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Ips Annual Exhibit COMING-UP!IPS ANNUAL EXHIBIT THIS MONTH AT THE IPS Wednesday, April 20, 2005 at 5:45 p.m. IMF Auditorium 700 19th Street, N.W. (R-710, Red Level) PRESENTATION “Creative Photography” IN THIS ISSUE by IPS Executive Council/IPS Volunteers...............2 Ed Funk From the President’s Notepad.............................3 April Speaker.........................................................3 COMPETITION THEME: March Presentation .............................................4 SLIDES ONLY March Competition Results................................ 5 Exhibitions............................................................. 5 Points Standings, 2004/05 Season....................... 6 STILL LIFE IPS 2004/5 Competition Schedule & Themes... 7 An arranged composition using Notes on IPS Competitions.................................. 8 inanimate objects in natural or artificial Guest Columnist ....................................................9 lighting, indoors or outdoors. Members’ Forum ................................................. 9 Courses & Seminars............................................13 Composition, technique, lighting, and IPS 2005/2006 Competition Themes..................14 subject are what counts, and the maker controls them all. Food and refreshments at 5:45 p.m. NOTE TO CONTESTANTS Please bring all entries to the meeting with the entry form appended at the end of this issue. Entries will be accepted between 5:45 and 6:15 p.m. only. For inquiries, call Carmen Machicado (202) 473-5761 IPS EXECUTIVE COUNCIL President Caroline Helou (202) 623-6699 IMF IS2-1300 Vice-President/Shutter Release Aquiles Almansi (202) 473-5970 WB I5-095 Treasurer José M. Cartas (202) 623-4055 IMF IS5-704 Programs Elisabeth Fekete (202) 623-5814 IMF 12-300F Membership Mary Wilson (202) 623-0004 IMF 12-530.02 Annual Exhibit John Saville (202) 458-7814 WB J3-280 IPS VOLUNTEERS MONTHLY MEETINGS Webmaster David Davtian (202) 257-5681 [email protected] Gero Verheyen (202) 458-2501 WB MC10-1005 Competitions Carlos Franzetti (202) 473-0447 IFC 7P-184 José Cartas (202) 623-4055 IMF-IS5-704 Carmen Machicado (202) 473-5761 WB I8-124 Sigrid Vollerthun (703) 979-1150 [email protected] Awards and Trophies Sigrid Vollerthun (703) 979-1150 [email protected] Presentation Write-Up Malise Dick (301) 313-0208 [email protected] Mary Wilson (202) 623-0004 IMF 12-530.02 Michael Wishart (202) 265-3676 [email protected] Publicity Enric Fernández (202) 623-4683 IMF 3-207 Manuella Lea Palmioli (202) 473-1630 WB I3-068 Marina Tyapkina (202) 623-6437 IMF 2-200 SHUTTER RELEASE Editorial Aquiles Almansi (202) 473-5970 WB I5-095 Distribution Vacant Technical Advice Bill Katzenstein [email protected] OTHER PSA Representative Linda Galantin [email protected] Classes Elisabeth Fekete (202) 623-5814 IMF 12-300F Field Trips Bill Katzenstein [email protected] Samuel Otoo (202) 458-7256 WB H4-402 SHUTTER RELEASE welcomes article ideas and submissions from club members. Unless specified otherwise by e-mail, the deadline for submissions is close of business on the last business day of the month prior to the issue month. Please send submissions by e-mail to [email protected] as unformatted Word or text files. If you wish to add images, please make sure that the longest side does not exceed 800 pixels. Visit our website at www.ips-imfwb.org SHUTTER RELEASE APRIL 2005 FROM THE PRESIDENT’S NOTEPAD “getting the picture” whether one uses transparency or digital system, it is all about getting the picture How Does a Camera Club Acknowledge and the impact of the message we are all after. Competence? There is Camera Competence & Computer Competence? Can we Tell Which is We are living in an age where we have so much Which and Does it Matter? access, total access to any kind of knowledge we want, we have no excuse. Can you imagine Recently, I have been asked these questions which Michelangelo having computers with graphic as you are aware we have been debating ardently programs? It is amazing what we have, and they did over the past year. However, the irony is how best to not have, and then what they were able to create, and combine our craftsmanship with technology without what we are afraid to create. We have so much loosing sight that the tool should not matter. The around us. It would be an encouragement to focus only reality in photography is “getting the picture”. our energies and not be swayed off the path, Whether one uses transparency film or digital supported by relationships between the two medium. system, it is all about “getting the picture”. And getting the picture has as much to do with the fit of ─ Caroline Helou the tool in your hand as it does with the tool itself. Too often, it seems that the “better” choice is often APRIL SPEAKER: ED FUNK PHOTOGRAPHY the loser to the not-as-good choice, clearly we all know which is better. “Creative Photography”- Anyone can make creative images! You can give images that “different” look Digital photography has a solid foundation in 150 associated with “creative vision” with easy to learn years of film-based image-making, and it has opened techniques. Ed will teach and demonstrate these a whole world of image possibilities. There is not creative techniques and show you how to develop really a war between digital and film photography – your creative vision. these are brother and sister technologies that share a simple heritage while retaining their own unique qualities. We love competitions! Setting one thing against another and seeing which wins. Coke or Pepsi? Digital photography has exploded so rapidly that there are few established standards. The challenge now is to find harmony in redefining competition procedures. Working on that relationship will in turn form the foundation for future equitable competition guidelines. A versatile photographer and writer for over thirty While is it is easy to complain about judging, judges years producing impact images and travel articles. alone are not responsible for all the problems of Ed has produced many award winning photographs camera club competitions. Camera club procedures and lectures on all aspects of photography. He should be refined to reflect our time without loosing conducts workshops on creative photography and the craftsmanship quality. digital imaging. Ed's images have been published in leading magazines and newspapers and on Annual Computer competence is a plus and the film vs. Report covers. A member of the Art League in digital photography is that kind of zero sum Alexandria, Virginia, his print Middleburg Farm in argument. The only reality in photography is Winter was honored in the American Landscape show. Ed's work has been widely exhibited 3 SHUTTER RELEASE APRIL 2005 including a solo exhibition at George Mason records for eating 288 oysters at nearly two per University. One of his prints was on exhibit at the second ! Smithsonian Institution in 2003. Ed's work resides in public and private collections. His work was The second characteristic to come through was Bill’s featured on public television's Photographers of deep interest in his subjects. Near the start of his Northern Virginia. Ed presented his creativity presentation, we were treated to a loving description workshop at the University of Massachusetts for the of the civil war fort at Jamestown and the New England Council of Camera Clubs, Kutztown characteristics of this southern (in the civil war University for the Berks Camera Club and at sense) location where some of the earliest British Georgetown University. He serves the community settlements were made. With salt cured hams at one by judging photographic shows and competitions. end of the scale and the skeleton of someone who Ed has written and coauthored several publications apparently was the first example of a political for the Northern Virginia Alliance of Camera Clubs. assassination, at the other, we gained a sense of He is also a web site designer and builder. Ed is a place which is often missing from presentation like Past President of the Northern Virginia Photographic this, which try to cover a range of topics. We also Society and has served on the board for over 15 saw such diverse subjects as, hang-gliding, the ruins years. He has been named "Photographer of the of Rosewell House and the spectacular house and Year" six times. Ed taught photography in Italy, gardens of Oatlands in West Virginia. Turkey, England and Germany. He also lectures on photography at area colleges and universities. Ed has The third aspect that struck me was Bill’s copious , been influenced by the writings and teachings of humorous but always sympathetic anecdotes about Freeman Patterson, Joseph Miller, Ernst Haas, John the places and characters he was photographing. Shaw, Bill Allard and others. Visit his site at From tales of the aphrodisiac powers of the oysters www.edfunkphotography.com . (not mentioned in Webster’s!) through to the explanation of the storytelling ability of the MARCH PRESENTATION: BILL GEIGER aforementioned two meters (concerning a dog in by Mal Dick peril and a witch who touched his tongue, with the result he couldn’t stop talking!) Bill had an anecdote Two or three features of Bill Geiger’s presentation to attach to practically any set of shots. Another stood out for me. example; the Oatlands garden restoration was undertaken by a senior Alitalia executive who was First, although his current work largely concentrates obviously a man of many talents. Bill also revealed on corporate portraiture, which presumably has the that the origin of the Maryland Marine Police was underlying objective of flattering the subject, Bill not to rescue people like me when their boats get can take photographs, of people, that do not go out stuck, but to prevent bloodshed in the oyster wars of their way to flatter, but rather to show the which were previously a feature of the Bay. Bill’s characters of the subjects. Of the many photographs rapport with his subjects was also evident in his of individuals in his show, one or two stood out sympathetic description of the hard life of the Bay particularly.
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