The Info Sheet FLUSHING CAMERA CLUB in our 43rd year and counting.

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1 The Info Sheet FLUSHING CAMERA CLUB in our 43rd year and counting. Member: Photographic Federation of Long Island (PFLI) Together in friendship may we learn the art of photography Volume 16 Number 7 March 2014 FCC Executive Committee Officers: President: Dennis Golin Vice President: Treasurer: Marty Neff Secretary: Committee Chairpersons: Administration: Frank Reynolds, Compettion: Ramiro Agredo, Programs/Education: Helen Repstad, Field Trips: Joe Crupi, ; Michael Sender, Membership:, Publicity: Adam Holstein PFLI Delegate: Bernie Gellman The Info Sheet Newsletter: Joe Crupi Ron Caldwell Website: Ramiro Agredo, Additional Board Members: Marty Fleischer: Ron Caldwell Dorothy Gist Mary O Connor, Web Site: Meetings: 7:30 pm, 1st, 3rd, 5th Wednesdays at Flushing Hospital, Auditorium 5th Fl., 45 Ave & Parsons Blvd., Flushing. Park on street or in lot across the street from Hospital.FREE but Parking ticket MUST be validated by the Camera Club. Call to confirm meeting date. Dues: $40.00 for individual $60.00 for family;$20.00 for students: up to 23 yrs.old. PFLI SCHEDULE: Schedule.html From the Editors Desk: The Italians have a word basta when something is really enough already. For those of us not fortunate enough to have landlords shoveling our path to the great outdoors it is becoming just a little tiring on our bodies and minds to clear the mounds of white stuff every few days. Perhaps its time to put down the shovel and pick up a camera and see what kind of images we can make of the snow. There may be nearby opportunities for PJ shots of people digging out a vehicle buried by a snow plow or an image of that lone person walking with an umbrella down that snow covered street. How about kids on sleds? Perhaps you can walk to a park and see abandoned snow covered swing sets or those beautiful trees trimmed in white. Remember that most cameras want to render our exposure for white as gray. It may be necessary to overexpose images one, two or more stops to show that bright white snow you actually experienced. Check out the Queens County Farm on Little Neck Pky or the Douglaston Golf course if you can get there. Do it while you can. Remember the snow is fleeting and Spring is on the way. Joe Crupi IN THIS ISSUE: Members Stuff =Pg 2 Standings =Pg 3 Images of the Month=Pg 4 Russ Burden tip = Pg 6 Your images of Lunar New Year = pg 6 & 7 5th Competition #7 Judge Lou Cohen (Cameta Camera) 19th 7:15 Theatre Photography John Baretta. 7:30 My Imagination Eugene Golden 2nd Competition #8 Judge Ken Bausert (South Shore CC ) 16th 7:15 Aspect ratio Helen Repstad 30th 7:15 Creative Photography Barbara Shea

2 Prior to the Auction projected a slide show of the late Pat Burns work that Tony expertly produced in Pat s memory. Tony invited Pat Burns family to FCC for the memorial presentation. They were thankful to him and to FCC for the opportunity. Our cheerful Auctioneers: Joe Crupi and The hard working committee: Dorothy Gist,, Michael Sender,, Joe Caruso, Joe Crupi, and Stephanie Wathen Our successful Club Auction Despite tons of snow and ice that fell on New York City this past month, not to mention the snow storm just a day before, our scheduled Flushing Camera Club Action was a success! The turnout was light, but expected due to the inclement weather. The auction committee consisted of Dorothy Gist and Michael Sender (Coordinators), Joe Crupi and (Auctioneers), Joe Caruso (Treasurer in Marty Neff s absence -recorded the sold items), Stephanie Elaine Wathem and our new member Andy Silver (handled the unsold items), and (recorded and listed all items that were entered.) Before we started, we had scheduled a tribute to our late club member and dear friend, Pat Burns. The slide show was a collection of images that Pat had taken over the years as a member. Pat s wife, Virginia, and family were present for the Tribute to Pat and a fitting celebration of his life. His birthday was on Feburary 20 th the next day. At 7:30 p.m. the auction started, but you could have heard a pin drop after the starting bid was made. Then the crickets started chiming in. Was this a silent auction or a regular one? Not until the good stuff was put on the block did the frenzy start. Back and forth incrementing the bids! Then the spotlight turned on the comical duo of Joe and Tom the auctioneers! They were amazing with their clever and funny antics. I could have sworn I had seen them on a TV show! LOL All in all everyone did a fantastic job that night. I want to thank all the members who brought their items for the auction and those who participated and came with money! A special thanks to Ramiro Agredo for bringing in the projector to make the tribute for Pat Burns possible. Thank you all, VP BUY & SELL Laszlo Salamon has the following Camera items for sale: Minolta Maxxum 700 AF film camera with owners manual; Lenses: Minolta AF macro; Minolta macro; Samyang MC Mirror 500mm lens w/case & filters; Sigma 200M AF6 1:25-3.5; Sigma AF :28-3.5; Minolta Maxxum 4000F flash; Minolta light meter Auto Meter lll. For all or any of these items Laszlo at salamonl@aol.com Remember all members are invited to place items or requests in the BUY & SELL column.

3 (after February Comp).. Judge Anastasia Tompkins Salon Digital Points Entries IOM B Digital Points Entries IOM Joe Crupi Richard DeDalto Eugene Kolmatsky Mike Sender Belle Smith Barbara Shea Bernie Gellman Marty Fleischer Uris McKay Lucy Pearce Norman Eng Russ Burden Georgina Eng Joan Egan Joe Caruso Marty Neff Stephanie Wathen A Digital Points Entries IOM Crea ve Digital Points Entries IOM Tony Cope a Helen Repstad Roy Woelfel Henry Szepanski Roy Woelfel Barbara Shea Richard DeDalto John Bara a Bernie Gellman Adam Holstein Color Prints Points Entries IOM B&W Prints Points Entries IOM Eugene Kolmatsky Ramiro Agredo Bernie Gellman 3 2 Suzanne Abruzzo Eugene Kolmatsky It is an illusion that photos are made with the camera they are made with the eye, heart and head. - Henri Cartier-Bresson

4 Page 4 B Digital Gene Kolomatsky A Digital S Digital There was no IOM for Prints this month. Creative Bernie Gellman Remember to visit our website at

5 Russ Burden Tips page 5 Aperture 101 Russ Burden In today s world of auto this and auto that we get spoiled. We make a purchase and want the item to do exactly what we want, when we want it, and how we want it. We expect it to work perfectly. Good news today s DSLR s fit this descrip on. Bad news if you set the camera to auto this/auto that or Program, you ll get proper exposures but you may not obtain the look, depth, or feel you desire in the photo. Enter the world of controlling the aperture for EVERY picture. It s me you learn WHAT they do and HOW to control them. Control Depth Of Field: Depth of field is the range of sharpness from the most foreground element in the photo to the one farthest from the camera. Pictures with a lot of depth of field have everything in sharp focus through the image. Pictures where the subject is very sharp but the elements in front and in back fall off in sharpness have narrow depth of field. The aperture helps control the depth of field in a photo. Those in the range of f1.8 / f2 / f2.8 / f4 limit depth of field. Apertures of f11 / f16 / f22 maximize depth of field. Note that f5.6 and f8 fall somewhere in the middle range. Apertures in the first series are referred to as opened up while those in the series that begin with f11 are referred to as stopped down. Lens Choice and Aperture: The more telephoto the lens, the more depth of field can be limited. The wider the lens, the more depth of field can be increased. If the goal is to create an image with infinite depth of field, use a wide lens and stop it down to f16. This would be advantageous when photographing landscapes or cityscapes. If the goal is to narrow the depth of field, use a telephoto lens and open it up to its widest aperture. Think portraits or any other situa on where you don t want an in focus background or foreground to be a distrac on. Place your camera on a tripod and photograph a subject ten feet away. Be sure the subject is a fair distance from the background approximately ten to twenty feet. Place your camera in aperture priority mode. Focus on the subject, set the zoom to wide, and make a series of photos at every full stop star ng at the widest un l you get to f22. Repeat the process at a medium zoom se ng. Repeat it again at the most telephoto se ng on the lens. When you review the photos on your computer, you ll see how the aperture and zoom se ngs go hand in hand with what I have above. The widest angle and most stopped down shot will show the most depth of field. The most telephoto and fully opened up shot will show the least. Use the metadata in the file to see the exact se ngs at which every photo was made. Control The Amount Of Light: The aperture also controls the amount of light that strikes the sensor. I men oned the difference between opened up and stopped down. To review, opened apertures are the low value numbers of f2 and 2.8 etc. They are called opened up in that the openings that control the amount of light are open to their widest capaci es. The wider the opening, the more light. If a window shade is fully open, more light enters the room. Stopped down are f16 and f22. They are called stopped down in that the openings that control the amount of light are closed down to their smallest size. The smaller the opening, the less light. If the shade is only slightly opened, the room is barely illuminated. The amount of light controlled by the aperture has a direct rela onship to the required shu er speed to provide a proper exposure. If the aperture is wide open, it goes hand in hand with a fast shu er speed. This is not a problem if you re hand holding the camera. If the aperture is stopped down, it goes hand in hand with a slow shu er speed. The slower the shu er speed, the greater the chance the camera will move during the exposure and net a so image. In instances where it s necessary to stop the lens down to obtain a lot of depth of field, it s essen al a tripod is used. This is why you always see landscape photographers using tripods. Landscapes require lots of depth of field. To get the depth, a stopped down aperture is needed. This means the shu er will be slow so a tripod is mandatory. I hope this sheds some light on what an aperture controls and provides some insight why it s so important to get your camera off auto and learn to use aperture priority to bring your picture making skills to the next level. Upcoming Russ Burden Tours: Mar 31 - Apr 11, 2014 Tanzania African Safari Tour #1 Apr 14 - Apr 25, 2014 Tanzania African Safari Tour #2 May 10-16, 2014 Monument Valley / Slot Canyons Custom Group / Dates Arches + Canyonlands National Parks - includes 5 days of Photoshop instruction May 24 - June 2, 2014 Oregon Coast - 10 day trip June 14-20, 2014 July 12-18, 2014 July 24-30, 2014 Tetons and Yellowstone Natl. Parks in Spring Colorado Wildflowers and Alpine Scenery Glacier National Park: Two separate tours July 31 - Aug 6, 2014 Aug 23-29, 2014 Sept 24 - Oct 3, 2014 Oct , 2014 Nov. 1-7, 2014 Goats and Gods: Mt Evans and Garden of the Gods Tetons and Yellowstone Natl. Parks in Fall - 10 days Hunts Mesa - Aerial perspective of Monument Valley and Capital Reef National Park Bryce Canyon and Zion National Parks Dec. 6-12, 2014 Bosque Del Apache / White Sands Natl. Mon. Full moon on Dec 6

6 Flushing s Lunar New Year Parade Page 6 Over a dozen FCC members and friends braved the 20 degree temperatures to make images at the annual Lunar Parade in Flushing. The sun came out and warmed our spirits as the colorful participants prepared to march. Loud drums and flutes punctured the air and the parade was under way. Some of us met afterwards for a traditional Chinese lunch at Joe s Shanghai Restaaurant. Samples of the days images were submitted by our members and are shown on these 2 pages. Carlos Varon Joe Caruso Joe Caruso Joe Caruso

7 More member s images from the parade.