

the number of CPP Members through study workshops to prepare for the exams. With fingers crossed, we can bring<br />

back the PPC Convention for 2022.<br />

Each and every one of these goals is achievable with member participation. Folks that will step up and help fill<br />

committee chairman spots as well as committee members. So please, I ask as we move through <strong>2021</strong>, get involved.<br />

We are one team. So let’s make the dream happen together.<br />

James Trapp<br />

8<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


Gadget Guy<br />

by Larry Skibiski M.<strong>Photo</strong>g.CR., CPP<br />

Tripods and Other Musings<br />

Hi, I’m Larry and I’m a toolaholic. I’m also known as “Gadget Guy,” which when you stop to think about<br />

it, it’s pretty much the same thing as a toolaholic. I blame my Father for this condition. Early in life, my<br />

Father once said to me: “Son, no matter what, buy all the tools that you think you need and never regret<br />

it.” Well, maybe those weren’t his exact words, but it was something to that effect. My takeaway from<br />

that conversation is that it is always easier and more efficient to accomplish a task if you have the right<br />

tools.<br />

My Father always had lots of cool tools in the garage that he used throughout his life. He built a total of<br />

eight separate houses, each of which he and my Mom lived in at one time or another. The home I grew<br />

up in was made of adobe bricks. My Father even made all the bricks by mixing mud with other stuff and<br />

then drying them in the sun!<br />

As I approach my seventh decade of life, I realize that notwithstanding the accomplishments of my<br />

Father, my personal house building count is zero. Regardless of my thus far lack of motivation to build a<br />

house, I have still managed to amass an amazing assortment of tools. My garage had so many tools<br />

that I had to build three sheds to contain the overflow! My neighbors love it though. They can always<br />

count on the fact that when they knock on my door and ask if they can borrow one weird tool or another<br />

that I will have it in my garage.<br />

I have also accumulated way more tools than any one person needs within the realm of photography.<br />

But it’s not my fault. I blame those devious salespeople who always stalk me in the camera store, or as I<br />

walk unsuspectingly down the aisles and aisles of vendors at trade shows. They must see me coming a<br />

mile away. Maybe it’s that look on my face of “please talk me into buying something that I don’t actually<br />

need.” Darn them — they get me nearly every time!<br />

www.prophotoca.com<br />

Gitzo GT1541<br />

<strong>Spring</strong> <strong>2021</strong><br />

9


Some photography tools are too important to pass up, including a good tripod. A stable camera will<br />

almost always produce better images than one which is handheld. Every tripod, ranging from the<br />

cheapest, most flimsy, easily breakable ones from a Target or Best Buy — to options that cost thousands<br />

of dollars from a specialty vendor like Really Right Stuff, Gitzo, Manfrotto, MeFoto, and a bevy of others<br />

— will help you produce better images.<br />

The simplicity of the tripod is key; there are no menu systems to learn, no batteries needed — and they<br />

come without built-in planned obsolescence. Tripods are built on the same design concept prevalent for<br />

over two hundred years now. They are truly the epitome of a photography gadget and this “Gadget Guy”<br />

seems to have accumulated quite a collection of tripods and tripod heads over several decades. Yep, I’m<br />

a sucker for gadgets, and nothing is more gadgety than a tripod and its associated tripod head.<br />

Once you’ve decided to purchase a tripod, how do you determine which one you need? You first need to<br />

evaluate your current and future needs in relation to your goals. Then, you need to research —<br />

extensively. I have included a few links that should give you a good start. I recommend asking other<br />

photographers in your affiliate groups or posting your inquiries on social media platforms and<br />

manufacturer support blogs, to gather a wide range of info. <strong>Photo</strong>graphers love giving advice!<br />

Cameras, lenses, lighting, tripods, and a multitude of paraphernalia, are all just tools to get the job done.<br />

So, how many tools do you really need to get the job done? What kinds of tools do you really need?<br />

Those are eternal questions and must be answered by each photographer based upon where you are at<br />

in your current skills level, how much you want to further develop your skills, and perhaps most<br />

importantly, your budget.<br />

I have included in this article images of five of my ten current collection of tripods. I use them often thus<br />

justifying their continued existence in or out of my studio. Many of the models are now discontinued or<br />

replaced with new versions. Please use the links at the end of this article to obtain much more<br />

information about tripods.<br />

Manfrotto 058B Studio Tripod<br />

MeFoto C2350<br />

10<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


Accumulating my quiver tripods obviously did not happen by accident. I must have on some level been<br />

aware that I was making these purchases. However, being a gadget guy, I’m not very good at balancing<br />

my needs vs. wants. My always discerning wife, Sharon, will often ask me after a new photography<br />

doohickey shows up via UPS on our doorstep “Did you really need that?” Naturally, I say yes, though I of<br />

course know all too well, that increasing your photographic skills really has little to do with the quantity of<br />

your photography gear. On second thought, maybe I need to do a better job of hiding my UPS packages<br />

before my wife gets home from work.<br />

Gitzo GT3531<br />

RRS Versa Mk2<br />

Informational Resources:<br />

The Tripod Explained<br />

https://www.bhphotovideo.com/explora/photography/buying-guide/the-tripod-explained<br />

Tripod Buying Guide<br />

https://www.bhphotovideo.com/explora/photography/buying-guide/tripod<br />

Ten Recommended Full-Sized Tripods<br />

https://www.bhphotovideo.com/explora/photography/buying-guide/10-recommended-tripods-photography<br />

Twelve Recommended Travel Tripods<br />

https://www.bhphotovideo.com/explora/photography/buying-guide/travel-tripods<br />

How Do I Choose the Right Tripod?<br />

https://www.reallyrightstuff.com/tripod-guide<br />

Tripod Maintenance<br />

https://www.reallyrightstuff.com/tripod-maintenance<br />

www.prophotoca.com <strong>Spring</strong> <strong>2021</strong><br />

11


FROM THE SMOKER……..<br />

by Mel Carll, M.<strong>Photo</strong>g., S-PPC, BA-PPC<br />

KCBS Certified BBQ Judge<br />

So, as the temps start to rise, the BBQ/Smoker gets fired up more often. This week I decided to<br />

smoke/slow cook a ribeye steak. Nothing better than a little steak and potato to start the weekend.<br />

First thing is to make the rub. Since I am cooking beef, I am keeping the rub very simple:<br />

1 tablespoon Black Pepper<br />

1 tablespoon kosher salt<br />

1 tablespoon granulated garlic<br />

1 tablespoon espresso powder<br />

Mix all of the above in small bowl, and cover both sides of the steak, and let it sit at room temp while<br />

you get the BBQ/Smoker up to temp.<br />

I will cook the steak at a temp of 235-250 degrees. I like to cook it low and slow. Using this method<br />

allows for a super tender piece of meat. I use the Big Green Egg smoker and cook with indirect heat. I<br />

don’t want the flare ups. If you have a regular bbq, no problem. Just put the heat on one side of the grill,<br />

and put the meat on the other so as to not have the meat directly over the flames and coals. If using<br />

this method, you may want to relocate the meat during the cook, so that it cooks evenly.<br />

Note that I never cook to time. Always to temp. I like my steak medium rare, so I tend to cook my<br />

ribeyes to about 125 degrees, then remove and let stand for about 10 minutes so that the juices do not<br />

flow out of the steak when I cut into it.<br />

12<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


This cut of ribeye was about 1 1/2 inches thick and took just about 90 minutes to cook with the low and<br />

slow method.<br />

So get out…..<br />

get some stakes and get grilling!<br />

www.prophotoca.com<br />

<strong>Spring</strong> <strong>2021</strong> 13


Large Format<br />

14 <strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


for Beginners<br />

Roger B. Daines, M. <strong>Photo</strong>g, Cr. <strong>Photo</strong>g, CPP,<br />

CaM. <strong>Photo</strong>g, API, RPS<br />

<br />

<br />

www.prophotoca.com <strong>Spring</strong> <strong>2021</strong><br />

15


Velvia 50 - In Camera Effects No <strong>Photo</strong>shop<br />

Large Format <strong>Photo</strong>graphy IS For Beginners<br />

Godiva Chocolates, commissioned by a candy store.<br />

Let me start with some background. I started my career in photography in 1988 as a wedding and<br />

portrait photographer with a small studio in a business park in Escondido. I was not very good! After a<br />

couple of years, I joined the <strong>Pro</strong>fessional <strong>Photo</strong>graphers of San Diego, the <strong>Pro</strong>fessional <strong>Photo</strong>graphers<br />

of California, and the <strong>Pro</strong>fessional <strong>Photo</strong>graphers of America, all in the same week. I entered every print<br />

competition I could. I still remember scoring a 69 for my first competition wedding print! Talk about<br />

crushed, BUT the feedback from the judges was absolutely immeasurable and I continued on to<br />

gradually get better. After three years, I attended <strong>West</strong> Coast School for the first time in San Diego and<br />

enrolled in a commercial photography class for a week in Dean Collins studio, one of the best<br />

commercial photographers in the USA. I saw the light, literally, and was enthralled with commercial<br />

photography. Dean even had the renowned international portrait artist, Victor Avila, in his class who<br />

soon became a great friend and mentor to me. This class was tough, being on location sometimes at<br />

4:30 in the morning to get the “sweet light” and not finishing until late in the evening. It was even<br />

tougher for his two interns, but they seemed to know exactly what Dean needed seconds before he<br />

asked for it.<br />

I guess it was my background in engineering and surveying that drew me to the commercial side,<br />

especially the architectural photography. I phased out my wedding and portrait business over the next<br />

year and started getting commercial assignments. That’s when I got my first 4x5 large format studio<br />

camera and never looked back!<br />

There has been resurgence in interest in film and large format in the last few years. Using a large format<br />

camera, in my opinion, is a great way to learn how to use any camera. Large format is described as any<br />

camera that has a film size of 4” x 5” or larger. Large format can be as large as 20” x 24” or larger! Once<br />

you get beyond 8x10, the price of film and holders can be as much as a new DSLR camera!<br />

16<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


Why Use Large Format?<br />

Why is using a view camera great for learning the basics of photography? There are a number of<br />

reasons. To me the first reason is it makes you slow down and think about your composition; large<br />

format film is expensive so you don’t want to waste exposures. Having to decide what lens focal length<br />

you will use. On a 4x5 view camera the “standard” lens would be a 150mm or 6” lens, this equates to<br />

about a 45mm lens on a 35mm. Next, deciding what type of film; color negative, black and white or<br />

transparency film, also known as “Chrome”. Now, what ISO film do you need? You can’t just change<br />

ISO as you might with a digital camera. Once you’ve decided on the film to use, then its aperture and<br />

shutter speed decision time. Apertures on large format lenses start around f/5.6 to f/64, some are f/8 - f/<br />

45. Speeds are from Bulb or Time to 1/500. And last but not least, abundant PATIENCE!<br />

Challenges<br />

So, what are the challenges using large format, (some might say drawbacks!) It’s a large camera, not<br />

necessarily heavy these days, you need film holders; these can take up room and add weight. A few<br />

years ago, we were lucky when Fuji produced “Quickload” film and a holder. The film was already in a<br />

light tight envelope and it allowed you to take a box of 25 sheets into the field which weighed about the<br />

same as 2 film holders. Alas, no more! You definitely need a good, sturdy tripod. When you are set up<br />

and ready to go, you realize it is difficult to see the image on the ground glass; you will need a dark cloth<br />

and a loupe to check the focus. If this is the first time using a view camera, here is the kicker! What you<br />

see on the ground glass is upside down and back to front! Why? There are no prisms incorporated into<br />

the cameras or lenses with large format as there are in smaller formats such as 35mm or medium format<br />

cameras. This takes time to get used to. If you need to compose your image again, down is up and up<br />

is down, left is right and right is left! By now you’re thinking “what the heck, forget it!”<br />

Dogwood - Tmax 100 PPC “SOOC” Award 2018/19<br />

www.prophotoca.com<br />

Canyon Light PPC “SOOC” Award<br />

<strong>Spring</strong> <strong>2021</strong><br />

17


Advantages<br />

What are the advantages of large format? The camera, lens and film holder can be purchased NEW for<br />

less than a high end digital camera and they don’t go out of date after a year or so! Enlargements from<br />

properly focused and exposed film are outstanding. These days you can scan them into your computer<br />

without having to make or pay for a contact print. If you are using “P” for professional (!!?!) on your<br />

camera, then using the view camera will teach you all about the various combinations of ISO, Aperture<br />

and Speed to be as creative as you want. (I’ve always remembered the phrase “I Am Shooting” to get<br />

the sequence right; it’s now second nature to me.)<br />

I can still use roll film on my view camera AND now my Nikon D850! As long as the view camera has a<br />

Graflock back (with 4x5) I can shoot 120 rolls in 6x12 (6 exposures), 6x14 (5 exposures) and 6x17 (4<br />

exposures) all with one adaptor back. For digital I can shoot 5 vertical images in perfect registration<br />

sequence of 30 degree overlap for a 6x17 panorama on my D850 with another back attachment.<br />

With large format you don’t need a tilt/shift lens if you’re shooting architecture. By using the tilt and rise<br />

and fall on the front and rear standards you can eliminate that “keystoning” effect. Just aim the camera<br />

up or down at the object then adjust the front and rear standards to vertical. If you are missing some of<br />

the image, then you can use the “rise and fall” on these standards to bring it back onto the ground<br />

glass. Zoom lenses are not necessary for close up work as you can extend the bellows, but you will<br />

have to adjust the exposure for the bellows extension.<br />

18<br />

UCSD Library<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


Working in the studio with a view camera to get a set-up in sharp focus from front to back; for example<br />

chess pieces on a board. You can use the lens wide-open at f/5.6 and by utilizing the Sheimpflug<br />

movements for the camera everything will be tack sharp from front to back and you don’t need to flood<br />

the set with light. (More on that in the next issue).<br />

www.prophotoca.com <strong>Spring</strong> <strong>2021</strong><br />

19


A F F I L I A T E S H I G H L I G H T S<br />

CIPPA - Channel Islands <strong>Pro</strong>fessional <strong>Photo</strong>graphers<br />

Larry Skibiski<br />

President<br />

www.cippa.org<br />

Michael Mercadante<br />

Vice President<br />

GCPPA - Gold Coast <strong>Pro</strong>fessional <strong>Photo</strong>graphers<br />

Sandra Cortez Nancy Snyder<br />

President<br />

Vice President<br />

cortezphotography805@gmail.com<br />

IEPPV - Inland Empire <strong>Pro</strong>fessional <strong>Photo</strong>graphers<br />

David Schulman<br />

President<br />

ieppv.com<br />

Kim Shapiro<br />

Vice President<br />

PPLAC - <strong>Pro</strong>fessional <strong>Photo</strong>graphers of Los Angeles County<br />

Eleanor Gray<br />

President<br />

pplac.org<br />

John Powers<br />

Vice President<br />

PPWC - <strong>Pro</strong>fessional <strong>Photo</strong>graphers of Wine Country<br />

Karna Roa.<br />

President<br />

ppwc-online.org<br />

Norah Burrows<br />

Vice President<br />

20<br />

<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


PPOC - <strong>Pro</strong>fessional <strong>Photo</strong>graphers of Orange County<br />

John Aranas<br />

President<br />

ppoc.org<br />

Ana Montgomery<br />

1st Vice President<br />

PPSDC - <strong>Pro</strong>fessional <strong>Photo</strong>graphers of San Diego County<br />

Janet Bark<br />

President<br />

ppsdc.com<br />

Yaneck Wasiek<br />

Vice President<br />

PPSV - <strong>Pro</strong>fessional <strong>Photo</strong>graphers of Sacramento Valley<br />

Suzanne Hambleton<br />

President<br />

ppsv.org<br />

Kimberly Olker<br />

Vice President<br />

PPSCV - <strong>Pro</strong>fessional <strong>Photo</strong>graphers of Santa Clara Valley<br />

Roberto Gonzalez<br />

President<br />

John Gayler<br />

Vice President<br />

https://www.ppscv.net<br />

www.prophotoca.com<br />

<strong>Spring</strong> <strong>2021</strong><br />

21


<strong>Photo</strong>shop Zero to Sixty<br />

Michael Collins, M. <strong>Photo</strong>g., CR., CPP, M-PPC,<br />

S-PPC, BA-PPC, F-PPC<br />

Ok, so you want to add, remove or move an item while using <strong>Photo</strong>shop. How do I select something?<br />

Well, the answer is, “IT DEPENDS.” There are so many ways to make a selection in <strong>Photo</strong>shop it can<br />

drive you crazy. So, let’s start with an image and see what we can do.<br />

Depending on what you want to select, sometimes the “Old School” tools work the best. In Image #1, if<br />

you want to select the outside frame, the best tool would be the “Magic Wand.” You just click on the white<br />

area of the frame and the white is magically selected. The two things in the tool bar on the top to be<br />

aware of are Tolerance and the check box for Contiguous. The Tolerance is adjusted from 0 to 255. The<br />

lower the Tolerance, the less it will select. If the level is set to 10, it will only select a very small sample of<br />

the color you click on. If you raise the Tolerance to 60-70, it will select more of a range of the color you<br />

select. See Image #1<br />

Image #1<br />

For instance, if I want to select the blue in the image and Tolerance is set to 10 only a small variety of the<br />

blue will be selected. On the other hand, if the Tolerance is set to 70 more levels of blue will be selected.<br />

If you crank the Tolerance all the way to 255 the whole image will be selected, so be careful with that.<br />

When I select the white border, it will select just the white border IF the Contiguous box is clicked. If you<br />

click the Contiguous box off, all of the whites in the tolerance range will be selected. So…if it is selecting<br />

too much or too little, check the tolerance levels and see if the Contiguous box is checked.<br />

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<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


It used to be nicknamed the “TRAGIC WAND” but they have made so many improvements to it, it’s<br />

worth giving it a try again for the right job.<br />

If you are trying to select just the ball player in the photo the magic wand is not your best choice. Here<br />

is where you might step into the future with the Adobe Sensei AI (Artificial Intelligence). AI? Yep!<br />

The newer selection tools in <strong>Photo</strong>shop include the Quick Selection Tool (introduced in <strong>Photo</strong>shop<br />

CS3), the Object Selection Tool (introduced in <strong>Photo</strong>shop 2020) and the Select Subject Tool<br />

(introduced in <strong>Photo</strong>shop 21.0 – 2019). My favorite by far has been the Select Subject Tool. See<br />

Image #5.<br />

How do you get to it? You can access it several ways.<br />

One is click on Select then drop down and click on<br />

Select Subject. Or, if you are in any of the selection<br />

tools such as Magic Wand, etc. the top tool bar will<br />

two boxes on top. One is “Select Subject” the other<br />

“Select and Mask.” Click on “Select Subject” and<br />

watch the magic happen. It is NOT perfect, but Holy<br />

Moly it comes close. You may have to clean up small<br />

areas but it is much better than the pen tool for speed<br />

and accuracy. As you can see in Image 2, it made a<br />

VERY Good Selection of the baseball player. If you<br />

zoom way in you may have to add a couple of hairs,<br />

but it did great on the body of the player including<br />

the darker areas. You can take this into Select and<br />

Mask tool and clean it up quickly. See Image #2.<br />

Image #5<br />

Image #2 Image #3<br />

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But let’s say you don’t want the entire player but only the head? Can you tell it to just select that<br />

area and it will listen? Well…no, but…another tool that WILL listen to you is the “Object Selection<br />

Tool.” You can select Lasso or Rectangle from the selection in the toolbar on top. I normally have the<br />

Mode set to Lasso. To select the head, set your Object Selection Tool to Lasso and draw a circle<br />

around the head. You do not have to be precise for it to use its AI (Artificial Intelligence) to kick in.<br />

And presto, the head is selected. You may have to clean up a few hairs but it did a very fine job of<br />

outsmarting me and working faster than I could ever do. See Image #3 previous page.<br />

Another selection tool that has some use is the Color Range Selection. Go to Select then to Color<br />

Range. You can adjust the selection by using the Fuzziness Slider. The Fuzziness setting controls<br />

how wide a range of colors is in the selection, and increases or decreases the amount of partially<br />

selected pixels (gray areas in the selection preview). Set a low Fuzziness value to restrict the color<br />

range, a higher value to increase the range. It also has an Inverse box so that you can select the solid<br />

color in this case black, then inverse it to select the subject. See Image #4, next page.<br />

There is also Focus Area. You go to Select then down to Focus Area. However, I found that Select<br />

Subject was MUCH better with a good selection.<br />

These tools work way better that autocorrect on your phone. So, try them and hopefully they’ll make<br />

your life easier when doing composites.<br />

Image #4<br />

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Holi!<br />

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<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


Holi!<br />

John Powers, M.<strong>Photo</strong>g., CPP<br />

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“Holi!”<br />

Most people have a “bucket list,” even if it’s just a mental list of dreams: places to go, things to do<br />

before you die. I beseech you, you must add the Holi Festival in India to your list … and put it at the<br />

top! As photographers, when we are photographing, there is usually a purpose behind it, be it<br />

financial means, creative fulfillment, obligations, or whatever. Sometimes it’s the opportunity to give<br />

back to our community. But, every once in a while, we all need to break out and go photograph<br />

something for just the sheer pleasure and experience of photographing. No agenda, no purpose,<br />

no plan. Just shoot! And then soak up the experience, the excitement, the joy, the moment, that<br />

transpires! If you’re like me, that’s hard to do. I tend to be a very practical person. Everything I do<br />

is for a reason, and there is a reason for everything I do. It’s planned out, coordinated, and then<br />

properly executed. You hear the talk that life is a journey, not a destination. Well, I’m one of those<br />

that say if I’m going on a journey, what’s the destination? When do I need to be there? Why am I<br />

going there? How do I get there? In other words, I’m a very boring person! But even I, once in a<br />

blue moon, not only have the need but see it, too, to partake of a trip just for the experience! No<br />

agenda, per se. Usually, if I’m out taking photos, there’s a reason. In my case, it’s normally to<br />

expand my portfolio for my next book. I’m a travel photographer and that’s what I do. But<br />

photographing the Holi Festival, the Festival of Colors, is done purely for the joy of photography!<br />

Capturing the feeling, seizing the moment. This is a long-winded plea on my part to exhort you,<br />

encourage you, inspire you to get over there and experience this! Take it all in! Go!!<br />

An exuberant crowd as more celebrations take place withing the Rada Vallabh Temple in Vrindavan.<br />

Previous page photo:<br />

The colored powders being trossed in celebration within the Rada Vallabh Temple<br />

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On the streets in Vrindavan, friends take in the celebrations together.<br />

For most of us, our world of photography consists of us, the photographer, peering into another world<br />

and capturing a precise moment, person, place, and if we are lucky, capturing that special feeling that<br />

vibrates through our soul! The beauty, the excitement, the novelty of photographing the Festival of Holi<br />

is that unique experience where you actually enter into this other world that you are trying to capture<br />

and you become a part of it, immersed in its sounds and its colors … oh the colors!<br />

Depending on the year, the Holi Festival takes place usually sometime in March. It is a lunar driven<br />

event so the dates vary from year to year. For <strong>2021</strong>, around March 28 th and 29 th will be the days of<br />

highest participation. And you can experience this celebration anywhere throughout India. For myself,<br />

I went last year to what I call the heart of the celebration, to the small cities of Mathura and Vrindavan.<br />

Mathura is where the Lord Krishna is said to have been born and in the nearby city of Vrindavan is<br />

where he spent his youth. So, huge crowds gather in these locations over those several days to<br />

celebrate the Holi Festival, the coming of the spring season.<br />

The Festival of Holi, or the Festival of Colors, is a celebration representing joy and new growth, the<br />

coming of spring and the high hopes of a bountiful harvest. The throwing of colors comes out of<br />

several traditions dating back many centuries ago when it was purported that either the Lord Krishna<br />

himself as a youth or some other kings used to throw colors on to the people as a way of bringing joy<br />

and happiness during this harvest experience. From there it has grown to an outright orgy of colors,<br />

both powered and in waters, sprayed and smeared upon the crowds, all done in fun and happiness.<br />

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If you do decide to take in this amazing, spectacular experience, be sure to do your homework first. Be<br />

sure to wear clothing that you will be able to just throw away when it is all over; from the top of your<br />

head to the shoes themselves! I even wore a scarf on my head to keep some of the powders from<br />

dying my hair (what little I have!). Be sure to get a camera casing that can embody your camera into.<br />

Many companies on-line sell such equipment. Your camera will take a powdered beating so protect it<br />

well! My “bread and butter” lens is the 70-200mm 2.8 L series by Canon. I did NOT use it there. I<br />

would recommend a wide angle and a mid-range lens. Oh, and do NOT change lenses in the midst of<br />

the crowds! You must protect your sensor! Either carry two bodies with you or change your lenses<br />

down an isolated alley somewhere. One more thing, as a travel photographer, I am used to traveling<br />

on my own, usually with a guide to assist me. For an experience like this, with a little research, I’d<br />

recommend your first trip should be with a group. Let the tour guide do all the planning and<br />

arrangements and go with it. Let the travel company take care of the logistics. Once you’re on the<br />

ground, you’re pretty much on your own (always go out with a travel buddy!) so hit the streets and take<br />

your photos and let yourself be caught up in this once-in-a-lifetime event!<br />

Who knows if March <strong>2021</strong> will be safe to travel to India? No one knows yet. But 2022 is just a year<br />

away. Now is the time to plan, to save for, and to make it happen!<br />

<strong>Photo</strong>s:<br />

Left: A well-wisher emerges from the Rang<br />

Ji Temple in Mathura.<br />

Top: Several generations gather together<br />

at the Rang Ji Temple in Mathura.<br />

Bottom: Looking down on the ground floor<br />

of Banke Bihari Temple in Vrindavan,<br />

India.<br />

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<strong>Pro</strong>fessional <strong>Photo</strong>graphers of California


Pouring on the water adds to the immersion of colors, taken at the Rada Hoham temple in Vrindavan.<br />

<strong>Photo</strong>s L to R:<br />

Faces of the crown along the<br />

parade route and the exhaustion<br />

on the faces show that it was a<br />

long day of celebration.<br />

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