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Elinor Stecker-Orel, APSA

April 8, 2016

Photoshop Blend Modes

Elinor Stecker-Orel,, may not really need an introduction. She's been a member of WPS for more years than she can remember, and she served on our board of directors for ten years. But for those of you who don't know Elinor, here are some facts about her. Elinor was a senior editor of Popular Photography before she became an associate dean of the New York Institute of Photography. At NYIP, she is revising the textbook material as well as teaching photography and Photoshop. In addition to writing hundreds of articles on photography and video for

numerous publications, including such consumer magazines as Smithsonian Traveler, Time and Woman's Day, she is the author of eight books on photography. 


Elinor's photographs have appeared in books, magazines, the Internet, and are in private collections. And, of course, she has exhibited her work in solo and group shows. Elinor frequently lectures to amateur and professional photography organizations, and has given programs five times at the Amherst NECCC conference. 

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Jurgen Lobert

April 15, 2016

Jürgen Lobert is a Massachusetts-based fine art photographer born and raised in Germany. He received a Ph.D. in atmospheric chemistry from Gutenberg University in Mainz before moving to the US in 1991. Jürgen is a self-taught photographer who specializes in night photography, daytime long exposures as well as Urban Exploration. According to Jürgen, there is a profound peace in roaming the nights in remote places, capturing the element of time to create otherworldly, serene and hauntingly beautiful photos. Jürgen is an executive member of the Boston Camera Club and the founder and organizer of the Greater Boston Night Photographers Meetup group. He has organized more than 100

photo excursions and he is a lecturer, instructor and judge for regional camera clubs.


Jürgen can be found online at:,,, and

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Arthur Vaughan

May 20, 2016

An Introduction to "Pop-Up" Flash Photography

This program describes a process for shooting macro photographs using lighting provided by the standard "pop-up" flash found on many cameras. Using a simple home-made support bracket and a variety of close-up lenses, extension tubes, or stacked add-on lenses, anyone can produce amazing macro images having true "studio" quality lighting, for a fraction of the cost of a system utilizing multiple flashes, ring lights, or expensive factory made support brackets. The set-up described provides maximum portability for hunting down and following small

insects and spiders that aren't going to sit still for photographers using cumbersome tripods.


Description of the basic concept... what’s needed.

  • Lightweight camera-mountable variable-angle bracket to support simple reflectors.

  • Support & reflectors must be positionable, to adjust direction & intensity of side lighting.

  • Shield to protect close subjects from direct flash light, avoiding overexposure at short distances.

  • Lens mounted diffuser that can be used either with bracket reflectors, or separately.


Subjects covered include:

Rigging up a lightweight macro flash bracket allowing your camera's pop-up flash to provide all the light necessary for shooting at low, moderate, or extreme magnifications using small apertures.


  • Simplified light modification using this system.

  • An easy route to “no light loss” high magnification: using front mounted close-up lenses.

  • Manual focus vs. auto-focus vs. pre-set focus.

  • The “X” factor (magnification) vs. Field Width.

  • Shallow depth of field... making it work for you.

  • Dealing with vignetting: shooting through “the hole in the doughnut”.

  • Image stacking... “building” depth of field.

  • Dealing with short working distances.

  • Cheap and efficient home-made macro shooting accessories.

  • An unbelievably simple "macro-studio" for photographing small objects, tiny spiders, and insects.

  • Tips for stalking Dragonflies, Grasshoppers, and Jumping Spiders.


For those folks not wishing to get “up close and personal” with insects or arthropods, tips for shooting small inanimate objects and botanical subjects.


I'm presently using several cameras, a Kodak P850 point & shoot, a Nikon D40, and a Nikon D60. The primary lenses used on the Nikons are... a vintage 85mm f/1.8 Nikkor-H (1968), a Nikon 105mm f/2.5 AI-S (1981), a Lester Dine 105mm f:2.8 macro (1984), and a 200mm f/ 4.0 Micro-Nikkor (1980). All lenses are focused at infinity! Mounted on the front of the lenses is a variety of stackable add-on lenses, plus an Iscorama anamorphic compression lens for CinemaScope macro work. I also make use of an inexpensive bellows for extremely high magnification work using 8mm and 16mm movie camera lenses reversed, microscope objectives, and other miscellaneous lenses. Shooting apertures generally range from f:11 to f:32. ISO settings generally run from 100 to 400. Focusing at infinity, especially with the 105mm and 200mm lenses, provides good working distance... very important for getting light onto the subject. No pop-up flash??? No problem!!! My D-40 pop-up flash died, so a small shoe-mounted flash unit is used, allowing full flash syncronization up to the top speed of the camera... 1/4000 sec. Photographers using this type of macro set-up can produce outstanding images that could be more difficult to achieve using conventional macro shooting methods. The program includes images made using all of the techniques described, and concludes with a pop-up flash macro demonstration. Anyone wishing to explore the world of macro photography and wanting to get top notch and very satisfying results should consider attending.



Art Vaughan has been active in photography for over 40 years. He worked for Western Electric, AT&T, Lucent Technologies, and Bell Laboratories for just over 31 years before retiring in October of 2001. Over a twenty-five year period he performed extensive work in

Photomicrography for microcircuit development engineering departments at Bell Laboratories, especially in the area of new process development and microchip / microcircuit failure mode analysis.


After joining the Merrimack Valley Camera Club (originally the Lawrence Camera Club) in 1985, he served 8 years as club president, and 16 years as print competition chairman, and has been awarded an Honorary Life Membership in that organization. He’s also a member of the Massachusetts Camera Naturalists and the Photographic Historical Society of New England. For the last ten years he’s been a Vice President and Master Member of the New England Camera Club Council, where he’s presently the NECCC Print Competition Director, and "live" commentator for the "Best of the NECCC" Traveling Print Program.


Art’s photographic experience and interests include: anamorphic (Cinema-scope) macro photography, stereo (3-D) imaging, photomicrography, fluorescence and ultraviolet microscopy, color and black & white print making, and digital restoration of antique photographs, lithographs, engravings, and etchings. He’s served throughout New England as a digital image and print competition judge and lecturer. Art’s favorite shooting locations are along the shores of the Bay of Fundy in Nova Scotia & New Brunswick, and the upper Brazos River watershed area of north and west Texas.


Art Vaughan

978-687-9103 (H)

978-382-1883 (C)


David H. Wells

June 10, 2016

Mastering found light: Light shadow night and twilight

If photography is writing with light and everyone is a photographer these days, then the business should be overrun by masters of writing with light. Yet nothing could be further from the truth. Great photographers know that light is a tool just like a camera, lens or tripod and mastering that same light is a hard-earned skill. For studio photographers, the art is in controlling that light. Working in uncontrolled situations with found light is as much a challenge but is also rewarding when the light is used effectively. Differentiating yourself as a

professional photographer is harder than ever these days with everyone claiming to be one. Learning how to master found light is one way to really do that.


David H. Wells will share his tools for mastering found light, experience that comes from decades of practice and decades of looking at light analytically. This seminar is more than a refresher in the basics, it offers a whole new way to look at and master found light. 


Wells has repeatedly been called a master of light and shadow. His photo-essays on the light and atmosphere of different places have been published in general magazines as well as photography magazines. They have been exhibited in numerous exhibitions including one where a curator wrote of David’s work saying “Wells uses light like a surgeon.” His approach to light has been profiled on the web and in magazines such as Camera and Darkroom, Photographers International, Communication Arts Photography Annual, Photo Magazine and Phototechniques.


Wells likes to call himself a connoisseur of light (meaning a person who is an expert at something or has informed and discriminating taste.) Working in places like Israel, Guatemala, Bangladesh, India, Italy, etc., has given Wells the opportunity to critically analyze found light around the globe and to become a connoisseur of that light.


David H. Wells is a free-lance photographer based in Providence, R.I. and affiliated with Aurora Photos. He is a specialist in intercultural communication and visual narratives that excel in their creative mastery of light, shadow and sound, stills and video. Wells’ photo essays have been published in Life Magazine, National Geographic, the New York Times Magazine and the Philadelphia Inquirer Magazine where his essay on the pesticide poisoning of farmworkers in California was nominated for a Pulitzer Prize. He is also a photo educator, with previous workshops at such institutions as the International Center for Photography in NYC and the Maine Media Workshop. Honors received by Wells include two Fulbright fellowships and a fellowship from the MacArthur Foundation's Program of Research and Writing on International Peace and Cooperation. David teaches workshops around the world, and he was featured in Photo District News as one of "The Best Workshop Instructors.” He has launched an online educational tool with video podcasts and other useful information for photographers called “The Wells Point”at


David H. Wells

11 South Angell St. #171, Providence, RI 02906 / (401) 261 4528

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