February 2015 - Crystal Lake Camera Club

Crystal Lake Camera Club Newsletter
Serving Crystal Lake and surrounding communities since 1980
February, 2015
Year 2014-2015, Issue 6
Presidents’ Column
CLCC Links
So you finally joined a Camera Club.
Presidents’ Column
February Seasonal Image
Sports Illustrated Layoffs
CACCA Presentation Review
February Iconic Picture
Tip of the Month
Links of the Month
Between You and Your Subject
Member Focus - CACCA Winners 5
Lincoln Funeral Train
CLCC Photography Class #3
Editor & Feedback
Help Wanted & Opportunities
Charts & Statistics
Calendar of Coming Events
CLCC Officers
(September, 2014 - August, 2015)
 Co-Presidents :
Al Popp
Chuck Rasmussen
 Vice President :
Peter Pelke II
 Secretary :
David Jilek
Treasurer :
Larry Swanson (Acting)
Cool! But why did you join?
What is it you want from being a member? How to use a camera, or understand the “Triangle” (shutter – aperture –
ISO)? Create incredible prints on your own? Maybe learn how to edit photographs so they look like the ones printed on
your calendar hanging in the kitchen? What is the “IT” that you are looking for?
Cameras are everywhere today. Their ability to take a great exposure (not necessarily great photographs) and video with
little or no effort almost makes them part of our anatomy. They are connected to us. They are small, convenient and
almost invisible. They are always close by.
Photography is like anything in this world. In order to get better at something, you have to put in the time and work to
become proficient at it. Camera manufacturers and developers certainly try to make life easier for us, but it always comes
back to understanding the basics of what you are trying to learn. If you don’t have the foundation and don’t know the
principles of something, how can you possibly grow and become good at it? Brain surgeons don’t go buy a scalpel and
textbook, and then go to work. They train and continuously study to advance their professional skills with hard work and
As photographers, we are very fortunate. Not only can we photograph what we enjoy taking pictures of - we have volumes of resources available to us to better understand how to turn that average photograph into a great photograph. We
can enjoy quiet time at the computer as we research anything we want to know about photography. Or, we can settle
into a comfy chair and read our favorite photography publications. We can sign up for a class and get hands on experience and, if funds allow, receive one-on-one training from a qualified pro.
But after all the computer time, reading and class work, what happens next? Do you take that new information to the
next level and actually go out and PRACTICE?
Looking around, and without a whole lot of searching, you can easily find every aspect of photography you wish to learn
something about. You can go to websites like YouTube or Adobe, or read magazines, or simply ask a friend. There are a
multitude of resources available. Then take your camera along when you go out. Do you take a picture everyday? Do
you practice? Have you tried that “Manual” setting yet? Did it work well?
We all have limits. That’s why there are athletes, great athletes, and “Hall of Famers”. All of us reach plateaus during the
learning process. We stagnate and get stuck trying to figure out how to climb that next step in the process. As the frustration grows, uncertainty manifests itself. Then in the blink of an eye, there is an “ah-ha” moment. Our brains finally
grasp the concept and we feel terrific and energized from finally understanding the process.
The facts that we have a wealth of information available, and that we are part of a camera club that promotes education,
means nothing if we don’t go out and try what we have learned. Practice helps us totally understand the principles. This
is how we get better. Put enough work into it so you sweat, grimace and cringe every so often from the effort.
Nothing is free - but when that magic moment arrives and you see the fruits of your labor in that super print you created,
it makes it all worthwhile. Now go PRACTICE, and become a “Hall of Famer”. Have fun!
Chuck & Al ◊
CLCC Support Staff
Congratulations to club member Sandy Wittman who submitted
Newsletter Editor: Rich Bickham
Webmaster: Sandy Wittman
CACCA Delegate: Lyle Anderson
CACCA Co-Delegate: Royal Pitchford
Facebook: Mario Salazar
Bookkeeper: Maureen Harris
Hospitality Table Host: Mariela Ryan
Newspaper Publicity: Roger Willingham
Competition Mats: Jeff Chemelewski
Meeting Refreshments: Larry Swanson
this month’s Seasonal Image of the Month “Hyde Mill”, taken near
Dodgeville, WI.
The front page picture (Seasonal Image of the Month) of the newsletter will be chosen from entries received from club members. Your
entry must be received by the newsletter input deadline. Email a jpg
image to [email protected] with the subject line “Front Page
Image Entry - Month” where Month is the intended newsletter issue
month. The picture should have a seasonal theme. - Ed ◊
Hyde Mill
Sandy Wittman
February, 2015 Page 1
“From Snapshots to Great Shots”
Rich Bickham
The trend of the media dumping staff photographers continues.
On January 22 it
was announced that the popular sports weekly Sports Illustrated (SI) will lay off all
six of its staff photographers, effective in March (they will still shoot the Super
Bowl). The six photographers are Robert Beck, Simon Bruty, Bill Frakes, David E.
Klutho, John W. McDonough and Al Tielemans.
According to Brad Smith (SI Director of Photography) “Unfortunate economic
circumstances are such that it [SI] has cut the six staff photographers.", but added
that all have contributed to the success of SI and hopes they will continue to submit
their work to the magazine using the new process if they so desire. Below are
examples of their work. ◊
Grace Moline
On Saturday, January 10, 2015, I attended the free presentation on Travel &
Street Photography at the monthly CACAA meeting. Professional photographer
John Batdorff, an easygoing and relaxed guy, started his presentation talking about
the importance of planning before going out to shoot. Such things as making a
shot list, googling images from the area where you’re going, thinking about best
light and time of day for your shots, choosing equipment wisely (such as traveling
light for street photography & grouping tripod shots) and finally, creating goals.
Googling images wasn’t something that I had thought of before. That way - you
can see what has already been done and think of how you could do it differently.
The main thrust of his talk and slideshow was how to make shots original and
different from others. The tendency of most people is to look straight ahead. In
talking about point of view (POV), Batdorff suggested changing your POV by looking up, down, backwards, sideways and often changing your position to do so - get
down on the ground, go up high for a downward view or angle your camera differently.
Al Tielemans
David Klutho
When traveling, think about what pictures would convey the local flavor of the
country or area. In New Orleans Batdorff shot a grouping of pictures of beignet
workers gathered together. Another way to look at that is to look for local social
commentary. A photo that he shared was an art installation that said MAD and off
to the side, you could see a homeless man lying on a bench.
Batdorff also discussed shooting pictures of homeless people. He said that generally he never does unless it is under special circumstances such as the shot described above (where it was a unique situation). He asked us to check our ‘moral
compass’ when taking such pictures.
One of Batdorff’s recommendations for taking pictures in a high traffic area is to
set up your camera on a tripod and take a long exposure such as five seconds or
more. With your focus on the building or site, moving people in the foreground
becomes ghost images and won’t take away attention from your main focus.
Robert Beck
John McDonough
When taking shots, look for juxtapositions of people and places that are interesting. It could be a store window with mannequin faces staring out at people walking alongside of the building staring straight ahead like the mannequins. Polarizing
positions are also of interest to Batdorff - the push-pull of a situation. They often
have humor. The shot he used was a woman looking out the window in one direction and a man standing there with his dog on the leash looking in the opposite
direction while his dog tries to pull him in the direction that the woman is looking.
Another point in street photography is the need to be fast and non-obvious so no
tripod or large camera should be carried. Your shot may not technically be the
best but it’s what you’re taking.
Your photo can be changed by how you frame it. The photo Batdorff showed was
a shot taken from underneath a bridge so the arch of the bridge became the
frame. Another decision you have is whether to freeze the action or show movement (depending on your shutter speed) when creating the picture you want. The
use of color is also important.
Batdorff prefers bad weather for his better shots. When it rains, he goes out to
find reflections. You might catch a glimpse of a building in a puddle to get that
picture that is not the usual image. The light is better when it’s cloudy. Of
course, to get the best light (the golden light) get up early or take pictures before
sunset. Unfortunately when traveling you don’t always have the luxury of when
you can shoot. Don’t discount midday sun because you can still take pictures in or
of shadows. Staying out late will also give you interesting shots.
Simon Bruty
In street photography it is important to stick with the shot. Someone may be
approaching you and it could be a good shot, but so might the profile picture with
a different background or that person leaving might be even better.
One more consideration in street photography is whether to engage or observe.
Engaged photos become more posed while observing is more authentic. Ask
yourself if you enter a person’s personal space, will you change their behavior. If
you get ‘busted’ taking a picture by the subject person, be kind, smile and give a
compliment but stick with the shot. If they ask you to delete the shot, do so without argument.
To check out John Batdorff’s work, go to the Portfolios section of his website at
http://johnbatdorff.com/ .
Bill Frakes
John also teaches small classes and workshops, and can be hired for mentoring.
His studio is in Chicago but as John shared, he’s from a small town in Michigan so
he is very laidback. ◊
February, 2015 Page 2
Rich Bickham
The year 1964 began with America’s psyche at a low point.
Both old and young
were disillusioned as a result of the assassination of President John Kennedy the
previous November.
Those of the “Greatest” and prior generations resigned themselves to sadly accept
what had happened and carry on with their responsibility-filled lives. Roughly the
first third of the “Baby Boomer” generation* saw what appeared to be a bright
future for them and the United States, led by a youthful (by presidential standards)
Kennedy only two months prior, suddenly destroyed. They were restless and left
wanting, looking for, and waiting for something. What is was, they could not say.
In 1963, rock and roll in the United States was into its third decade. It was mainly
comprised of catchy, silly songs, romantic ballads of young love, and predictable,
loud, rhythmic music played on top forty AM radio stations and teenage dance
shows on television. One might characterize it as being in a rut. Nearly all of it
that aired in the United States was recorded by American soloists or groups.
The mood in America after World War II was upbeat. Given a victory in a war
not fought on American soil and that pulled the country out of the Great Depression, returning soldiers started a new life, raising a family in an upbeat environment
with a promising future. Meanwhile the situation “across the pond” was different.
Europe was left to pick up the pieces of a war that devastated a large part of the
continent, both physically and psychologically. The future was uncertain, breeding
restlessness among the young much earlier than the post-Kennedy environment of
early 1964 America. The rock and roll music scene in post-WWII Europe had its
roots engrained in blues and jazz and developed differently than American music.
It a had a unique style of its own. However, it had no significant outlet to the
American audience. Little of it aired in the United States.
In January of 1964, that changed big-time. While making connections in London’s
Heathrow airport, Ed Sullivan encountered a throng of young people wildly greeting
a group of long-haired musicians called The Beatles as they returned to England
after a concert in Sweden. It reminded him of the Elvis Presley phenomenon in the
United States in the mid 50s. Then and there he decided to book the band for his
Sunday night variety show, as he had previously done with Presley nearly a decade
earlier. In February the Beatles made their American network television debut.
Submitted by Angela Whitney
Angela currently works with students in a new video and photography club she
holds in an after-school program in Colorado. Matt and Adam, who are two of her
students, found the following link about the history of cameras and photography.
It contains a wealth of information on the topic, including many more links. They
forwarded it to CLCC as something that may be of interest to us after running
across our website. Thanks!
Submitted by Rinus Lammers
I was looking at the below Facebook site of The Dutch National Nature Protection Agency this morning. There are many gorgeous pictures to see that have
been submitted by supporters.
https://www.facebook.com/natuurmonumenten?fref=photo&sk=photos . ◊
The Polarizing Filter
Submitted by Paul McPherson
The advent of digital photography has rendered the use of screw-on filters all but
obsolete. Gone are the days of my carrying at least four warming and color balancing filters, along with a red, orange, yellow and green filter for B&W photography. The effect of these filters can now be applied with a simple mouse click
using Adobe Lightroom or other photo editing software. However, I think the
one filter that will survive the digital era is the trusty polarizing filter.
The polarizer is a versatile filter that I use on almost all of my landscape photography, for a multitude of reasons. This filter can darken a sky and pop out clouds
better and faster than using Lightroom in post-production. It can eliminate reflections on the surface of water and on glass. Try doing that in Lightroom! Nothing
brings out the colors of Autumn foliage better than a polarizing filter. The polarizer can remove glare on both wet and dry rocks, allowing their texture and color
to come alive. At just the right angle (with the sun at your back) it can create a
rainbow in the mist of waterfalls.
The polarizer, if you have never used one, is an interactive filter meaning that you
turn it for the effect you want. The nice thing is that the filter is WYSIWYG (what
you see is what you get). As you turn the filter you will see its effect in the viewfinder. I never tire of seeing a light sky become a dark blue while turning the filter
ring, or seeing the leaves of a maple tree turn from pale to deep red.
The rotating of a polarizer allows only light that is polarized perpendicular to the
reflected light to enter the lens and will cancel out the rest. In other words, if you
take a photo of the sky with the sun at a 90º angle to the lens, the sky will darken.
To simplify this, just make sure the sun is either at your left or right shoulder
when you are using the polarizer on the sky. To remove glare from water, glass,
rocks and trees, you do not have to worry as much about the angle you are shooting from. I often wear polarized sunglasses and touch my ear to my shoulder in to
see if the polarizer will enhance a subject. If the subject looks the same before and
after my head tilt, the polarizer will not be effective for the shot. Be aware that
you may get some puzzled looks from bystanders when using this technique.
A polarizer will also cut your exposure by about two stops, which means that if
the correct exposure for a given shot requires a shutter speed of 1/200 th, then
using the polarizer will reduce it to a 50th. This lengthening of exposure can help
you to blur water into a silky smooth stream and enable you to get closer to the
1/50th shutter speed recommended for video.
The above photograph shows (front, L to R) Paul McCartney, George Harrison , John
Lennon and (top) Ringo Starr performing live in New York City on The Ed Sullivan
Show on Sunday evening, February 9, 1964. What followed was a cultural shift in
the “Rock and Roll” genre in America, with a flood of European bands being introduced to the U.S. audience (mostly teenagers and those in their twenties). Sullivan
booked these bands on his show nearly every week throughout the year and beyond. For better or worse, a new youth culture (“sex & drugs & rock and roll”)
developed in America, spawned by the new music coupled with anti-war sentiment.
Controversial and less commercial FM rock stations began displacing AM Pop-40
stations as the delivery vehicle of the emerging “Rock Music” era, written and
performed by the new generation of English bands (and American bands inspired
by them).
* Generally defined as those born in the years 1946 to 1964. ◊
A good polarizer will cost north of $100, but it’s worth the price over the lower
end filters. Why would you want to cheapen your incredible lens by covering it
with inferior glass? I also prefer the thinner profile polarizers to eliminate vignette
with wide- angle lenses. If you have several lenses, you do not need to purchase
more than one polarizer. Instead, purchase a “step-up ring” for a few dollars that
will allow you to screw the filter on multiple lenses. First, purchase a polarizing
filter that will fit your largest lens diameter, let’s say its 77mm. If your other lens
requires a 62mm filter, simply purchase a 62-77mm step-up ring and your 77mm
filter works on both lenses! Be aware that the lens hood may no longer fit when
you use a step-up ring. I get around this problem by wearing a hat that I can remove and use as a hood to block the sun from hitting the lens.
There you have it - the polarizing filter. Aside from my camera, lenses and tripod
it’s the most important piece of equipment I own for shooting landscapes! ◊
February, 2015 Page 3
The Lens
Rich Bickham
The technology we will discuss relates to the geometry and material properties of
aspherical lens will also exhibit some aberration. Aberration can be reduced
through the use of an aspherical lens or a multiple-lens assembly as shown below.
DSLR camera lenses.
The function of the DSLR lens is to direct an undistorted optical image of the subject onto the full area of the image sensor, the surface of which is the focal plane.
As shown in the below figure, it may be a single lens (a variety of which are shown
on the below left) or a composite arrangement of multiple lenses contained within
an assembly (such as shown above right) which is generally referred to as a lens. In
multiple-lens assemblies, the individual lens elements are typically separated into
groups called floating elements that each work as one unit, but are able to move
independently with respect to one another for optimum performance for the camera focal distance and zoom being used. The movement is controlled by electrical/
mechanical coupling as the zoom is changed. This is why on some zoom lenses one
sees the assembly move both forward and backward as zoom is continuously increased (or decreased). The assembly may also include an aperture, which we will
discuss in a future column. DSLR lenses are commonly made of amorphous siliconbased glass (a camera lens is sometimes referred to as “the glass” by experienced
photographers), but other materials may be used. These include quartz (a crystalline silicon-based mineral) or a high quality plastic. Multiple-lens assemblies may use
one or more molded plastic lenses as internal elements only, since they are easily
The front (light entry area) of a simple lens typically has a surface shaped like (or
very similar to) a section of the surface of a sphere – this is called a spherical lens.
Spherical lenses are common since they are easier to manufacture than other
shapes - lenses which do not fall into the spherical category are called aspherical
lenses. The manufacture of DSLR lenses is a complex and exacting process involving multiple steps using high tech grinding and polishing equipment and procedures.
Surface roughness on the order of the wavelength of visible light, which ranges from
0.4 to 0.7 microns (16 to 28 millionths of an inch) are required for good quality
The lens is able to redirect
(bend) incoming light rays due
to refraction (a phenomenon
shown on the right whereby a
light ray changes direction
when encountering a boundary between different materials
- air and glass for example). The amount of bending is determined by the curvature
of the lens at the ray entry point, and a property of the glass called the refractive
The shape of a lens and the direction of light from the subject relative to its optical
axis will cause aberration (a blurring or distortion of the subject image). An ideal
lens (one which would exhibit no aberration) would perform as shown in the upper
center of the below figure. Actual spherical lenses exhibit two types of spherical
aberration - axial or spherical (lower left), and lateral or coma (lower right). An
Chromatic aberration is another type of aberration that results from the lens
material itself, specifically the variation of refractive index with the wavelength (color for
our purposes) of the light coming from the
subject. This is called dispersion. Since visible
light is comprised of various colors, dispersion
results in fuzziness or blurring of the image,
and is most noticeable on the edges of an image (see figure at right).
Chromatic aberration can be minimized by appropriate lens shape and multiplelens assemblies as shown in the below left figure. It is also minimized by changing
the lens material as shown in the above right figure. New materials have been
developed such as cesium and lanthanum (element # 55 and 57 respectively) glass
which exhibit a combination of high refractive index and low dispersion, making
them well suited to pushing the limits of high quality lens performance. High-end
camera/lens manufacturers have their own material formulations for these lenses.
For example Canon calls its material UD, while Nikon calls its ED.
Lenses also reflect light. An untreated glass lens surface may reflect up to 10% of
the incident light (a single lens has two surfaces; multiple lens assemblies have
many more). This results not only in loss of light, but internal reflections in multiple-lens assemblies can result in visual artifacts such as ghosts and flares. Digital
cameras tend to be more prone to ghosts and flares than film cameras, since reflections off digital image sensors are greater than off of traditional film. DSLR
cameras lenses must outperform film camera lenses in order to achieve the same
image quality.
To minimize reflection, lenses are typically coated with a very thin layer (on the order of a
fraction of a wavelength of visible light) of a low
refractive index coating. These layers are applied during manufacture using a vacuum chamber thin film deposition technique. These coatings can be formed from nano particles as thin
as 0.01microns (see figure at left.) Up to ten
layers of coating of various thickness and material properties may be applied to
high quality lenses, which can boost typical light transmission through the lens
from 50% to over 99% in the visible
spectrum (resulting in a faster lens).
This is achieved by constructive and
destructive interference of the light
waves as they pass through and
reflect off of the various layer
boundaries (see figure at right).
That’s it. I will be glad to try to
answer any questions you have.
Sources used for this column include
Nikon, Canon and Zeiss websites,
“Elementary Classical Physics” - Volume 2 - Weidner & Sells - 1965, &
* This column (the second of a series) explores the technology contained within the various subsystems of the modern DSLR camera. Those new to photography should
see the “From the Editor” column on page 6. - Ed ◊
February, 2015 Page 4
Congratulations to the following CLCC members who were winners in the January CACCA competitions (photographs were from the CLCC competition held at
the December 2, 2014 meeting):
Tom Hughes:
“Steam Engine Express” - DPI - CACCA Award
David Jilek:
“Oak Stock” - DPI - CACCA Honorable Mention
Norm Kopp:
“Broad-winged Hawk” - DPI - CACCA Honorable Mention
Paul McPherson:
“Virgin River Narrows 1” - Large Color- CACCA Honorable Mention
Jim Petersen:
“Water Lily - White With Red Center” - Small Color CACCA Honorable Mention
Sandra Wittman:
“Sleepy Hollow Farm” - Small Color- CACCA Honorable Mention
The above winning photographs by Tom Hughes, David Jilek and Norm Kopp were
included in the January, 2015 CLCC newsletter. The above winning photographs
by Paul McPherson, Jim Petersen and Sandra Wittman are shown below *.
All available winning photographs will be uploaded to the CLCC website.
Sleepy Hollow Farm
Sandra Wittman
Sandy Wittman
On April 12, 2011, cannons boomed at dawn around Charleston Harbor, SC
recreating the bombardment of Fort Sumter that plunged the nation into the Civil
War on April 12, 1861. Since then the United States has embarked on a four-year
-long commemoration of that sad page in our nation’s history. Events have been
held in all the states that participated in the war and at all the battlefields.
Now our area will have its chance at participating. A reproduction of President
Abraham Lincoln’s funeral train is being built in the Elgin workshop of Dave Kolke,
president of the Historic Railroad Equipment Association which was established to
fund the project. Work on the train is nearly complete, and the group is now in
negotiations with the National Park Service to secure permits and a venue to
display the train in Washington,
D.C., coordinating with that city’s
plans for a commemoration of
Lincoln’s second inaugural address,
his assassination, and the funeral
The Elgin group plans to move the
funeral car, the locomotive, and
possibly a third car on a truck from
town to town along the original
route. The limitations of 19 century train design and worries about
obstructing regular train service will
prevent the train from actually
traveling on the rails. Thus far, an
appearance is scheduled in Springfield on May 2-3 for that city’s commemoration. The group is working
to arrange stops in New York,
Philadelphia, Columbus, and some
towns in Indiana. This summer the
train will be displayed in Galesburg,
Illinois for the town’s Railroad Days
Dave Kolke was responsible for the
outstanding reproduction of the
Leviathan at the Illinois Railway Museum
steam locomotive Leviathan (above
Sandy Wittman
right) which has been on display
yearly at the Illinois Railway Museum in Union. Seeing the train is a wonderful
photograph opportunity. For more information check out
http://www.the2015lincolnfuneraltrain.com .
or the Facebook and Twitter pages for “2015 Lincoln Funeral Train”.
For upcoming railroad events in our area, see the webpage of the Illinois Railway
Museum at
http://www.irm.org/ .
The Elgin Courier recently carried a story about the train and is a good place to
watch for upcoming events related to it. The website is
Virgin River Narrows 1
Paul McPherson
* All images are uncropped,
and sized such that each has
the same printed area while
retaining its original aspect
ratio. - Ed ◊
http://couriernews.chicagotribune.com/2014/12/29/faces-2014-snags-lincoln-funeral-traintrack-recreate-abes-last-journey/ . ◊
Water Lily - White With Red Center
Jim Petersen
Rural Road - 2014
Winter can be dismal or beautiful. The two below photographs off the internet
show both extremes. Each was taken in McHenry County. They are interesting
compositions of different subjects, but each would likely create a very different
mood in the mind of the viewer. ◊
Kyle Grillot
Camp Algonquin - 1989
February, 2015 Page 5
Rich Bickham
No reader feedback was received this month.
This issue’s “It’s Between You and Your Subject” column on page 4 is the second
of a series of in-depth articles regarding camera technology (the first column last
month was an introductory overview). It is targeted at readers interested in learning more about the inner workings of, and technology within their DSLR camera.
For those who are newcomers to photography, it should be stressed that taking
photographs in no way requires an understanding of the content of these columns.
You do not need to read and understand this or future columns in the series to
enjoy the hobby, have fun with your camera, and take great photographs. ◊
There will be no February meeting Show & Tell challenge since it is a club competition night. ◊
Reader feedback should be sent to [email protected]
Get your photography questions answered or your problems solved with our “Ask
a Pro” program. Submit queries to [email protected] , and Jim
Pierce will provide an answer or solution to your inquiry in the next newsletter.
The front page picture (Seasonal Image of the Month) of the newsletter will be
chosen from entries received from club members. Your entry must be received by
the newsletter input deadline. Email a jpg image to [email protected] with
the subject line “Front Page Image Entry - Month” where Month is the intended
newsletter issue month. The picture should have a seasonal theme. ◊
The Crystal Lake Camera Club Photo 103 class was held on Tuesday evening,
January 13 in the Baxter Woodman Company conference room in Crystal Lake, IL.
The instructor was photographer and CLCC member Tom Mickow (right side of
the below photograph) who led the two hour class on the catalog, storage and
archive capabilities of Adobe Lightroom. Twenty-six people signed up for the
class, and were in attendance. ◊
We are in search of a volunteer to be assistant editor of the newsletter. Duties
include assisting in preparation and pre-publish review of the monthly issues, and
taking over editor responsibilities should current editor Rich Bickham be unable to
perform editor duties in any given month(s). Rich will provide training and guidance. A list of recommended attributes is in the April, 2014 newsletter (page 4)
which can be found in the Newsletter section of the CLCC website. Interested
individuals should contact Rich at [email protected] .
We are always looking for good photography tips for the “Tip of the Month” and
interesting links for the “Links of the Month” sections of the newsletter. If you
have something helpful to share with our club members (which includes both professionals and novices so both basic and advanced topics are welcome), send them
to [email protected] before the newsletter input deadline. ◊
Photo 103 Class - February 13, 2015
Chuck Rasmussen
According to the website of the Chicago Area Camera Clubs Association (CACCA) there are currently 35 registered member clubs of CACCA. A compilation of club membership data published on
the CACCA website on January 8, 2015 is shown in the table on the right, and in graphical form below (for clubs with membership of 30 or more). With 75 members*, the Crystal Lake Camera Club
(CLCC) is currently tied for third position in terms of club size by membership - this compares to 45
members (ninth position) from a similar compilation done a year ago (February, 2014 newsletter).
About 51% of current CACCA clubs are members of the Photographic Society of America (PSA).
* CLCC membership information is from CLCC member database as of January, 2015. - Ed ◊
Lake County Camera Club 1 & 2
Mayslake Nature Study and Photography Club 1 & 2
Crystal Lake Camera Club
Des Plaines Camera Club
Garden Photographic Society
Calumet Region Photo Club
Riverwoods Nature Photographic Society
Arlington Camera Club
North Shore Camera Club
Downers Grove
Foresters Camera Club
3H Camera Club
Elgin Area Camera Club
Fox River Camera Club
Sandwich Photographic Society
Schaumburg Area Photographic Society
Kankakee Camera Club
Central DuPage Camera Club
Fort Dearborn-Chicago Photo Forum
Salt Creek Camera Club
Oak Lawn Camera Club
Washington Park Camera Club
Southwest Suburban Camera Club
Lombard Camera Club
Sunny 16 Photographers
Wright Camera Club
F-Stop Camera Club
St. Mark Camera Club
Blue Island Camera Club
Green Briar Camera Club
Photogenesis Camera Club 1 & 2
Digital Darkroom
Creative Digital Imagers
Pfun Pfoto Group
Shutterbugs of Volo Bog
51.4% Yes
Source: http://caccaweb.com/
February, 2015 Page 6
CALENDAR OF COMING EVENTS - February & March, 2015
February 3, 2015
6:15 - 7:00 p.m.
Home State Bank
“Drop in Early” mentoring
CLCC February meeting - Competition night.
Donuts and coffee from Country Donuts in Crystal Lake are provided by club member Larry Swanson.
611 S. Main St., CL
Community Room
Colonial Café
Saturday morning PhotoBug breakfast meeting
CACCA meeting activities:
611 S. Main St., CL
Community Room
February 3, 2015
February 14, 2015
7:00 p.m.
8:30 a.m.
Home State Bank
5689 Northwest Hwy., CL
February 14, 2015
11:30 a.m.
Christian Church of Arlington Hts.
333 W. Thomas St.
Arlington heights, IL
11:30 a.m. - Seminar - Sheri Sparks :
“Shooting Nature Within Driving Distance of Chicago”
12:30 p.m. - Delegates meeting
1:00 p.m. - Competitions judging
February 17, 2015
Deadline for March newsletter inputs
February 24, 2015
Target date for March newsletter email distribution
March 3, 2015
7:00 p.m.
Home State Bank
CLCC March meeting - TBD
March 14, 2015
8:30 a.m.
Colonial Café
Saturday morning PhotoBug breakfast meeting
March 14, 2015
11:30 a.m.
Christian Church of Arlington Hts.
CACCA seminar, delegates meeting & competitions judging
CLCC meetings are held the first Tuesday of every month. Home State Bank is located in Crystal Lake. It’s the large building behind the drive-up just southeast of
the intersection of Route 14 and Main Street. The Community Room is on the lower level - take the elevator just inside the south entrance.
The PhotoBug Breakfast meeting provides an opportunity for open conversation related to photography in general, plus good food and fun. Who knows, you may
take home some great tips and ideas that help you capture better pictures. Don’t dress up – it’s all informal. It’s a great way to get to know the club members on a
more personal level too. This event is held at 8:30 a.m. on the second Saturday of each month.
The monthly CACCA seminar, delegates meeting and interclub competitions are held on the second Saturday of each month. Those interested in attending should
contact Lyle Anderson at [email protected] or Royal Pitchford at [email protected] - you may be able to catch a ride with one of them.
Email to [email protected] .
What you see in the media
What you DON’T see in the media
Got em !
Nice goin’ Ed. I told
you to turn off the
flash and jack up the
ISO, but noooooo,
you know better.
Who says you can’t control the weather?
Photographers have been doing it subtly on
overcast Groundhog Days for years without
us knowing it.
February, 2015 Page 7