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Spring Issue 2005 3

The ASP Magazine is the official publication of the American Society of Photographers, Inc., published four times a year for members and others for information of industrymatters, personal achievements and news of this and other associations. Acceptance of advertising, or publishing of press releases does not imply endorsement of any product or service bythis association, publisher or editor. Permission is granted to similar publications of the photographic industry to reprint contents of this publication, provided that the author and the ASPMagazine are credited as the source.

Articles, with or without photographs, are welcome for review for inclusion in this publication; however, the editor reserves the right to refuse publication, or if accepted, theright to edit and use on a space available basis. Send all communications, articles and advertising to:Editor, ASP Magazine, PO Box 1120, Caldwell, TX 77836. Telephone 979-272-5555 or e-mail: [email protected]

American Society of Photographers

Spring 2005

Departments

4 Peter Dyer2005 International Award Recipient

7 The Color of Love

by Bill Penberthy

10 Gallery of Tomorrowby Jason Smith

12 ASP Looses Two Good Men

14 Dennis Craft is the Next Elite Series Speaker

17 ASP Magazine Wins Award

18 Symbiotic

by David Bayles

Regulars6 ASP News

9 President’s Message by Jon Allyn

16 Award Winning Images by Our Members

Don Emmerich Tom McDonald Bill Penberthy Peter Dyer

4

Peter Dyer2005 ASP International Award Recipient

Peter Dyer is first and foremost a successful wedding and por-trait photographer. His London company has photographed over 10,000weddings in the last 30 years. Peter and Pam Dyer, ABIPP,M.Photog.,Cr., CPP have been happily married for 39 years and havethree children, Louise O’Gorman, ABIPP, age 35 and sons Joel 32 andNathaniel 23. Louise now has her own very successful studio in a mar-ket town 10 miles away. Joel has recently started his own photographiccompany and Nathaniel is an English teacher in France.

Peter has been working in photography every day since he leftschool 46 years ago at the age of 15. He started by sweeping thefloors, doing raw chemical make-up for photographic processing solu-tions, flat copy work, line and half tone to 20x16 negatives and makingblack and white prints up to 14 feet. He also did colour film processingof colour negative and reversal together with its quality control, silvercontrol masking of all descriptions and colour separation negatives.

He was in charge of his own department for three yearswith a subsidiary of The British Petroleum Co. From 1966 to1972, Peter was Technical Director and Master ColourTechnician with Copeland, Douglas and Dyer Ltd., working forall the big London, German and Italian advertising agencies.During this time, he worked in Kodak dye transfer colour print-ing and colour transparency duplication on camera stock withboth C and R type printing and colour inter-negatives, thus gain-ing an in-depth knowledge of all these skills.

He has been photo-graphing weddings since hewas 19 years old and in late

1972 he and his wife Pam started up Peter Dyer Photographs Ltd., special-izing in weddings and portraits.

In 1984, he was made a Fellow of Wedding Photography with TheBritish Institute of Professional Photography (BIPP) and until very recentlywas the only Wedding Fellow in London, England. His manager, ChrisHands, FBIPP, M.Photog.Cr., is now the only other Fellow.

From not knowing the Professional Photographers of America(PPA) rules, he gained his Masters Degree in just three years. In 1999 inNew Orleans, he became the first European to receive the honor andthe following year in Las Vegas became the first European to receive theMaster/Craftsman degree.

In 1993 he received his highest accolade by becoming the first photographer outside North America toreceive the Fellowship of The American Society of Photographers (F-ASP) his most cherished success, withonly 57 awarded at that time, since its inception in 1937, he very proudly wears his F-ASP medal.

At the 1998 PPA National, he received The Ross Sandal International Award for helping promote PPAinto Europe. This is the highest international award and he serves as a member of the International Committee.

Peter has qualified as an International PPA Jury Chairman. He has four prints hanging in The Hall ofFame and has recently been awarded the new PPA Award of Excellence. He has been a member of BIPPAdmissions and Qualifications Board and one of only two Europeans to be a member of the XXV (TwentyFive) – a select group of international portrait photographers.

He has twice won Best Wedding Photograph at WeddingPhotographers International (WPPI) in Groups and Couples and was ontheir advisory panel. Kodak and BIPP have used Peter’s everydayimages in their brochures, and he was selected by Kodak to representBritain at Photokina in Cologne for the launch for their new Pro-Goldfilm. Kodak subsequently used his images for their European advertis-ing campaign. He has three times photographed the National andEuropean Agfa wedding advertising campaigns.

Peter has lectured around the world and he and Pam, togetherwith Charles Green, FBIPP, M.Photog.Cr, F-ASP, love to travel andhave photographed in 40 countries. Peter has lectured many times atthe PPA National Conventions, four times at BIPP NationalConventions and twice at PP of Canada National Conventions. He hastwice given 5-day lectures at The Winona International School ofPhotography in USA,as well as two 5-dayPPSNY workshops inNew York. All of thesehad maximum atten-dance.

In summer 1996,Peter and Pam lectured in Bejing and Nanjing in China tooverwhelming appreciation, and then in Osaka and Tokyo inJapan in August 1999.

He has a genuine proven ability to motivate and trainphotographers in the art of photographing people, passing onknowledge as it has been passed to him, by photographers andtechnicians. Four of the photographers that he has trainedhave now gained their Fellowships with BIPP. He is recog-nized as a fair and excellent judge at National level in UK andin the USA. None of this would have been possible withoutthe love and encouragement of his late parents, Pam, his wifeand the many superb photographic friends who have helpedhim at every turn of his life.

5Spring Issue 2005

American Society of Photographers6

."This is Great!" "I love the small class size""My brain was on overload by mid-afternoon" and "Besides the class, thesteak at the Brewhaus made the trip tocheeseland well worth while"

These were just a few of the com-ments I heard following the first EliteSeries Program.

Don Emmerich was firing on all cylin-ders teaching a capacity crowd of 12.The class size was limited to ensure anintimate, hands-on environment withlots of personal attention. The partici-pants loved the format. They wereable to apply the techniques immedi-ately which internalized the informa-tion. As if Don's all-day Photoshopclass wasn't enough, Nancy Mickledisplayed her talents by teachingPainter the following day. (Did youknow she had 4 loan prints last year?Ya, you probably did.)

ASP Elite EducationalSeries Debuts with aBang in Wisconsin

Industry News

Kodak extends Gallery Awardsto all prints regardless of mediaor product used. It is still advan-tageous for entrants to place theGallery Award sticker (availableat www.kodak.com) on the backof images made on Kodak prod-ucts, because Gallery Awardwinners whose image was madeusing Kodak film, digital cam-eras, or printed on Kodak pho-tographic or inkjet papers willthen be elligable for the GalleryElite award and the prizes andrecognition that goes along withthat honor.

Fuji announces a new contestfor photographers. This is agreat way to increase studio vis-ibility. There are four differentcatagories; Children’s PortriatAwards, Wedding PhotographyAwards, Senior Portriat Awardsand Nature PhotographyAwards. Grand prize is a trip fortwo to Tuscany provided byClose-up Expeditions.

2006 FELLOWSHIPASP will be presenting to FELLOWSHIP to successful candidates at the ASP banquet during the PPA conven-tion in Texas, January 2006.Members already notified of being eligible in the past, should be working on theirthesis and portfolios. There are no changes in the requirements for 2006. Applications will be sent to all eligi-ble members REQUESTING one to apply. Please contact Robert Golding @ 215-423-6363 (leave a messageon voice mail) or e-mail [email protected]. OR Buddy Stewart @ 662-327-4617 or [email protected].

The names of newly eligible members should be compiled by the end of April, and those members notified.Any members knowing that as of the 2004 PPA judging, they have 15 or more merits since they received theirMasters AND became ASP members should also contact Bob or Buddy.

Deadline for the thesis will be July 25, 2005 and the Portfolio will be August 15, 2005. Judging will takeplace by September 19, 2005

You Can Help ASPGrow

You know someone who isMaster or Craftsman and is nota member of ASP. Invite themto be a member! It is only $90 ayear. And with all the great pro-grams and benefits of ASP, itshould be an easy sell.You candown load a membership appli-cation on the website,www.ASofP-online.com.

A Few GoodAdvertisers Wanted

Do you know of a company thatwould benefit from advertisingwith ASP members. Remember,the members are top of the top!They have a lot of influencewith other members. A compa-ny can advertise in the AwardWinning, ASP Magazine for aslittle as 12.5 cents per personthey can get their message outto this exclusive group of menand women. (Based on the 4Xrate of $125 for a ¼ page ad)

"The Color of Love" by Bill Penberthy M. Photog., Cr.

The subject is Pittsburghtattoo shop owner, SeanMcCarthy with his girl-friend Natalie. They arefriends of mine and I want-ed to produce an edgy por-trait of them featuringSean's tattoos and piercings.

I posed Sean first; leaninghim over a chair coveredwith his black leather jacketand then had Natalieembraced him from behind.I wanted to create as manyangles as possible that alllead back to Sean.

The only challenge Iencountered was that theyhad both dyed their hairbright colors for the occa-sion and the dye had stainedtheir foreheads.

The original image wastaken by window light onPortra 400 VC 220 andscanned for the retouchingof the hair dye, slimmingdown Sean a bit and adjust-ing the colors for maximum"pop". For presentation, Iused the predominant colorof Sean's tattoos for the bor-der around the image.

The title was easy to come up with-since there was lots of color and lots of love.

"The Color of Love" is a 2004 PPA Loan Collection Print. In local competition, it scored an 80-barely a merit.It's not a real "pretty picture", but I knew it had impact power-so thanks PPA judges for appreciating my vision.

Spring Issue 2005 7


Dear ASP Booth Volunteers and Governors,

THANK YOU!! To all our wonderful ASP State Reps and Board Members for giving of your valued timehelping once again this year by manning the ASP Booth. I would like to apologize to those who were stuckback in the print display. ASP board president Jon Allyn has spoken with PPA staff and was promised that thiswould not happen again. What a great bunch of troopers you all were. Even with many ASP members notbeing able to find us back there, you all spent many hours talking to every one who stopped by. Once we didget the booth moved out in the PPA members service section, It was great to see so many of you lend yourtime and talent helping many student volunteers with their prints.

I hope you had an enjoyable time meeting some of your fellow ASP members and meeting and talking withmany others who stop by the booth. I know I enjoyed seeing many old friends and meeting in person for thefirst time some of our new State Reps who had volunteered this year in the booth. For those who spouses helpan extra big thanks.

I know I don't have say it again but will, just how special you all are to ASP and me, to give of your time,when ever asked. It's for this reason ASP is the wonderful association that it is, due to so many of you givingof your time, talent and dedicated to helping others to reach that next level excellence.

I can't close with out saying congratulation to my little buddy. Even though he may not be tall in stature, hehas the biggest heart and always there to give of his self to all who need help. Anyone who has met ErnieJohnson I'm sure feels the same as I do. He is truly one big man in our book. ASP is very lucky to have youserve on the Board of Governors and it's an honor to call you my friend. Congrats Ernie on the PPA's NationalAward.

This Years New Orleans Booth VolunteersRandy Peterson,Cindy Romano, Rudy Foschi, Harv Goldstein, Tony Christiana Walt Klages, TMichaelStanley, Dennis Hammon, Linda Durham, Bart StevenRita Loy and Bob Golding, Al Gordon, Rick Trummer,Steve & Lorraine Bedell, Martha Dameron, Charles Swimmer, Beth Zak, Donna Goodhue, Nancy Green, TomRouse, Green, Ralph Richter, Helene Glassman, Dan Hammel, Jason Smith, Linda Smith, Jim Churchhill,Kathy Meek, John Allyn, Kalen Headerson and all our stand-by crew volunteers. Don Emmerich, BuddyStewart, Ernie Johnson, Dwight & Kay Okumoto, Randy McNeilly and Doug Loy. If I forgot to list your nameplease forgive and let me know that I did. Thank you.

Yours with a Smile, Wm Eaton ASP Booth Co-Chair

Ernie Johnson is awarded National AwardOur own Ernie Johnson, ASP Governor and State Elite Chairman was selected as the National Award by ASP. TheNational Award is given for service, above and beyond your expectations. That sure is Ernie Johnson.Congratulations Ernie!

Ernie K. started his career in photography in 1967 and opened his first studio in his home town of Tracy City. In1983 he opened another studio in Winchester and became President of Music City PPA and also earned hisCraftsmen degree, joined American Society of Photography and received the Southeastern award. In 1986 Erniebecame President of Tennessee after eight years coming up through the chairs Ernie received his first Nationalaward and 1989 Ernie Received his Master Degree. He and his wife Lorraine have taught classes at National fourtime and sever regional and states. In 1993 became a national juror and have more than 375 merits. Ernie hasworked in ASP sense 1983 and came on the board of Governers in 2002. Ernie was instrumental In putting theASP State Elite Award in 2002 and with the help of his wife they have shipped 135 awards across America at theConvention .Ernie and his wife Lorraine have a garden studio in Franklin Tennessee.

Spring Issue 2005

Did you ever wonder….

Did you ever wonder how some people arealways coming up with great new ideas,while others seem stuck in a rut? Did youever wonder how some people can alwaysfind solutions to the challenges they face,while others remain fixated on the chal-lenges? And did you ever wonder howYOU could have possibly driven all theway to the store without your checkbook -when you told yourself at least a half-dozentimes before you left, "Don't forget thecheckbook".

The answer lies in the questions you're ask-ing yourself and understanding how yourbrain interprets these questions. Let's start with the checkbook scenario, seeingthat we've all done it. The human brain is much more powerful than you or I canimage. It's estimated that we use less than10% of our gray matter. (I'm sure youcan think of several people directly responsible for bringing down that average.I'm probably one of them.) O.K. Back to business. Even as powerful as thisorgan is, it can't comprehend a very simple concept. That is the concept of a"negative". Therefore you must always ask yourself positive questions if youexpect your brain to supply you with positive answers.

For example, if you tell a child, "Don't step in the puddles". His or her braincan't comprehend the negative word, "Don't" and consequently the messagereceived is, "Step in the puddles". If you tell a child to "Stay dry", chances aremuch greater that they'll avoid the puddles. Think about times in the past whenyou said, "Don't spill that". What happened? Their brain heard, "Spill that" andpresto, you had a mess.

When it comes to getting the answers you're looking for, you better be askingyourself the right questions. Take for example the person who keeps asking,"Why am I always late for my appointments? The brain works like a super com-puter - searching its memory banks for all the reasons why that person is alwayslate. A much better question to ask would be, "What must I do to be on time formy appointments"? Now the brain will search for the solution to this questionand provide you with numerous alternatives. If you've ever asked yourself,"Why is the first quarter of the year so slow"? I'll bet you came up with severalreasons. Perhaps, its winter and people want to wait until summer to have theportraits made, or they spent all their money at Christmas, or they're waiting fortheir income tax refund, or the kids are back in school, blah, blah, blah. How areany of these answers going to help? What if you asked your brain for answers tothis question? "What can I do immediately to increase my sales during the firstquarter?

Once you start asking yourself the right questions, your brain will supply youwith a plethora of valuable answers. What you do with those answers is a topicfor another day. So, until then, think positive!Jon Allyn

9

President’s Message2004-2006 OFFICERS PRESIDENT - Jon Allyn

M.Photog.,MEI.,Cr.,CEI.,F-WPPA3120 N. Argonne DriveMilwaukee, WI 53222

414-871-6600 [email protected]

PRESIDENT-ELECT - Don EmmerichM.Photog.,MEI.,M.Artist.,Cr.,CPP.,API.,F-ASP

1324 SW 89th StreetOklahoma City, OK 73159


VICE PRESIDENT - Buddy StewartM.Photog.,Cr.,CPP.,API.,F-ASP

2305 Bluecutt RoadColumbus, MS 39705


SECRETARY/TREASURER - William EatonM.Photog.,Cr.,F-MPP2213 Randolph Street

Lake Station, IN 46405219-962-1987 [email protected]

CHAIRMAN OF THE BOARD - David L. SmithM.Photog.,Cr.,F-ASP.F-BIPP

5406 E. Mountain St.Stone Mountain, GA 30083


GOVERNORSJames Churchill

M.Photog.,Cr,.CPP.758 Pine Street

Muskegon, MI 49442231-722-7094 [email protected]

Helene GlassmanM.Photog.,Cr.,CPP

5960 Mandarin Dr. #BSanta Barbara, Goleta, CA 93117


Kalen HendersonM.Photog.,MEI.,Cr.,CEI.,CPP.,API.,A-ASP

115 North Jefferson St. Mount Pleasant, IA 52641-1934


Ernie K. JohnsonM.Photog.,Cr.

912 Hillsboro RoadFranklin, TN 37064


Kathy MeekM.Photog.Cr.,CPP.,API

125 Albert Pike Hot Springs, AR 71913


Richard TrummerM.Photog.,Cr.,CPP.,F-WPPA

3701 Country Grove RoadMadison, WI 53719

608 848-6006 [email protected]

EXECUTIVE DIRECTORDouglas A. Box

M.Photog.,Cr.,CPPP.O. Box 1120

Caldwell, TX 77836800-638-9609 [email protected]


Gallery of Tomorrow Jason H. Smith M.Photog., Cr. CPP, GFD

We all like to play on the computer don't we? Remember when you got your first version of Photoshop andyou stayed up until 2 a.m. trying to master the rubber stamp tool? Wow, those were the days, well for me any-way. Now there are some real cool programs that will enable you to create works of art. Some of my favoritesare Studio Artist, Painter, and Bryce and there are lots more where that came from. I have learned to reallyenjoy working in Bryce. In a nutshell it's a program that you can construct a world of your own and when ren-dered, it looks real. Your world can consist of almost anything you want, from rocks to trees to water to spaceto underwater to different skies, add clouds…you get the point yet?

Masters like Don Emmerich and Bob Cleere have used Bryce and were very successful in competitions withtheir creative images. This is what brought me into the world of Bryce. It's amazing that a computer can createsuch spectacular images.

How I made Galley of Tomorrow. Each year I put together a trip for a small group of photographers and we goto the Grand Teton National Park during the winter to photograph and have fun (www.pixelventures.com).After my trip January 2004 I was debating what image to use for competition. There were so many to choosefrom and all were wonderful images, so I decided to play with Bryce and see what I could come up with. Inmy mind I originally thought of 3 or 4 images with cut out people on a boardwalk of some kind viewing theseimages as if they were in a gallery on a wall then it occurred to me to do something a little different. I got onthe internet one night and started searching for Bryce galleries online and found several to get some ideas from

I then opened the rendered tiff into Photoshop and made the waves, added it to a 20x16 background and added the purple glow toseparate the image from the black background.

and then I came across one that you can downloadobjects for free. Hey, you can't beat free, can you?The object I downloaded was a spaceship and the ideapopped in my mind right then to place several ofthese in an outdoor gallery of some kind. I down-loaded the spaceship, made a few modifications,changed the colors several times on the duplicateships and that was the beginning of "Gallery ofTomorrow".

Once the first ship was completed I would then copyand paste other ships and move them back a little and

so on. Thegallery imageswere opened,cropped andcolor balancedin Photoshop. Isaved them asPhotoshopfiles andopened Bryceand importedthem as anobject muchlike the space-ship. Whenyou openBryce, it willdefault to adaytime imagewith the sunand directionof light set asif it were abright day.Everything islit well and thedetails are

incredible. If I wanted to I could have even added a

spot light to brighten each of thegallery images, but default wasgood enough for me. Once every-thing was imported I thenarranged the spaceships as if theyare in a line viewing the gallery.The images of the gallery are alllined up perfectly and the space-

ships are arranged where most ofthe image is viewable. After every-

thing is lined up and looking good I render it to thehard drive as a tiff and tada it an image. Once done inBryce I move to Photoshop to make a couple ofadjustments. I was stuck in a rut, so I consulted mydigital mentor Mr. Eddie Tapp for some ideas and hesaid that the spaceships needed movement somehow,so I used the smudge tool at a low opacity and madesome ripples in the water. I then cropped the image toa panoramic image added it to a black sub and placeda purple outer glow to separate the image from theblack background.

Not to bad for a hard day's work. As photographicartist we should all experiment with different ways ofcreating art and Bryce is one way of doing just that.Remember to have fun with your images.

Spring Issue 2005 11

This is the image that I started with in Bryce. The sky and sunposition are set at the dafault when the image was created.

I opened each of these and color corrected, cropped and then imported them into Bryce.Once imported they were rotated and placed as if they were in a row.

This was downloaded and imported as Bryce object. Ichanged the colors of each ship.

ASP Looses Two Great MenEd LobitA man I called DAD...... by Duncan MacNab

35 years ago I met a man who changed my life forever. He was caring, fun, focused on his fellow man, aproponent for the photography industry and above all, a friend. We traveled the US and overseas and hadnothing but fun times while doing what we both enjoyed, photography. I was privileged to become a“son” in this great family. I always felt that Marjie, “mom” and “brothers” Jay and Randy as well as“sister” Betty were just that, mom, brother and sister. Many a time “Dad” and I would stay up till allhours of the night discussing what ever came to mind. It could be family, the many trips we have taken, the weather, friends or whatthe hell was this new thing called “digital”.

We traveled the roads of PPA together and enjoyed being together with the officers and staff of PPA doing the best we could toinsure a healthy association. There were stumbles but we always got up and walked for the betterment of the associations we loved. Ican think of no person who was a better ambassador for our profession than “Dad”.

I can’t remember all the places that we have been........Yellowstone, Glacier, Monument Valley, Vegas, New York, Canada, Ireland,Africa, etc. to name a few where he didn’t leave his mark on the people he met. No one forgot Ed. He was the one with the infec-tious laugh, a bright smile and good words for all. He was up for any adventure and lived each one to the fullest. It was obvious athis funeral in Guymon OK, that he was well loved and respected. The obituary was not on the third or fourth page of the GuymonDaily Herald, but took up half the front page of that paper. A true tribute to a deserving human being.

I am a better man for knowing Ed Lobit and the photographic world is a better place because of him. I will miss him.... So long,“Dad”, laugh loud and often. We will hear you.

Donations may be made in the name of Ed Lobit at the International Photographic Hall of Fame in Oklahoma City.

John Howell February 15, 1915 - March 30, 2005

John was first and foremost a photographer. Whether he was on assignment at a wedding or a guest in someone's house for dinner,he was the photographer. He would get the group together for a photograph. It was his gift to them.

Before John was a photographer he was going to be a stockbroker. There was not much business for a broker in the 30s. To puthimself through university he actually bought and sold furs from trappers and ran some slot machine. He was always enterprising.After university John got a job as a "kidnapper". That meant he went door-to-door setting up portrait sittings for another photogra-pher. This was John's introduction to photography and his first partner. This other photographer was killed in the war.

It is not often that we have the artist and the businessman wrapped up together, but this was the case with John, and more. John'sthird essential ingredient was his ability to teach and train, with uncompromising standards. He trained his own photographers andmany hundreds more in his many years as an instructor at Winona. There are many successful photographers working today whoconsidered John to be their teacher and mentor. John wrote the charge to the Masters, as well as an in-depth essay on photographicprint judging some three decades ago They are still being used by the Professional Photographer's of America today.

What really epitomizes John is the fact that even in his later years, after having taught photography many years is that he would stillbe the guy sitting in the front row of a photography seminar eager to learn something new. John was always looking for somethingto inspire creativity. One of his favorite expressions was, "without experimentation the wells of inspiration dry up."

On July 30, 2000 in Las Vegas, John received the Lifetime Achievement Award from the Professional Photographers of America. Atthat time, he shared his philosophy of life and photography as he had written 25 years prior for his ASP Fellowship

John was a man of great integrity and dignity. The caliber of friends he had was truly a class of its own - people of dignity, integrityand accomplishment. He will be missed. A lovable fella he will live forever in our hearts and memories.

Evona can be reached at: 708/299-9736 or home 847/39401374



In a high-tech video phone hook up atthe PPA Imaging Convention NewOrleans, LA, Dean Collins, alongwith his family and friends, receivedthe ASP Honorary Fellowship. It wasa moving experience for everyone inattendance.

“It’s tough to see Dean like this. Hewas always so strong and robust.”, anASP member said.

Dean was weak, but seemed to beresponding to his latest treatments.Who would have ever guessed that afew days later, Dean would loose hisbattle with cancer.

Our industry has felt a great loss!

In Memory of Dean Collins

Dean Collins passed away at hishome in San Diego on February 2,2005. He was 51 years old. Dean isknown worldwide for his lifetime ofphotographic education tours, semi-nars, video education and computerbased instruction. His vision for anew generation of professionals in theworld of imaging arts was predicatedupon making the highest quality edu-cation available in the most easilyaccessible forms. With his companySoftware Cinema he ventured intonew efficient ways of delivering highquality training worldwide.

Collins was a brilliant educator whobecame one of the most celebratedteachers of photographic lighting andcamera technique. He began lecturingin his early twenties after beginninghis career at Dunlap-Tierney Studiosin the Los Angeles area, subsequentlyspending several years in Europeworking with advanced commercialphotographic studios. His audienceswere treated to sophisticated multi-

media presenta-tions that predat-ed the revolutionin digital imag-ing by more thantwo decades. Hisuncanny waywith words andhis precise analo-gies entertainedmany thousandsof photographersand designers foralmost threedecades. He wasvery effective inhis ability to sim-plify complexthoughts for any-one to understand.

In the early 1980s he foundedFinelight Publishing with partner GaryBurns and refined the publishing ofphoto lighting materials over the years,while conducting seven world tours.He was in demand as a speaker onevery continent, and was often calledupon to photograph heads of state,many of the world's best athletes aswell as some of the most famousentertainers known. He developed sev-eral easily understood methods of con-trolling light and understanding itsbehavior, single handedly raising thelevel of competency and quality amonga generation of professional photogra-phers. The lighting in his photographscaptured the attention of many. He pro-duced many hundreds of virtual semi-nars and live training "camps", as hecalled them, bringing together thebrightest teachers, the biggest brandnames in photography, and enthusias-tic crowds of practitioners in the U.S.,Europe and Asia. In 1990 Collinsbegan experimenting with electronicimaging, culminating in a very close

association with Adobe Systems forover ten years. Today, SoftwareCinema produces a comprehensivecollection of Photoshop trainingresources.

His longtime association with theProfessional Photographers ofAmerica organization culminatedrecently in the bestowal of the presti-gious ASP Honorary Fellowship forlifetime achievement. Also, previous-ly he was awarded an honorarydegree from Brooks institute by ErnieBrooks.

Mr. Collins is survived by his wifeLinda, his children Hannah and DeanJr., his mother Marie, sister Sharonand brother Kip.

A memorial foundation for the fur-therance of education in the imagingarts has been set up. For more infor-mation go to:www.deancollins.com

Dean Collins ReceivesHonorary Fellowship

Date: June 13, 2005

Cost: $199ASP Members pay only $99

The Seminar will be at Craft Photographic Gallery.

Note: If you are currently a PPA member in goodstanding AND hold one of the following degreesfrom PPA, M.Photog.,M.EI.,M.Artist., or Cr., ASPwill credit $100 of your registration fee toward yourASP dues. This means you'll become a member ofASP and receive the benefit of paying $99 for yourseminar.

To register, call:Contact: Jim Churchill studio: 231-722-7094email: [email protected] is limited, so do it today.

Watch for future Elite Series events.

Dennis Craft is the Next Elite Series Speaker

Portraying Children

Spend a day looking at children's photography likeyou have never done before. You will not only seehow Dennis works with children but you will alsolearn how to sell and market this amazing product,Children.

Photography areas to be covered will be Studio,window light, and environmental along with loca-tion photography. We will focus on attaining thesame light quality for your portraits in each of thesesettings. Composition, diffusion, and props are justa few of the elements to be covered as we learnwhat is needed to create that unforgettable portrait.

We will explore marketing,promotions, sales and cus-tomer service. This class issure to make you moremoney. Craft PhotographicGallery has spent years mold-ing a system that works atgenerating business and newcustomers without a lot ofadvertising dollars.

The best part is we will havefun. Dennis has a teachingstyle that makes you expectthe unexpected.


Continued from Page 16

It makes a more authentic watercolor effect thanPhotoshop alone. It can be time consuming andwill require some experimentation to get theeffects you like, but the results can be well worththe effort.

I start by scanning a negative at 300 dpi. I thenopen the scanned image in Photoshop and do anytouch up the scan may need.

Figure 1: Original scanned image.

Once I've done the basic clean up, I selectImage>Adjustments>Curve and make the imagelighter (in this example, approximately Input 125to Output 200). Next I add some warmth; go toImage>Adjustment>Color Balance and increasethe red and yellow (to about +60) and then go toImage>Adjustment>Hue/Saturation and decreasethe saturation for green, cyan and blue.

Next I need to add some warmth to the darktones. Use the magic wand to select shadows(on the tree, on the water, on the side of the boat,etc.) and other dark tones. SelectImage>Adjustments>Curves and drag the middleof the curve up (approximately Input 125 toOutput 180): make sure there is still some detailin these tones and that there is still contrastbetween these dark tones and the rest of theimage. With the dark tones still selected, I returnto Image>Adjustment>Color Balance andincrease the red and yellow to make these toneswarmer.

At this point I also make some edits to the photo.In this example I delete some ducks and a fewbranches near the lovers' heads using the patch orrubber stamp tool.

The next step is the most time consuming. Usethe polygonal lasso to select differentobjects in the image (the boat, the people, theleaves, water, etc.). After selecting each object,

go to Filter>Artistic>Watercolor. Adjust the brushdetail until you get the desired effect for eachobject. On harder objects, like branches or theboat, I will use a higher level of brush detail thanon soft subjects, like the leaves or water. Also, donot add any watercolor effects to faces, or theywill lose their personality. At this point, it is agood idea to resize the image to its output size.Resizing afterwards will make the Painter effectslook odd.

Use Save or Save As to save the image and thenexit Photoshop. Open the image in Painter. Thisis where the instructions get fuzzy, and it willtake some time and experimentation for you toget the results you like. Use the wet sponge andwatercolor brushes to trace over the shadows andmidtones. Make sure the opacity of the spongeand brushes is set to a translucent level (about40% or less). Use the eyedropper tool to matchthe trace color to the original color. Use slightlydifferent opacities and different sponge sizes fordifferent sections of the image. Use the spongefor large soft areas like the leaves and tree trunk;use the brush for sharper detail, like the branches.DO NOT paint over the highlights. Use Save orSave As to save the image and then exit Painter.

Open the image in Photoshop. The watercoloreffects from Painter will be incorporated into theimage. Select Image>Adjustments>Curves andlighten the image again (approximately Input 125to Output 160). Then selectImage>Adjustments>Hue/Saturation and tweakthe color until the image has the desired look.

Print the final image on watercolor paper or onfine art paper.



Little Church in the Vale by Tom McDonald M. Photog.,F-ASP2004 Loan Image

Award Winning Images From Our Members

by Paul TsangI find the difficulty with computerizedeffects is to creating a final image thatenhances the photograph withoutoverwhelming it.

This particular technique requires bothAdobe Photoshop CS and Corel Painter.Full Storyon Page 15.

Love Boat

17

ASP Magazine Wins Second Placeby Doug Box

Every year PPA has a competition for affiliate publications, websites and E-newsletters. .The Affiliate Communications Competition is designed to encourageexcellence in affiliate publications (newsletters and websites) and to recognize theindividuals who spend their time and energy editing, designing, and maintainingthese publications to keep members informed.

Four qualified judges score the newsletters and websites in the following three areas:editorial content overall appearance service to members

Category IPrinted publication of more than 12 pages, 4-color, published at least 3 times a year.

1st Place: Bill Hedrick, M.Photog.Cr., Texas PPA

2nd Place: Doug Box, M.Photog.Cr., American Society of Photographers

3rd Place: Luis Melendi, CPP, M.Photog.Cr., Florida PP

Hon. Mention:

Harriet Ahlstrom, Cr.Photog., Minnesota PPA

Bill Penberthy, M.Photog.Cr., Triangle Photographers Association

I am honored to win second, especially since this is my first attempt at edit-ing and publishing a magazine. I have several people and groups to thank;

- Bill Hedrick - editor of Texas PPA magazine and close friend. WithoutBill’s generous and unselfish gift of his time showing me how he does his magicwith the Texas Magazine, I am not sure if I would have even attempted to take onthis job.

- Don Emmerich - without a GREAT cover, would anyone even open themagazine? Each month, Don’s creative covers help make the magazine stand out.

- Hudson Printing - Connie and everyone at Hudson printing make surethe magazine looks it’s best! A special thanks to everyone who proof reads eachissue.

- The Officers and Board of Governors of ASP- thanks for your trust andconfidence in letting me take the ASP magazine in a new direction.

- Everyone who submitted articles and images - without all of you therewould be a lot of blank pages.

- Advertisers - thanks for your continued support!

- You, the readers and members - I appreciate the many emails and com-ments you sent. Your encouragement helped to keep me going and on track.

Thank you all! I continue to learn and encourage you to send ideas and comments. Ipromise to read and consider all ideas. It has been my honor to be the magazine edi-tor for ASP. Doug Box


Symbiotic by David Bayles

Photographed with a Mamiya 7 75 mm lens at Green Creek on the eastern slope of the Sierra Nevada moun-tains in California. I used Kodak T400 CN film, scanned on my Imacon Flextight Scanner. Exhibition print ison Epson's UltraSmooth paper using the Epson 7600 printer. I apply a duotone curve using the Warm Grey 10duotone.

For the past twenty years, most of my personal photography has explored our relationship to the tree. Thiswork is divided onto three tree themes. My Urban Forest work explores our emotional/intellectual relationshipto the tree. I have a series of portraits of loggers that explores our physical relationship to the tree. And last Iam working on a series of portraits that explores our spiritual relationship to the tree. Symbiotic fits into thespiritual theme.

The Urban Forest photographs were published by the Sierra Club in October of 2003. It is my first mono-graph and it is titled Urban Forest: Images of Trees in the Human Landscape.. In the summer of 2004 theCalifornia State History Museum in Sacramento will exhibit the portraits of loggers.

Symbiotic reminds me that the cycle of life/death is an integral part of spirituality. The vertical living treesbathed in a light fog juxtaposed with the dried and decaying horizontal tree. The figure relates to the tree infew visual ways. Her outstretched arms form a strong horizontal line that rhymes with the fallen log. Herstreaked hair is like the twisted grain of the log. Her closed eyes hint at the quiet, restful repose of the fallenlog. As with all of my personal work, photoshop is never employed to alter content.. It is merely a more pre-cise and repeatable tool for making prints.

Some of the photographs in this 'Tree Trilogy' may be viewed on my website. Signed and inscribed copies ofmy book are also available at www.davidbayles.com Urban Forest was selected by The Christian ScienceMonitor as one of the seven best photography books of 2003.

"David Bayles's photographs in Urban Forest speak eloquently and with a quiet intensity. The book exploresthe concept that the natural world exists not only in the wilderness, but also in our everyday urban surround-ings. These thoughtful photographs cause the viewer to pause and consider the delicate balance betweenhuman activity and the natural environment."

-- John Sexton 2003

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