VOL. 41 sEPTEMBER 2017 - Wissahickon Garden Club€¦ · Copy Editor Alice Farley Layout Editor...

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usVOL. 41 sEPTEMBER 2017The Garden Club

of ameriCaa publication of the GCA Photography Committee

2The Garden Club of America september 2017 focus

MissiOn sTATEMEnTThe object of focus magazine of The Garden Club of America is to enhance the knowledge and enjoyment at all levels of involvement in the art of photography and to appreciate its unique blend of technical skill, knowledge of composition and creativity. Articles written express the opinion of the writers and are for the purpose of clarity and education about the photographic process, exhibiting and judging. The Garden Club of America and focus magazine do not endorse any product or service. All entries in Flower Shows are limited to members of GCA. By submitting your work to focus, you grant permission to publish your work on the GCA website accessible to the public, and not limited to the Members Area.

suBMissiOnsfocus is a quarterly online publication by the Photography Committee of The Garden Club of America (GCA) posted on the GCA website on the first day of September, December, March and June of each year. It showcases photographs that have won a First Place and/or GCA Special Award(s) at a GCA or sanctioned Non-GCA flower show and contains pho-tography articles/information targeted to GCA photographers of all ability and interest levels.

To submit for publication consideration, use the “Submission Form for Articles and/or Image Content,” accessible via this link:

https://form.jotform.us/71733644684161 and also found on the Photography Committee page of the GCA website “in the section titled FOCUS, ONLINE MAGAZINE.” Follow online instructions. To support the best intentions of photographers, only age-appropriate and otherwise appropri-ate images of child(ren) should be submitted to, passed, and exhibited in Photography Divisions of GCA/GCA Major flower shows and published in the online magazine, focus.

In the event an image comes to the GCA’s attention that the GCA determines does not meet this “appropriate” standard, the image shall no longer be shown or displayed. Any such determination would occur only after consultation between the Photography Committee Chairman, GCA president, and possibly the Executive Board.

Submission to focus grants to GCA the right to use the content, in any way, in connection with GCA’s mission or charitable purposes. focus contents are neither the opinion nor a representation of GCA; GCA does not endorse any product or service. Questions? Email: [email protected] or R. Ellen Avellino: [email protected] (203) 918-6691 Alice Farley: [email protected] (215) 247-5541

PHOTOGRAPHY COMMiTTEEChairman Leslie PurpleVice Chairman Patti SpaghtPSG Coordinator Eloise CarsonAssistant to the PSG Coordinator Sarah StarrettGCA Photographer Linder Suthers

focus MAGAzinEManaging Editor R. Ellen AvellinoCopy Editor Alice FarleyLayout Editor MaryEllen O’BrienAssociate Editor Penelope Ross

COMMiTTEE REPsZone I Martha GangemiZone II Evelyn Lorentzen-BellZone III Carol LargeZone IV Susan Van TasselZone V Debbie LavarellZone VI Barbara RobinsonZone VII Dana ParkerZone VIII Sally BarnettZone IX Karen McCormickZone X Lynn ShiverickZone XI Shelley GallowayZone XII Charlotte Reed

On THE COVERPhoto by Jennifer Kelly

GC of Santa Barbara / Zone XIIBlue Glow Agave

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COVER 01ABOUT 02FEATURES 03VANTAGE POINT 04 by Leslie Purple and R. Ellen Avellino JENNIFER KELLY 05SUSANNE TOBEY 06WENDY SESNON ROHN 07 KELLY BRONFMAN 08LESLIE POWER 09 MARYAN HECKLE MERCER 10SUZY TITCOMB 11MARé BRENNAN 12MALINDA BERGEN 13YONI MAYERI 14 COLESIE STERLING 15KAREN CAMPBELL McCORMICK 16HELEN WAGNER 17RYN CLARKE 18GAIL ATWATER 19CHRISTINA KRAMER 20DOROTHY NUTANT 21SUSAN CHESWICK BREWER 22ELLEN GOULD 23IMAGE RESOLUTION 24 by Barbara Robinson and Kathryn SheaMIMI CARRINGTON 29SUSAN S. VAN TASSEL 30SUZETTE de TURENNE 31ROBIN HARDMAN 32COLESIE STERLING 33KATE FAHEY 34DEBORAH FITZGERALD 35

yELLOw BOOK 36 Photography Updates MARTHA’S VINEyARD IN LATE SPRING 42 by Leslie PurpleANITA STOCKBRIDGE 43LESLIE PURPLE 44CATHERINE DENCKLA 45ELOISE CARSON 46ELOISE CARSON 47SUSAN S. VAN TASSEL 48HELEN GLAENZER 49HOLLY SETHNESS 50PATTI SPAGHT 51DANA PARKER 52MARGY RICHARDSON 53LINDER SUTHERS 54CATHERINE DENCKLA 55LESLIE PURPLE 56HOLLY SETHNESS 57HELEN GLAENZER 58ELOISE CARSON 59HELEN GLAENZER 60PATTI SPAGHT 61CATHERINE DENCKLA 62LESLIE PURPLE 63PATTI SPAGHT 64MARGY RICHARDSON 65MARGY RICHARDSON 66HOLLY SETHNESS 67PSG PARTICIPANTS 68HEADING wEST 68 by Leslie PurpleINDEX 69

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A message from the Photography Chairman and the Editor

Welcome to the September issue of focus. With this edition, we start afresh with a new editorial board. The September issue of focus presents stunning images from GCA shows across the country, information to help you when submitting your images for future issues and spectacular–sometimes mysterious–shots captured at the recent Photography Study Group workshop on Martha’s Vineyard.

New this summer is a simple-to-use, and required, submission form for articles and images for focus.. Now it will be easier than ever to submit your winning images and photography articles. You will find it on the Photography Committee page on the GCA website. Try it out today!

Jean Matthews, our marvelous focus Editor for the past three years, has stepped down. Jean’s title, “Editor–Layout”, did not convey the true breadth of the responsibility that her position required. During Jean’s time as Editor, her diligence and dedication yielded remarkably beautiful and informative issues. Thank you, Jean, for all you have done.

The multi-talented Penny Ross, who has held various editorial responsibilities since focus’ first issue was published in April 2009, continues today as Associate Editor, and R. Ellen Avellino continues for a second year as Managing Editor. New team members are Alice Farley, as Copy Editor, and MaryEllen O’Brien, as Layout Editor. As always, the focus team will work hard to produce a magazine that celebrates your achievements, presents images to inspire, and teaches you new techniques. Our goal is for focus to be your first stop for viewing beautiful images, educational articles and news of the educational events and activities of the Photography Committee.

We welcome your comments, ideas, and suggestions. Please email Ellen at [email protected] to let us know your vantage point!

Leslie Purple and R. Ellen Avellino


STAR POWERGC of Santa Barbara / Zone XIIApril 2017

PhotographerJennifer Kelly GC of Santa Barbara / Zone XII

Show SponsorGarden Club of Santa BarbaraMusic Academy of the WestMontecito, CA

AwardsFirst Place, GCA Novice Award in Photography and Best in Show

Class TitleA Super Nova in Deep Space

Class DescriptionA color image depicting a small, yet distinctive, part of a plant.

Judges’ Comments“Radiating forms emphasized by color generate an asymmetrical balance with force.”

“A fresh approach to an old favorite.”

Photograph LocationLos Angeles, CA

Plant NameAgave x ‘Blue Glow’


STAR POWERGC of Santa Barbara / Zone XIIApril 2017

PhotographerSusanne TobeyGC of Santa Barbara / Zone XII

Show SponsorGarden Club of Santa BarbaraMusic Academy of the WestMontecito, CA

AwardsFirst Place and GCA Photography Creativity Award

Class TitleBinary Stars

Class DescriptionCreative Techniques

Judges’ Comments“With artistic inventiveness you have created a moody transition between day and night.”

“A skilled response to the theme ‘Binary Stars’.”

Photograph LocationLotusland Montecito, CA

Plant NameGolden Barrel Cactus -Echinocactus grusonii


PhotographerWendy Sesnon RohnWoodside-Atherton GC / Zone XII

Show SponsorWoodside-Atherton Garden ClubAllied Arts GuildMenlo Park, CA

AwardsFirst Place and Best in Show

Class TitleThe Sky’s the Limit

Class DescriptionA landscape with an artistic sensibility.

Judges’ Comments“Your vision is limitless!”

Photograph LocationSquam LakeHolderness, NH

EquipmentiPhone 7

Technique“It was a crisp October day….there was fog over the lake and the sun was just breaking through behind me and catching the diving board with this amazing light!”

ThE ARTS Of ThE GARdEnWoodside-Atherton GC / Zone XIIMarch 2017



PhotographerKelly BronfmanWoodside-Atherton Garden Club / Zone XII



Class TitleHooked on Time

Class DescriptionAn abstract photograph using creative manipulation and technique. Plant material is not required in the image.

Judges’ Comments“Well executed creative manipulation captures the abstract peony.”

“You’ve hooked our imagination with your creative manipulation.”

Photograph LocationAtherton, CA

Plant NameTree Peony – Paeonia suffruticosa

EquipmentCanon EOS 30D - f/11 - ISO 200


PhotographerLeslie PowerGC of Santa Barbara / Zone XII


AwardsFirst Place and GCA Novice Award in Photography

Class TitleCelebrating Early California Architecture

Class DescriptionMonochrome photograph, showing a detail of the Spanish Colonial style.

Judges’ Comments“The juxtaposition of the architectural elements creates a dynamic range.”

“A creative response to the title of the class. Tells a story, a poem.A good eye for texture and balance.”

Photograph LocationSanta Barbara County CourthouseSanta Barbara, CA

EquipmentFujiFilm X-T1



PhotographerMaryan Heckle MercerThe Memphis Garden Club / Zone IX

Show SponsorGarden Lovers of Natchez Natchez, MS


Class TitleNature’s Sequence in the Garden

Class DescriptionColor, close-up. A photograph featuring a Fibonacci Sequence.

Judges’ Comments“Mesmerizing composition with wonderful technique.”

RivERSidE REflECTiOnSGarden Lovers of natchez - GCA zone iX Meeting Flower showMarch 2017


ART, AnGElS, And ACAdEmiCSThe Alamo Heights-Terrell Hills GCzone iXApril 2017

PhotographerSuzy TitcombSeattle Garden Club / Zone XII

Show SponsorAlamo Heights-Terrell Hills GCSan Antonio, TX


Class Title Musings of the River

Class DescriptionA color composition featuring a river and/or flowing body of water.

Photograph LocationNarrows RiverZion, UT

Plant NameFremont Cottonwood - Populis fremontii

EquipmentTaken using a tripod while canyoneering (the sport of exploring canyons in a wetsuit, ropes and boots).


PhotographerMaré BrennanThe Monroe Garden Study League / Zone IX

Show SponsorFounders Garden Club of Dallas


Class TitleEnciende una Luz a la Edad de Oro Espanola -Shine a Light on Spain’s Golden Age

Class DescriptionA color image of a still life in the classic style of Spain’s Gold-en Age painters (1492 – 1659): El Greco, Diego Velázquez, Francisco de Zurbarán, Bartolomé Esteban Murillo and others.

Judges’ Comments“Magnifico!”

“Exceptionally painterly composition.”

Plant NamesLemon - Citrus limonShallot - Allium cepa var. ‘aggregatum’ Red Onion - Allium cepa var. ‘burgundy’

EquipmentCanon Rebel Ti and tripod

TechniqueOil Paint filter in Photoshop

ThROUGh ThE KEYhOlEmAGnifiCO!!!Founders GC of Dallas / zone iXApril 2017


PhotographerMalinda BergenTrustees’ Garden Club / Zone VIII

Show SponsorCherokee Garden ClubAtlanta, GA


Class TitleIsland Paths

Class DescriptionA close-up of all or part of a tropical plant or flower.

Judges’ Comments“Sophisticated mastery of texture and detail.”

“Superb technical expertise.”

Plant NamePrickly Pear Cactus - Opuntia

EquipmentOlympus OMD-EM1 - 60mm macro lens

AmAzinG! Cherokee GC / zone ViiiApril 2017


PhotographerYoni MayeriOrinda Garden Club / Zone XII

Show SponsorCherokee Garden ClubAtlanta, GA


Class TitleTwists and Turns

Class DescriptionWater in the landscape taken with a smartphone. Manipulation allowed. Plant material encouraged, but not required.

Judges’ Comments“Masterful use of vignette technique.”

Photo LocationNewport Beach, CA

Plant NameAgave - Agave attenuata

EquipmentiPhone 6s Plus, using the macro setting

AmAzinG! Cherokee GC / zone ViiiApril 2017


PhotographerColesie SterlingPiedmont Garden Club / Zone XII

Show SponsorGarden Club of Palm BeachPalm Beach, FL

AwardsFirst Place, Best in Show and GCA Photography Creativity Award

Class TitleFruit Salad

Class DescriptionA color photograph using creative techniques.

Judges’ Comments“An exciting image with shapes that bring an unusual color palette to life.”

“Clever and brilliant mastery of line, color and space.”

“The juxtaposition of complex and simple elements creates a bold, graphic design.”

Photograph LocationPeru

l’ORAnGERiE GC of Palm Beach / zone ViiiApril 2017


flORESCEnCE, WavesThe GC of Houston and River Oaks GC / zone iXApril 2017

PhotographerKaren Campbell McCormickMagnolia Garden Club / Zone IX

Show SponsorThe Garden Club of Houston and River Oaks Garden ClubThe Museum of Fine ArtsHouston, TX


Class TitleBefore the Wind

Class DescriptionColor, seascape incorporating sailboats.

Judges’ Comments“Boom…unique perspective and richness and intensity of color takeus on a great adventure.”

“A fresh and creative point of view enhanced by exquisite lighting.”

Photograph LocationBar Harbor, ME


PhotographerHelen WagnerWest Chester Garden Club / Zone V



Class TitleAt the Aquarium

Class DescriptionClose-up of underwater life.

Judges’ Comments“The flowing composition, juxtaposition of color and rhythm creates a stunning photograph.”

“An out of this world underwater experience.”

Photograph LocationNational AquariumBaltimore, MD



PhotographerRyn ClarkeShaker Lakes Garden Club / Zone X


AwardsSecond Place and GCA Photography Creativity Award

Class TitleCross Current

Class DescriptionInvitational Multimedia Class using creative techniques before and after printing. Images must follow the theme and division of the show.

Judges’ Comments”Image has a subtle haunting quality and Asian spareness. A high 2nd!”

“For pushing the envelope.”

Photograph LocationSouth Carolina

TechniqueColor photograph abstracted and printed on Japanese paper. As a finished process, encaustic wax was used along with etching ink.

Original Pic



PhotographerGail AtwaterThe Garden Club of Honolulu / Zone XII


AwardsFirst Place

Class TitleHere Comes the Sun

Class DescriptionColor Creative Techniques

Judges’ Comments“Repetition of ribs creates a rhythmic abstraction.”

Photograph LocationJapan

EquipmentNikon D3200F8 - 1/250 - ISO 200



PhotographerChristina KramerGarden Club of Palm Beach / Zone VIII

Show SponsorCarolina Foothills Garden ClubGreenville, SC


Class TitleBuildings

Class DescriptionA color photograph containing a building.

Judges’ Comments“Creative use of light, color and texture produces a dramatic image.”

Photograph LocationGristmill at Gilbert Stuart BirthplaceNorth Kingstown, RI

EquipmentCanon 35mm Rebel

TechniqueThe brightness and color tones using Photoshop were adjusted, which increased the drama in the overcast sky and enhanced the textural qualities of the old wood on the mill.

ThE hillS ARE AlivE zOnE viii flOWER ShOW 2017Carolina Foothills GC / zone ViiiApril 2017


PhotographerDorothy NutantLate Bloomers Garden Club / Zone VIII

Show SponsorCarolina Foothills Garden ClubGreenville, SC


Class TitleTrees

Class DescriptionA color landscape photograph containing trees.

Judges’ Comments“Dramatic image of a majestic, historic tree; excellent interpretation.”

“Powerful composition accentuated by light, color, texture and balance. Spot-on interpretation.”

Photo LocationCummer Museum of Art and GardensJacksonville, FL

Plant NameSouthern Live Oak - Quercus virginiana

ThE hillS ARE AlivE zOnE viii flOWER ShOW 2017Carolina Foothills GC / zone ViiiApril 2017


lES BEllES flEURS, Through the looking Glassindianapolis GC / zone XApril 2017

PhotographerSusan Cheswick Brewer Garden Club of Darien / Zone II

Show SponsorIndianapolis Garden Club Indianapolis Museum of ArtIndianapolis, IN


Class TitleClose-up

Judges’ Comments“Wonderfull perspective that draws your eye through the image. Gorgeous color.”

“A stunning combination of line, form and color.”

Photograph LocationPalm Springs, CA

Plant NameCalifornia Fan Palm - washingtonia filifera

EquipmentSony RX 100 full frame point and shoot at f 4.51/60 sec shutter and 10 mm distance


lES BEllES flEURS, Through the looking Glassindianapolis GC / zone XApril 2017

PhotographerEllen GouldFairfield Garden Club / Zone II

Show SponsorIndianapolis Garden Club Indianapolis Museum of ArtIndianapolis, IN

AwardsFirst Place and the GCA Photography Creativity Award

Class TitleReflections

Class DescriptionAn image that incorporates reflection in any manner.

Judges’ Comments“What a trip! Extremely creative response to the class. The unique perspective yields unexpected delight.”

“A dramatic diagonal composition that surprises the viewer with its unique perspective.”

Photograph LocationWestport, CT

EquipmentiPhone 6S Plus

TechniqueManipulated using iPhone apps.


Image Resolution, Image Size and File Size in Digital PhotographyBarbara Robinson, Green Spring Valley Garden Club, Zone VIKathryn Shea, Green Spring Valley Garden Club, Zone VIAll images and charts were created expressly for this article.

Resolution is an important concept in digital photography because it directly affects the quality of your images and

photographs. Images will appear pixelated or have a blocky appearance if the resolution is too low for its size.

Conversely, choosing a higher resolution than required, for example in website design, creates a sluggish workspace,

and we experience long download times. Understanding the concept of image resolution and the differences between

image and file sizes can be very confusing. In this article, we will attempt to simplify these technical terms and offer

helpful guidelines for printing high quality photographs.

Camera and Image Resolution

In digital photography, to understand resolution you must first look at the PIXEL, the smallest unit of in-

formation making up an entire image. The term pixel was created by combining the words ‘PICture and

ELement’. You may think of pixels as two-dimensional colored blocks. If you magnify a portion of an image

hundreds of times, you can see these individual pixels each contain one color (Image 1) but when viewed

again at actual size our eyes blend these color units together to create an image.

Cameras are often defined by how many millions of pixels or megapixels (MP) their sensors can record.

For example, an 8-megapixel camera (such as an iPhone) shoots an image containing eight million pixels.

The amount of information actually recorded each time the shutter is released depends on many factors.

including available light and the presence of shadows or highlights.

Image 1: Digital images are similar to tile mosaics in that they are created by using millions of colored “ tiles” or blocks called pixels.


Small Size - 72 PPI Actual Size - 300 PPI

Resolution ComparisoniPhone photograph emailed using two different file/quality sizes and shown as identical physical size.

Figure 1: Two images with the same physical size and different resolutions. The areas circled on each image highlight the amount of detail in the windows and doors produced by lower or higher resolutions.

Resolution, measured in pixels per inch (PPI), is the number of pixels an image

contains (per linear inch - both horizontally and vertically). Pixels have no set

size so they can expand or contract to fill the space. The size of an inch stays

the same but the number of pixels within that inch increases or decreases de-

pending on the resolution. For example, Figure 1 shows two photographs with

the same physical size but different resolutions. The image on the left is 72 PPI

and the image on the right is shown at 300 PPI. You can see that the image on

the right with a higher resolution and more densely packed pixels has better im-

age quality. To get the best prints or images, set your camera to capture at the

highest pixel count possible.

Image sizeAn image’s size is measured by its overall dimensions in inches or pixels. It can also be viewed by its total pixel count, measured in megapixels (MP).

A pixel dimension is exactly what it sounds like, and refers to the number of pixels along its width and height (i.e. 1200 x 1800). To find the pixel count,

multiply the number of pixels along these sides, much like you would to find the area of a square (1200 x 1800 = 2,160,000 or 2.1 MP).


Pixel Dimension at 300 PPI Resolution

Figure 2: when a certain resolution is required, the total number of pixels or pixel count will determine the maximum print size available.

Figure 3: Different resolution values provide differences in print qualities. when printing larger photo-graphs such as 8 x 10 and 11 x 14, evaluate your image using the image size and pixel dimensions needed to provide a high quality photograph.

Figure 2 illustrates how to determine print size using a particular

resolution. In this case we are using 300 PPI, which would provide

a high quality print. A 4” x 6” photograph would have at least 1200

pixels in width and 1800 pixels in height or 2.1 MP in total. Simi-

larly, a larger sized 8” x 10” photograph with a 300 PPI resolution

would require a larger pixel dimension of 2400 x 3000 or 7.2 MP.

High resolutions are best saved for larger prints and lower reso-

lutions work well in website design or for smaller prints. Figure 3

illustrates how different resolution values can determine image

size and print quality. Printers use a resolution value measured in

dots per inch (DPI). This is the same as the PPI but named differ-

ently because each one is used for a different medium - paper vs.

computer monitors. Choose a (PPI) setting in your editing soft-

ware and these will transfer as DPI for final print quality.


File SizeMegapixels vs. megabytes. These are both digital units of measure and often confused.

Megapixels (MP) measure the amount of information in an image, while megabytes (MB)

measure the amount of storage space this image will take up on your computer’s hard drive

as a saved file. Megabytes and megapixels have little relation to each other. A file size will de-

pend on several factors, including the number of megapixels captured, the file format you’re

using (such as JPEG or RAW) to shoot, and the amount of file compression used to save the

photo, which is sometimes referred to as the quality setting. Brighter areas in an image record

more data than darker areas. Also, overexposed or underexposed images record less

data—the white goes to pure white and the black goes to pure black with no details. When

emailing an image to the GCA for juried shows or online publications, the requested file size

is typically 2-5 MB.

How to find and change the resolution, image size or file sizeMost digital images cannot be utilized properly at 100% scale. The reason for this is the

difference in resolution between your computer monitor screen and the resolution required

for effective print reproduction. Because they are intended to be viewed on a computer first,

most images are uploaded at a default resolution of 72 PPI. This is because a computer

monitor only needs to display an image at this lower resolution. What looks great on your

screen may not print well at all if the file size or pixel count is too small. However, it may

print very well if the image size can be decreased because the resulting effective resolution

will be higher and provide finer detail. Resized images often result in better printed photo-

graphs.

These components use different units of measurements. Computers store files in MB. Monitors view images with a specific pixel dimension. Cameras take images using a sensor that saves the data in megapixels. Printers use dots per inch to print out photographs.


Resolution, image and file properties are listed in your computer's image viewing program (Window's Photo Viewer or Apple's Preview) or file directory

(Apple Finder or Window's Explorer). Resize digital images using your computer's image viewing programs or an editing programs such as Adobe's

Lightroom or Photoshop.

Remember to always create a copy of your image before resizingTwo factors can affect resizing - proportions lock and resampling. Keeping the proportions locked allows you to set one side of the image to a desired

length or pixel number and the other automatically changes maintaining the image's original proportion. Uncheck the resample box when resizing your

image for printing to maintain image quality (Figure 4). To reduce the pixel dimension or file size of your image for emailing, keep the proportions lock on

and resample box checked (Figure 5). Additional resizing image instructions can be found on the GCA Photography Page under Education Resources.

Figure 4: when changing size or resolution for printing, uncheck resample box. Reso-lution will change and file size will remain constant.

Figure 5: when reducing image or file size for emailing, check the resample box. File size is decreased, however, resolu-tion remains constant.

ConclusionResolution is a quality factor and not a “size,” but it’s often identified as size because

images with higher resolutions are often large files. When evaluating an image for

print quality, it is important to know the resolution value, how many pixels were cap-

tured initially and how many pixels remain after any editing was performed. Always

begin with the largest file setting available on your camera (large/fine JPEG or RAW)

and save at the highest quality JPEG file (usually noted as #12) leaving you with more

pixels to work with, higher resolutions, and high quality photographs. If large amounts

of data are lost through cropping or editing, smaller print sizes may provide a better

print quality. Lastly, don’t confuse “image size” with “file size.” Image size refers to the

total information available in megapixels (MP) or pixel dimensions. File size is how

much space is used on the hard drive to save the file and is measured in megabytes

(MB). Once you gain confidence in determining the size and resolution of your im-

ages, you can easily change these when needed to share your beautiful photographs

with all of GCA!

Resolution Rules1. Images should be set at 300 PPI at the final size for printing and 400 PPI if text is included in image.2. Resolution and image size are inversely proportional to one another because pixels change size. Enlarge an image and the resolution decreases. Reduce an image and the resolution increases.3. Low resolution images print fuzzy with less detail.4. The settings used during the original “capture” of an image determine its base resolution. Set your camera file size to fine/large JPEG or RAW for best results.


PhotographerMimi CarringtonGarden Club of Morristown / Zone IV

Show SponsorGarden Club of Irvington-on-Hudson Lyndhurst MansionTarrytown, NY

AwardsFirst Place, Best in Show and GCA Photography Creativity Award

Class TitleTales of the Alhambra

Class DescriptionAn image that captures the architectural details and splendor of a house.

Judges’ Comments“Impressive layering of image.”

“Exquisitely captures a moment in time.”

“A splendidly creative, multi-layered composition.”

Photograph LocationNew Jersey Botanical GardenSkylands ManorRingwood, NJ

On ThE SUnnY SidE Of ThE hUdSOnGC of irvington-on-Hudson / zone iiiMay 2017


PhotographerSusan S. Van TasselThe Short Hills Garden Club / Zone IV

Show SponsorGarden Club of Irvington-on-Hudson Lyndhurst MansionTarrytown, NY

AwardsSecond Place and GCA Novice Award in Photography

Class TitleThe Inside Story

Class DescriptionColor macro image of a flower revealing its inner workings.

Judges’ Comments“Image displays a rhythmic expression of light and subtle color.”

Photograph LocationMadrid, Spain

Plant NameDahlia - Dahlia

On ThE SUnnY SidE Of ThE hUdSOnGC of irvington-on-Hudson / zone iiiMay 2017


PhotographerSuzette de TurenneSeattle Garden Club / Zone XII

Show SponsorThe Portland Garden Club World Forestry Center Portland, OR

AwardsFirst Place and GCA Certificate of Excellence

Class TitleArietta

Class DescriptionColor. A petite photograph of natural material no larger than 32” in overall perimeter.

Judges’ Comments“The beautiful light creates a breathtaking image.”

“A small but mighty image exemplifying excellence in photography.”

inSPiRATiOnS 2017 OPUS fOR SPRinGThe Portland GC / zone XiiMay 2017


PhotographerRobin HardmanAkron Garden Club / Zone XII

Show SponsorThe Portland Garden ClubWorld Forestry CenterPortland, OR


Class TitleSerenata

Class DescriptionColor. A portrait of a flower or plant (not a macro class). Novice only.

Judges’ Comments“Refreshing point of view with dramatic contrast & lighting”

“Beautiful and subtle backlighting creates a winning image.”



PhotographerColesie SterlingPiedmont Garden Club / Zone XII

Show SponsorThe Portland Garden Club World Forestry Center Portland, OR


Class TitleFantasia

Class DescriptionColor. A creative techniques image, highly manipulated.

Judges’ Comments“An absorbing and compelling image that is beautifully rendered.”

“Sophisticated! Evocative! Mysterious!”

TechniqueThe photograph was produced by merging two photographs. The “Camellia” photo was taken using, a scanner as my camera, and dupli-cated in Photoshop. I created multi-ple layers with different transparen-cies, adjusting color, saturation and brightness.


Pic 1 (above) Pic 2 (below)


PhotographerKate FaheyFour Counties Garden Club / Zone V

Show SponsorGreen Spring Valley Garden Clubin conjunction with all GCA Zone VI Garden ClubsBaltimore, MD


Class TitleDawn’s Early Light

Class DescriptionColor

Judges’ Comments“This image sails away with the blue and undulating colors and textures.”

mARYlAnd in mAYThe GCA Annual meeting flower ShowBaltimore, mdMay 2017


PhotographerDeborah FitzgeraldGarden Club of Cleveland / Zone X

Show SponsorGreen Spring Valley Garden Clubin conjunction with all GCA Zone VI Garden Clubs

AwardsSecond Place and GCA Photography Creativity Award

Class TitleBright Stars

Class DescriptionColor Creative Techniques

Judges’ Comments “The flat color and arrangement of the white flowers create a compelling rhythm and sets off the textural quality and placement of the finch.”

“The creativity unfolds as the viewer takes the time to explore the secrets that are revealed in this beautifully crafted photograph.”

Plant Name(s)Star Jasmine - Jasmine nitidumOleander - Nerium oleander ‘Cora Red’ Vinca - Vinca catharanthus

mARYlAnd in mAYThe GCA Annual meeting flower ShowBaltimore, mdMay 2017


Page 8GCA Major Flower Show at a GlanceI. GCA Major Flower Show must: Section G. Include the following: #3. Division III, Photography a. Juried Show b. Minimum 6 classes c. Minimum 4 entries per class d. No fewer than 36 entries

Page 35VI. Responsibilities of Committee Chairmen Section D Add after #14#15 Photography Division Chairmen should submit names and supporting information for winners of GCA special photography awards to the Managing Editor of focus magazine.

Page 46VI. Responsibilities of Committee Chairmen Section P#4. Indicate that photos should be submitted as Jpegs, be at least 1MB - 5MB, and in sRGB colorspace on your monitor.#7. Replace with - Contact Zone Judging Representative to obtain judges for the jury. Each panel will consist of 2 approved judges and 2 prospective judges (preferably in their second or third year). A panel can jury up to 60 entries. They will judge from home. The Division Chairman chooses one of the approved judges on each panel to act as the coordinating judge.

flOWER ShOW & JUdGinG GUidE (YELLOW BOOK) FOR PHOTOGRAPHY2017 uPDATEs

CHAnGEs ARE in RED (ADDiTiOns and DELETiOns)


Page 47#10. Put images in Dropbox, Google Drive or other online location; alternatively images can be sent on a jump drive or website such as WeTransfer. Put each class in a separate folder. a. After Juried Judging i. Notify those whose entries have been selected for final show, giving date that print is to be received, stipulating that print may not be further altered and is to match digital image ii. Notify those who are not finalists along with and send them their comments. iii. Photographs that are not accepted in a juried show may be entered in another show. iv. Arrange to have photographs passed immediately after the submission deadline for printed photographs. Photographs may be reprinted if necessary. Conduct passing at least 4 weeks prior to the date of judging to allow time for corrections to be made by the exhibitor. b. Date master score sheet with comments is due.

Page 62 VIII. Passing Section D. Passing Photography 1. Exhibitor a. Complete the entry form in the schedule i. May add a brief statement or title ii. Identify plant material, if applicable b. Attach entry form to the back of the entry and indicate top of the photo 2. Date of Passing a. Passing should be conducted at least 4 weeks prior to the date of udging to allow time for corrections to be made by the exhibitor. b. Date for passing should be included in the Flower Show Schedule - Timetable for Exhibitors. 3. Passers a. Understand show rules and class requirements b. Passers are responsible for rule and judges are responsible for interpretation c. Anything not prescribed in the schedule is permitted


d. Determine whether an entry has fulfilled the rules and class requirements i. Check size restrictions as specified in the schedule ii. Check for proper mounting and/or matting, including color iii. Check for color or monochrome as specified in the schedule e. Check statement of intent i. If permitted, ensure it is within guidelines ii. If prohibited, check there is none f. Check for condition of photograph for any physical damage. Photographs must be in excellent condition with no visible damage g. Confirm novice status, it may be necessary to ask individual exhibitor by asking: i. At a GCA Flower Show “have you won a first place ribbon or a GCA Special Award in this division of a GCA Flower Show, GCA Major Flower Show or Sanctioned Non-GCA Major Flower Show?” ii. At a GCA Major Flower Show “have you won a first place ribbon or a GCA Special Award in this division at a GCA Major Flower Show or a Sanctioned Non-GCA Major Flower Show?” h. Check entry card for i. Correct class and entry number ii. Correct botanical and common name, if plant material is required iii. If eligible indicate novice status i. Once passed, mark entry card with a red “P” in upper right corner j. Notify Division Chairman if there are any issues 4. Passers may not a. Pass a class they have entered b. Pass a class where they have served as a class consultant c. Make a judgment on the design qualities of an exhibit or whether the exhibit has properly interpreted the class 5. Passing Panels should include a. At least 2 passers for every 3 classes depending on number of entries and time allotted to passing b. Passers do not have to be in the judging program, if possible one should be 6. Juried Shows – entries must be passed 7. Consult with members in the photography judging program if any questions arise regarding class conformance or other subjective concerns.


b. GCA members who are well informed on conservation/NAL issues c. Knowledgeable non-GCA environmentalists and conservationists d. Experts in garden history & design or horticulture

Page 69IX. JudgingSection C. Juried Judging panels 4. The Division Chairman chooses one of the approved judges on each panel to act as the coordinating judge (technical skills needed for recording).

Page 108Division III: PhotographySection B 5. Each photograph must be the work of the exhibitor under whose name it is registered. In manipulated photographs, and added imagery must be the work of the exhibitor. Commercial overlays and textures are allowed. 6. Entries are limited to subjects consistent with GCA interests Add: g. Plant material is strongly encouraged h. Camera settings used are strongly encouraged

Page 110Section G - If juried show is preferred, include 6. Date photo submission will be passed

Page 179Chapter VIII. Juried Judging PanelsSection A. Coordinating Judge 1. Duties before scoring b. Update Juried Judging Individual Worksheet with class and entry numbers. (add – website location) c. Distribute to panel: i. Juried judging individual worksheet ii. Link to photos supplied by Photography Division Chairman


Page 180Section A. Coordinating Judge 4. Final Juried Judges Final Tally and Comment Sheet c. Judges are to fill out J3 Part 2 for prospective judges based on overall cooperation, comments and how scores aligned with others.

Section B. Judges Instructions 1. Each panel will consist of 2 approved judges and 2 prospective judges. One of the approved judges on each panel will act as the coordinating judge.

Page 182Section B. - Judges Instructions 13. Prospective judges submit a J3 fill in a Part 1 and submit a Part 2 to the panel judges to be evaluated on the comments, cooperation and timeliness.

Page 209XV. Add: Scale of points for juried judging Creative Techniques classes 5-10 points Creativity 3.0 Composition 2.0 Technical Skill 2.5 Conformance/Interpretation 1.0 Distinction 1.5 Total 10

Scale of points for juried judging in all other photography classes 5-10 points Creativity 2.5 Composition 2.0 Technical Skill 2.0 Conformance/Interpretation 2.0 Distinction 1.0 Total 10


GLOSSARY – PAGES 235 – 267ADD TO GLOSSARY – in alphabetical order:● Color Splash: (P) (Spot Color, Selective Color) definition. The selective use of color(s) in an otherwise gray scale image. It is not a monochrome.

● Cultural Landscapes (P) Cultural landscapes are works of art, narratives of culture, and expressions of regional identity. They are geographic areas that represent the combined works of nature and man. In photography they may be images that depict cultural situations or practices. Cultural landscapes often include people and animals but not necessarily.

● Intimate Landscape: (P) Landscapes that exclude the horizon and are pared down to small scenes.

● Macro: (P) an image in which the subject is greater than life-size. The original object must be no larger than 1” x 1.5”.

● Creative Techniques (P) The use of manipulation or alteration in any stage of the photographic process to achieve an effect significantly different from the original photograph. All representational images in a manipulated or creative technique photo must be the work of the photographer. Nonrepresentational enhancements such as the addition of purchased textures are allowed. Creative techniques may be entered in any class.

● Monochrome: (P) a photograph executed in black and white or in shades (adding black) and tints (adding white) of only a single color (hue) such as sepia, across the whole image. Monochrome images can be shot in Black & White film. Digital images can be done in the camera or converted to gray scale using computer software. Schedules may specify either monochrome or black and white.

● Scanner Art, Scanography: (P) the process of capturing digitized images of objects for the purpose of creating printable images using a “photo” scanner.

● Overlay: (P) In digital photography an overlay is another translucent layer added to an image in an editing program. Overlays can be photographed, scanned or made in Photoshop, Lightroom or other software.


In June, 17 Photography Study Group participants found out that mixingtogether photography, a great instructor and all combinations of weather were the perfect ingredients for a stimulating workshop.

Lead by renowned photographer, Alison Shaw, and her assistant Wayne Smith, we were taught how to photograph in the fog that frequently visits the Vineyard, in brilliant sun, and just about every dramatic weather condition that island conditions provide. In addition to capturing the beauty of Martha’s Vineyard, we learned more about using the versatile photo app Lightroom to enhance and modify our images. Whatever our skill level, each of us discov-ered new skills, captured memorable images, and had an amazing time with GCA friends new and old. I hope you enjoy the stunning images from the very talented participants.

42Garden Club of America focus sEPTEMBER 2017

Martha’s Vineyard in late Spring.... What could be better?

Leslie Purple, Chairperson, GCA Photography Committee wissahickon Garden Club / Zone V


Anita StockbridgeBedford Garden Club / Zone III

PhOTOGRAPhY STUdY GROUPmARThA’S vinEYARdJune 2017


Leslie PurpleWissahickon Garden Club / Zone V



Catherine DencklaLake Forest Garden Club / Zone XI



Eloise CarsonThe Portland Garden Club / Zone XII






Susan S. Van TasselThe Short Hills Garden Club / Zone IV



Helen GlaenzerNorth Shore GC of Massachusetts /Zone I



Holly Sethness The Short Hills Garden Club / Zone IV



Patti SpaghtFairfield Garden Club / Zone II



Dana ParkerThe Virginia Beach Garden Club /Zone VII



Margy RichardsonRochester Garden Club / Zone III



Linder SuthersThe Trustees’ Garden Club / Zone VIII











































Photography Study Group is Heading West After a stimulating (and fun!) workshop in Martha’s Vineyard and an upcoming Octobeer 2017 workshop in Kentucky, PSG is head-ing out to Yosemite in February 2018 to study with acclaimed photographer Doug Steakley. Yosemite in the winter is magical and will provide the group with wonderful photographic opportunities. We will have two workshops, back to back. One for intermediate and the second for more advanced. To be placed on the Interest List, please email Eloise Carson at [email protected]

Participants of the Martha’s Vineyard PSG tripJune 2017


ind

ex

ABOUT 2*ATWATER, Gail 19

*BERGEN, Malinda 13*BRENNAN, Maré 12*BREWER, Susan Cheswick 22*BRONFMAN, Kelly 8

*CARRINGTON, Mimi 29*CARSON, Eloise 46, 47, 59*CLARKE, Ryn 18

*de TURENNE, Suzette 31*DENCKLA, Catherine 45, 55, 62

*FAHEY, Kate 34FEATURES 3*FITZGERALD, Deborah 35

*GLAENZER, Helen 49, 58, 60*GOULD, Ellen 23

*HARDMAN, Robin 32HEADING wEST 68 by Leslie Purple

IMAGE RESOLUTION 24 by Barbara Robinson and Kathryn Shea

INDEX 69

*KELLY, Jennifer 5*KRAMER, Christina 20

MARTHA’S VINEyARD IN LATE SPRING 42 by Leslie Purple

*MAYERI, Yoni 14 *McCORMICK, Karen Campbell 16*MERCER, Maryan Heckle 10

*NUTANT, Dorothy 21

*PARKER, Dana 52*POWER, Leslie 9*PURPLE, Leslie 43, 56, 63

*RICHARDSON, Margy 53, 65, 66*ROHN, Wendy Sesnon 7

*SETHNESS, Holly 50, 57, 67*SPAGHT, Patti 4, 51, 61, 64*STERLING, Colesie 15, 33*STOCKBRIDGE, Anita 43*SUTHERS, Linder 54

*TITCOMB, Suzy 11*TOBEY, Susanne 6

VANTAGE POINT 4 by Leslie Purple and R. Ellen Avellino

*VAN TASSEL, Susan S. 30, 48

*WAGNER, Helen 17

yELLOw BOOK PHOTOGRAPHy UPDATES 36* PHOTO CREDIT


The Garden Club of ameriCa

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