Danella Photographic

These are the results from the judging of the Bagg’s Square Festival of the Arts Photo Show. The judging was completed on April 19th, 2007 by Keith Sandman and the winners were announced April 20th at a reception at the Utica Monday Night Gallery located at 106 Genesee Street in Utica.

Gallery Hours are:  Thursday and Friday - 11AM to 5PM • Saturdays -  Noon to 5PM

Special Gallery Hours -  Saturday May 5th Only - Noon to Midnight

Special thanks to Keith Sandman for judging and providing his comments, and to Peter Michel who worked tirelessly to make this photo show a reality.

Keith Sandman, of Utica, is a Professor of Photography at Munson-Williams-Proctor Institute School of Art. He holds an MFA in Painting from the School of Visual and Performing Arts at Syracuse University; an MA in Painting from Chelsea School of Art, London, England; a BA in Fine Art from Central School of Art and Design, London, England, and a Bachelors in Engineering from Liverpool University in Liverpool, England.

Sandman’s works are in selected public and private collections at Munson-Williams-Proctor Institute Museum of Art, Utica; Leicestershire County Education Committee Collection, England and Ebury Gallery, London, England.

Following each photograph are Keith Sandman’s comments.

First Place • Claudette Ferrone • ” Trust Your Feelings ”

This photograph represents the entire spirit of Central New York. There are constant fund raising and awareness raising events that occur within in our community and the surrounding towns and villages. The expression on the child’s face ( far left ) draws the viewer into the photograph. The diagonal lines then point the viewer to the adult as he interacts with the other child.

Second Place • Deborah Otis • ” Winter’s Light ”

The photographer captured a moment when the light “blinked.” This magical light was momentary and fleeting. It allowed the winter scene to portray the snow of Central NY in a colorful array of muted colors. The captivating colors of this image are strengthened by its excellent composition.

Third Place • L the Shadowman • ” Catch ”

Here the photographer utilized an unusual angle to create the image. The resulting photo presents a usual scene in an unusual way. The photographer approached this topic in a considered manner. He needed to work at the physical situation to transform it into a special image.

Honorable Mention • Bob Simbari • ” Prospect Falls ”

This photograph is both atmospheric and emotive. It serves as a catalyst for an emotional reaction from the viewer. Here is a depiction of Winter’s stark beauty that blends with the fluid movement of the dark water.

Honorable Mention • Jan Coffin • ” Ilion Marina Anglers ”

Once again, the community spirit and fortitude of Central NY is embodied in this image. The print has a definite Kodachrome quality to it. The lone individual turning his head toward the photographer draws the viewer into the image and the activity.

Honorable Mention • Tim Fahey • ” Varick Street # 5 ”

The print quality of this carefully printed black and white image and the composition work together to create the photograph’s overall beautiful presentation. The light and the relections in the wet road combine to contribute to the liveliness of the scene.

Honorable Mention • Jodi Bates • ” One Minus One ”

This image is a thoughtful, personal statement. The haunting portrait is framed against a Victorian background. The image is fresh. It is a combination of the present and the past.

Your comments are invited and encouraged. Use the comment box below.

Questions constantly arise regarding disparities between retail store pricing ( like Danella Photographic ) and internet pricing. It is fairly simple to explain if the subject is broken into two component parts.
There are a certain number of totally bogus web sites that advertise equipment at 40 to 50 percent less than the average price. These web sites are run by con artists who may blatantly try to steal your credit card information and never deliver the requested products, or these same sites will try to sell you a camera body separately, and then add on the cost of the battery, the charger, the software and the other associated accessories that the manufacturer originally packaged with the camera.
These incredible “low ball “ pricing sites should be filed away with the information that the foreign fellow gave you in an email where he needs a safe storage bank account for his money. He will send his fortune directly to your bank account – as soon as you give him your account number and PIN.
The second area of pricing confusion involves grey market products. Simply stated, “grey market” means that the item is not covered by the manufacturer’s warranty, because the manufacturer’s licensed or authorized agent or representative did not import that item into the USA and did not sell it to the retailer to sell it to you. As an example, Nikon will not repair under warranty or out of warranty any grey market product that is sent to them if it was not imported by Nikon USA. The problems that can arise with owning grey market equipment are obvious. The repair paperwork shown below is an actual packing slip received from Nikon USA. The camera was brought in for repair by a customer who did not purchase the equipment from us. Nikon returns the camera unrepaired. Warranty work is also not available on grey market equipment.

When you purchase your new camera equipment from Danella Photographic, it is sold with full factory USA waranties. The accessories are complete and included in the price. Every customer is given full training and unlimited in person counter support, telephone support and email support. Digital SLR camera sensors are cleaned free of charge for the life of the camera. We handle warranty issues.

There’s no grey area here. We’ve been working in black and white or color for over 30 years.

The aperture priority shooting mode is designated usually as an “A” or an “Av” in the modes selection method of your camera. ( The A stands for aperture and the Av stands for aperture value. )

Many photographers prefer to shoot on Aperture Priority rather than a Full Auto ( “Green” ) mode or Program mode “P.” Now if you’re confused by what you have just read, go and get your camera and find the references to at least the “P” and the “A.” (You may not even have a green mode.) Do not continue until you’re certain about the above. If you’re still not sure about the aperture priority setting on your camera, either call us at 315-732-8442 or post your questions at the end of this article.

The most important element to learn about apertures is that f/4 is actually larger than f/16. The lower numbers represent larger openings formed by the diaphram blades inside the lens. If you have trouble remembering this fact, try thinking about the aperture numbers as fractions ( ie. 1/4 is larger than 1/16)

There are many reasons why photographers choose to shoot in Aperture Priority mode, but arguably the greatest reason is that the aperture partially controls the depth of field in the finished photograph. The wider apertures ( lower numbers ) produce photographs with a more defined line between what is in focus and what is out of focus.

This is a photograph of two cool photographers, but the sign in the background is very important. Shot at f/4.5, the photographers are separated from the sign and the important message is not readable. Nice focus for a portrait, but in this photo the sign is the key element.

Now, photographed at f/22, the all important sign and its even more important message snaps into focus. Same lens, same set up, different aperture. ( Note: The shutter speed changed as well, but this can be covered in another session. ) The photographer has taken control of the photo.
There’s more information about this topic, but for now take what you have learned and see what you can do with it. Try to control your photographs by using a specific aperture that best captures the subject as you see it.

Post your questions or comments below.

” Why didn’t my work get accepted at the KAC Show ? “

This is a popular question lately, and, while there is no absolute answer, there certainly are some reasons why a photographer’s work may not get accepted for exhibition.

Following is a partial list. Everyone’s comments are welcome. Please post your opinion. We need to establish a dialogue.

Reason 1

POOR TECHNICAL EXECUTION

The photograph is unintentionally out of focus, blurry, or poorly exposed. The operative word here is unintentionally - an accomplished photographer may present an out of focus, blurry, poorly exposed photograph. Actually, an accomplished photographer will often break the rules to his/her advantage. A photographer should only break traditional technical rules of quality after the rules of conventional photography are thoroughly understood.

Reason 2

SUBSTANDARD PRINT QUALITY

Even before the popularity of personal photographic printers, print quality was a major presentation issue. Now with ink jet, dye sublimation and other forms of personal printer technology available, photographers have many more options for presenting terrible prints of dynamic photographs. The print is the vehicle that takes the image to the show. Don’t submit prints that aren’t as perfect as they can be. Colors should be normal and neutral. Prints with raster lines ( stripes in the print ) should never be exhibited - unless they are part of the overall artistic intent. Prints should be free of mechanical defects such as bubbles, scratches and folds. Make a great print of your image ! And, while we’re on the topic, mats should be clean and cleanly cut so that they enhance the quality of the photograph.

Reason 3

THE SUBJECT IS TOO SPECIFIC TO YOUR LIFE

So it’s a great photo of your grandson or a rare photo of a purple breasted rock hawk. When your photo is hanging on the wall by itself, it needs to stand on its own merit and speak to a wide audience. It can’t be a photo of your baby. It needs to be a photo of your baby that metaphorically reminds every viewer of their baby, neice, nephew, grandbaby, or themselves when they were a baby. Photographs of rare animals, that only you know are rare, rarely get accepted. If the photograph needs an explanation by you - leave it home.

Reason 4

THE JUDGE DOESN’T LIKE IT

Plain and simple - some judges like people and some don’t. Some judges like black and white photos while some like color photos. Some like waterfalls and some like tool boxes covered in rust. The judge’s decision is subjective and based on his/her opinion of what is good. Don’t take it personally. As long as you like the photo, and it isn’t handicapped by obvious flaws as mentioned above, then it’s worth entering.

Reason 5

TOO EDGY (NOT EDGY ENOUGH) FOR THE VENUE

Sponsors and venues develop reputations as show sites for experimental or conservative photography. This preference can be compounded by the judge’s particular taste, but the judge is chosen by the gallery or sponsor so usually there is not a contradiction of viewpoint.

Comments are requested - Voice your opinion.

Gale R. Farley has been a highly respected member of the Central NY photo community for many years. He holds a B.S. in Photography from Sam Houston State University and an M.F.A. from Southern Illinois University at Carbondale. He has been a teacher and professional photographer in this community for twenty-six years and currently teaches at Herkimer County Community College where he helps to prepare a new generation of professional photographers, as well as to help a wide variety of students attain a higher level of visual literacy.

According to Farley, ” I believe that photography has the power to help people explore, understand and enjoy their world and their place in it to a much fuller extent than if they had not investigated photography beyond the everyday snapshot. By teaching photography, I help people see things they would have not noticed, experience more from other visual media, and by practicing it, express their unique connection to life, their own creativity and humanity. ”

Following are Gale R. Farley’s selections and critical comments from the Kirkland Art Center Photography Show. Thank you to Gale Farley, Annette J. Clarke, the Director of the Kirkland Art Center, and Niel Chowdhury of Cazenovia College who juried this exhibit.

Your comments are requested regarding this critique. Comments are also requested regarding the KAC Show or photographs that you feel deserve mention from the show that are not mentioned here. Use the “Leave a Reply” box that is located at the end of the critique.

The works that follow are presented in the order of merit:

“Sand Pattern, (Death Valley)” © Nancy Oudheusden www.viewfindphoto.com/

The strong light and shadow creates a three-dimensional feeling in these forms that reveals the strong undulating pattern created by the sand. The nature of the light also creates a surface alive with tactile texture, not like soft sand, but more like granite that was molten and cooled flowing into these ambiguous organic shapes. These shapes could be the fingers of a stone sculpture or an aerial photograph of a barren rocky landscape. Careful composition and strong print quality also contribute to the success of this image.
The photograph is compelling in its movement and formal elements and open to many rewarding interpretations.

“Distressed Patriotism” © D Shadowman

This color photograph has what I call a “sense of place.” Athough I have never been there, I can feel its nature in the image and wonder what was its purpose before it was abandoned. We can see the refrigerator is from another era, adding to the idea that time has stopped in this place. Below the surface reality of this picture is a substructure of inter-related rectangles and squares of red, white, blue, and black. It is not a far stretch to invoke the term “Mondrian like.” The composition is crucial to the success of this image and is well handled by the placement of the brightest rectangle with the red fabric in a key position within the frame. The muted primary colors also contribute to the mood and mystery of this photograph. Even though the photograph is composed of red, white, and blue it is for me a stretch to give it any political, national, or patriotic connotation.

“Behind Bars” © John Vriersema

This photograph is a good example of the figure used not to shock or titillate, but presented in its pure natural state as a form and surface on which light and shadow may work to exemplify the beauty of human form. The comparison and contrast between the hard-edged shadows, textured wood and the soft, smooth, rounded figure are formal elements that always interest the eye. The shadows create a dramatic geometric pattern and as they wrap over the figure, they create movement and an interplay of light and shadow not unlike what we experience in the previously discussed “Sand Patterns” of the Oudheusden piece. Although the photograph is crafted in the well established tradition of twentieth century nudes like those of Edward Weston, Paul Strand, and Imogene Cunningham, I do not feel it is clichéd or trite. The print quality is well handled to support the image. This photograph is overall a classic nude study, well printed, and composed to explore the formal elements of art and the beauty of the human form.

“Three Girls, Mashhad Iran” © Roset Khosropour

In this engaging photography we see the faces of three beautiful young girls looking back at the photographer and us, with some wary shyness and also delightfully flattered in the attention being paid to them. We see in their eyes the beauty, innocence, and promise of every child. This is a photograph that speaks to a universal humanity. The interest here is not about the nationality or difference in dress, but in a moment of unpretentious human interaction that reminds us all we are part of a greater human family. The composition is wonderfully effective as it creates an asymmetrical balance between the larger child and the two smaller figures. The three heads form an inverted triangle that holds us firmly in the photographs and brings us into the compelling eyes of the central figure.

“Shadow Invaders” © Jan Coffin

This photograph is interesting on many levels. First it is a fabrication of unseen figures casting shadows to interact with markings made by the photographer on what appears to be a concrete surface. They have the playful quality of a Keith Haring piece and also the mystery of what could be glyphs left by some forgotten people on stone walls or boulders that mark some ritual or event. The figures move diagonally rising from lower left to upper right in the frame. Their postures suggest a dance of some kind as their limbs create a visual rhythm.

For a complete list of accepted artists and their entries click this link: kirkland-photo-show-07.pdf

Your comments are requested. Use the ” Leave a Reply” box below.

Many people have asked for information regarding the proper set up of camera and flash to take advantage of wireless through the lens controlled Nikon flash photography. First of all, only the D70, D70s, D80, D200, D2x and D2xs are capable of through the lens exposure control in a wireless mode. Also, the SB800 and SB600 speedlights are the only Nikon Flash units that can be used in this set up.

Many older Nikon flash units ( Nikon likes to refer to all flash units as speedlights ) will work in a slave capacity, but they will not use TTL ( Through the Lens ) metered technology. With some experimentation and creativity however, these older units are capable of producing incredible multi-light effects. If you’re confused about the difference between remote slave flash and TTL flash, post your questions at the end of this explanation and hopefully we’ll be able to provide good answers.

A Nikon produced PDF file is attached below. Read the directions and give these techniques a try. The instructions are written using the D70 as an example, but all of the cameras listed above will work in the same manner.

d70-and-i-ttl-article.pdf

Anyone who has attempted to photograph reflective objects knows that grandma’s sterling silver tea service and an engagement ring have a lot in common - at least photographically. When a photographer begins to set up highly relective objects, it soon becomes apparent that what he or she is really taking a picture of is not the object itself, but more what is mirrored in the object’s surface.

Enter the new solution to the problems associated with reflective surface photography, Smith-Victor’s light tent. This handy, fully foldable light tent allows the lighting to be placed outside with the object placed inside. The camera lens is inserted into the opening. The reflections in the object are primarily white and the high key lighting that results adds a rich look to jewelry, electronic components, silverware and just about any small object that needs shadowless, glamorous, soft lighting. Here’s a typical result:

Smith-Victor portable light tents are available in different sizes. The medium size tent shown above is available at Danella Photographic for $ 79.95

Like many aspects of photography, the choice of a head for your tripod is one based half on need and half on subjective preference. We stock three Manfrotto heads that should fulfill both elements of your photographic wants and needs.Whether you choose a pan/tilt head, a ball head or a friction grip, we are always ready to offer advice on matching your equipment needs with your personal photographic pursuits.

Click Here for Approximate Prices

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Visit Danella Photographic’s “Accessories” page for information and pricing on Smith-Victor’s Chameleon Line of photographic reflectors

The reflector, as an accessory, has a definite place in your camera bag, home studio and general bag of photographic tricks.

The usual use of a reflector is one of natural light augmentation or modification. Window light photography becomes balanced and enhanced when a reflector is used to direct light onto the shadow side of the photo.
The usefulness of a reflector, however, is not limited to portraits.

Field photographers can bounce light into flowers or other flora by carefully aiming light at the subject. The shadows are either opened up or eliminated and more detail will be rendered. Flash photography also can be greatly enhanced and softened if a shoe mount flash is tilted up and a reflector is positioned behind it. The resulting light is very soft and covers any photographer’s widest lens.

Reflectors may be purchased or home made. Commercial photographers, working far from home, will use anything that reflects light as a reflector. A white pizza box or a piece of rigid silver insulation will open up shadows on location assignments. With today’s reflector designs, however, they are easily carried in a camera bag.
Luckily, new generation reflectors are made to collapse and are easily transported at a third of their working size. This eliminates both the bulk of transportation and the excuse for not to take one along. Even large 42″ units are easy to manage once they are collapsed to their folded 16″ size.

Generally speaking, a 32″ reflector is capable of redirecting enough light to improve available light window portraiture.

Visit Danella Photographic’s “Accessories” page for information and pricing on Smith-Victor’s Chameleon Line of photographic reflectors