Completed Classes

The Impact of Monochrome/Black & White

John Lehman
Photographing or converting an image to Black and White is a deliberate choice. We'll explore the impact of a monochromatic image and discuss the decisions to do so. We'll also focus on converting images into monochromatic images with a focus on Lightroom and Silver Efex Pro3. 

Managing Mobile Photos in Lightroom and Lightroom Classic
David Swinney

Lightroom: From Camera to Print - Update covering new masking tools (Online)
Dennis Fritsche

This class concentrates on the Library, Develop, and Print modules of Lightroom Classic. We explore the power of the Library module to help you mange your photographs, the basic and advanced techniques to refine your images in the Development module, and the details of outputting to paper from the Print module. 

Seeing Beyond the Subject (Online)
Alan Whiteside
February 15, March 15, April 19, May 17

We usually think about photographing “things”: rocks, flowers, buildings, people, and so forth. If you want to create images that have the most impact, you have to move beyond what the subject of the image is and explore what the image is about.

This four-session course will help you incorporate design and structure elements (such as perspective; positive and negative space; symmetry; and depth within the scene) to see beyond your chosen subject and define what the image is about and how you want viewers to feel when they see your image.

We will examine a range of example images, including highly successful ones and those that could be improved. You will be encouraged to submit an image and describe (1) how you structured it to make a statement about your subject and (2) how the subject made you feel or what you hope your audience will feel when looking at the image. Discussions will center around how the images are perceived by other participants and how they can be improved for added impact.


Image Study Group

Participants share images and discuss them. The leader my demonstrate potential improvements.

Larry Petterborg

Photojournalism is a form of documentary photography that goes beyond merely depicting a scene to telling a story about people and events. This class will cover the development of photojournalism, from the earliest days of photography to the present. Classic and iconic examples of the genre will be discussed as a way of exploring the elements of a memorable image.

Selections in Photoshop
Craig Rowen

Description: There are many ways to make selections in Photoshop. This class will give an overview of the many options and dive into the most used methods.

Composition for Still Life
Nancy Mack

This class will be presented in two sessions: 1 “Flat Lay” composition will cover a “how to” setup scenario and examples using elements of design and conventional composition diagrams. Grandma and her viewfinder will make a cameo appearance. 2 “Table Top” will include still life in art and photographic history, what “stuff” to use and how to arrange it using the elements of design.

Fun with Photoshop
Heidi Phillips

Printing and Mounting Your Photographs
Dennis Fritsche

Ansel Adams famously said “The negative is the score, and the print the performance." This remains true in the digital age as well. Prints provide a unique opportunity to enjoy, display and share our photographs.  This class will demonstrate the basics of printing your photographs or preparing them to be printed by a service.  It will also demonstrate how to mount a photograph for display and judging.

File Formats in Photography

David Swinney

In photography, we are presented with a variety of file formats – JPEG, TIFF, RAW, DNG, PNG, etc. These sessions will unravel the terminology and help you understand what they are and when to use them.
Session 1: (RAW and XMP) vs. DNG - the pros and cons of each file type along with usage scenarios/workflows

Session 2: Using Different File Types When Roundtripping between Lightroom and Photoshop 

Preparing Slideshows
Dennis Fritsche

During the club year, we can share our photography and creativity with our fellow members with slideshows. These sessions will use Photostage Slideshow Software from NCH Software. We will cover considerations for choosing and sequencing the slides, creating title slides, when to use and not use special effects, how to find and add music, and how to prepare the final product into a movie that displays well on Zoom.

Techniques to Expand the Capability of Your Camera
Frank Richards

Today’s cameras are marvelous instruments with capabilities unimaged just a few years ago. However, there are some things that are currently beyond our camera’s capabilities. We can capture multiple images and combine them in post processing to overcome some of these limitations. Frank will explore in three situations where multiple images can be combined to create a new image that exceeds the exposure range of your camera’s sensor or exceeds the viewing angle or depth-of-field limitations of your lenses. These three techniques – HDR (High Dynamic Range), Panoramas, and Focus Stacking – will each be addressed in a separate session.

What Judges Look For
Larry Petterborg

As both clubs move from one contest year to the next, it is good to keep in mind What Judges Look For when judging a club contest. Larry shares his observations from competing and judging other clubs for many decades into a helpful set of observations.

Street Photography

Hugh Adams
This training session will include the history and definition of street photography, including examples, equipment, approaches, composition, locations, ethics, legality, and resources of street photography.

Luminosity and Color Masks in Photoshop
Anita Oakley

Luminosity and color masks allow you to make edits to your images that would be impossible without them. They can be as intricate as a single shade in the leaves of trees. They also blend beautifully so the edits appear more natural. However, manually creating luminosity masks is a difficult and time-consuming process. Ted Kuyper’s TK7 Rapid Mask module makes them a snap! We will edit three images and show you how effective and easy they really can be.

Photographing Moving Water
Alan Whiteside

Whether you’re photographing naturally moving water (e.g., a creek, ocean, even rain) or an artificial source (e.g., a faucet, fountain, fire hydrant), there are numerous considerations that affect the final image. We will explore these factors, which range from your own safety, to your vision for the image, to manipulating the light to express your intent. Most of the example photos will involve water, but the considerations can be applied whenever you want to capture and interpret the motion of everyday objects while your camera remains stationary.

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