TIMBERWOLF PHOTO LOUNGE

(P1) PROJECT #1: PINHOLE Images

2012-02-09T09:03:00.001-08:00

An in depth site about pinhole photography past and present (HIGHLY recommended)
CLICK HERE.

HISTORY.
The pinhole camera is based on the principals of a “camera obscura.” (Camera = Latin for “room” - - Obscura = Latin for “dark”)

The earliest mention of this type of device was by the Chinese philosopher Mo-Ti (approx. 500 BC). He formally recorded the creation of an inverted image formed by light rays passing through a pinhole into a darkened room. He called this darkened room a "collecting place" or the "locked treasure room." Aristotle (384-322 BC) also understood the optical principle of the camera obscura. He viewed the crescent shape of a partially eclipsed sun projected on the ground through the holes in a sieve, and the gaps between leaves of a plane tree. In the 16th century, Leonardo da Vinci is credited with giving a description of the pinhole camera more or less as we think of it today.

A BASIC CAMERA.
A pinhole camera is easy to build. The camera can be made from almost anything-from tin cans, shoe boxes, and as Ralph Howell showed you in the video, fruits and vegetables.

When you make your first camera from scratch if you make it like a well made shoe box you can't go too far wrong. The picture above is a VERY simplified diagram of how the parts go together. The actual size of the camera is up to you. As long as you make the 'back' fit snugly onto the 'front' the camera will work.

How does a pinhole work? We see things because light rays reflect off of them and these reflected rays form an image on the retina. A camera is a mechanical eye, so it might be useful to think of it in these terms; we use the term 'ray' of light when we talk about using lenses to form an image. We use the term 'beam' of light when we talk about making images with a pinhole. The difference is one of dimension. A ray of light is defined as a line of light, while a beam of light is defined as a bundle of parallel rays.

Light falling on an object reflects off in all directions. When a lens is used to make an image rays from the same point on the object are reflected to its surface, this forms a cone of light. As the rays pass through the lens they are bent or refracted and as they are made to to disperse, they are again formed into a cone, the diminishing end of which is the point of focus...got that?

Consider this...a photograph is really composed of points of light that vary in size. If the points are too large the image will not be sharp. What this means is that pinhole images aren't as sharp as images made with a lens, and that the size of the pinhole will determine how soft or sharp your images are...as well as determining the time you'll need to expose the film or paper for…

GALLERIES

http://photo.net/learn/pinhole/pinhole
PINHOLE DAY 2009

5 Quick Architecture Photography Tips

2012-02-08T15:01:00.001-08:00

5 Quick Architecture Photography Tips HERE.

EXPOSURE: APERTURE, SHUTTER SPEED, & ISO

2012-02-08T07:48:00.001-08:00

WHAT IS EXPOSURE?

APERTURE

SHUTTER

ISO

WAYS TO IMPROVE YOUR PHOTOGRAPHY

2012-02-07T08:29:00.000-08:00

"He was young, naïve, just starting. As the saying goes, “Out of the mouths of babes …” He asked, “What are the most important things I should do to improve my photographs?” It was such a straightforward question – and I have been involved in photography so long – you’d think I would have had a simple and canned answer. I did not. I was nonplussed. I decided I’d better think about this seriously if I was to answer in a useful way. “Let me get back to you.”

And how do you answer such a question? By looking back – at my negatives, my prints, my methods, successes, failures and, in short, my personal history in photography. From this scrutiny (a rich source of what not to do) I compiled a list, narrowed it down, found the common threads. At the risk of sounding somewhat undeservedly authoritarian, here are …

Twenty-One Ways to Improve Your Artwork

1.) Shoot more than you do; print more than you do; and be a ruthless editor. I’m serious. There is a great deal to be gained in sheer volume – not that volume itself is any virtue, but practice is. Besides, relentless practice does have a twin sister known as luck. And in photography, unlike golf, a lucky shot when one is just practicing can count as much as a skilled shot when one is serious. Speaking of volume, if you are not throwing out ten finished prints for every one you exhibit you’re not being critical enough. If you are not shooting 100 negatives for every one you print, you are not being energetic enough. Motor drives don’t count.

2.) If I could do one thing that would improve most photographs more than anything I would simply tape a big dot in the middle of the viewfinder so that you can’t see what’s in the dead center of the composition. Avoid bulls-eye composition whenever possible. Whenever I see the subject plopped in the dead center of the frame, I know the photographer is confused; they are confused about the purpose of making art. We don’t make art to show someone what something looks like. All this requires is eyes (or a lens). Art is supposed to have meaning, emotion, power, or magic. Don’t merely show what the subject is; show what it isn’t, show what it means, show why it is, how it is, for whom it is, where it is, and/or when it is. Imagine a novel with only descriptions; without plot, motivation, depth, crisis, or crescendo, a novel would be merely a catalog of object descriptors. It is the same with photographs.

3.) Think in two-dimensions. You are not making a picture of something; you are making something – and what you are making is two-dimensional. If you can’t learn to see flat, use Polaroid materials. If you don’t have Polaroid materials make a sketch/drawing of your photograph before you make the exposure. Learn to see edges and shapes instead of details and colors. Squint and look at the world through your eyelashes so the details dissolve. Or, try looking through a lightly frosted piece of plastic. See your composition in terms of its large masses first, and let the film reveal the details. Learn that composition is about shapes and that texture is about details.

4.) The best telephoto lens in the world is your feet. Move closer. Move even closer. Use wider-angled lenses and get closer. The best photographs are almost always ones in which the viewer feels directly involved in the world in the image, and this happens most successfully with direct engagement. Become engaged with your subject material. The easiest way to do so is with wider lenses and physically closer involvement. Of course, not every great picture of the world is made with a wide-angle lens. But, if 30% of your images are made with a wide-angle lens and 70% with a telephoto, reverse this ratio and you will find your photographs improve dramatically.

5.) Photography is part art and part science. It involves the human heart, but is made manifest through optics, chemistry, electronics, and the laws of physics. The science part of photography is composed of an infinite number of variables and is much, much easier to learn if you reduce the number of variables. In the first several years, choose one good film and paper and stick with it. Limit the number of cameras you own, especially early in your career. Learn thoroughly what your materials will do and don’t get seduced by the idea that better photographs reside in better equipment. Never forget that all the great photographs in history were made with more primitive camera equipment than you currently own.

6.) Work in projects. Make lots of images and look deeper. Allocate time to rephotographing things you’ve already photographed. Look at the clues in your images and see the things that your photographs tell you they would have liked to have been. Assume your first photographing session is a warm-up, a sketch pad, a get-acquainted session. Allow the images to unfold as you work the project repeatedly. Learn to be receptive to the inanimate objects around you, because they speak to you as an echo of your subconscious creativity. The same can be said of your photographs. Pretend as though your previous photographs are teachers, not children. Every project, no matter what the project, requires research – the kinds of research you do in the library as well as in the field. Read, study, ask questions, look at the work of those who’ve gone before you, think, ask questions, listen some more, and ask more questions. Write things down. If a project doesn’t occupy a serious percentage of a notebook full of notes, you probably haven’t done enough to think about the project before you pull out the camera. Mull over projects from the very beginning to the very end. What do you need to know? Who knows it? What will it look like in its final state? Where will you need to go? Who’s going to care? What are the components? How does this fit? When is the deadline? Is there a budget? How much will it cost? What defines success? What are you willing to sacrifice in order to complete this project?

8.) Attend workshops. Read books. Seek out the advice of experienced photographers. There is no virtue in reinventing the wheel other than the intellectual exercise of doing it. If you want to make great photographs, look at great photographs and talk to great photographers. Be someone’s apprentice for a while. Assign yourself the task of reproducing great photographs as closely as you can. Then, when you’ve succeeded, throw that film and those prints away and never show them to anyone. Learn from the masters, but don’t become them. Don’t seek the masters; seek what they sought. This relates to ...

9.) Work through the compulsories. It has truly been said that to see farther than others you should stand on the shoulders of giants. Great photographers and artists before you have made work that survives today as a testament to their creativity. In order for you to carry their torch, you must first trod their path. Don’t be discouraged if it takes you years to learn what they already know; it took them years to learn from those who came before them. Study history. Know the conventions, the rules, the clichés, the techniques – know the mind of those who have already asked and answered your questions.

10.) Finish it. Don’t allow yourself to use negatives or raw data files as a storehouse for potential artwork. There is nothing to be gained by having the potential to be great. To paraphrase the movie cliché: if you finish it, they will come. There is a universal Law of Audience that says if you finish work, the universe cannot stand that it remains unseen. Opportunities will unfold as if by magic. In addition, when you are old, you will be able to look back and see which of your projects were the best ones. This is inevitable. But if your best project is, for example, your 10th project, there is no way you could have gotten there until you completed the first nine. There is no faster way, no more efficient way, to get to your life’s best work than to finish the necessary work you need to do that prepares you for your eventual best work. Finish it, let go of it, move on.

11.) Realize that creativity does not work on a clock. Be prepared for your creative subconscious whenever it is prepared to show itself. Use a memo recorder. Carry paper and pen. Be disciplined about capturing odd thoughts at odd moments when they pop up. Do photography (or at least think photography) every day. Don’t be surprised if your best and most creative ideas happen when you least expect them.

12.) Let go of photography and make art. By that I mean recognize the highest purpose of photography as art is to communicate and connect with your fellow human beings. The objective of photography as a fine art pursuit is not to accumulate artifacts that will impress collectors and curators. Ultimately, your real work is to connect your Self to the world. In doing so, you will pass on to the viewer an artifact which connects them to the world and back to you. Ultimately, if your work does not move someone, it does not move anything.

13.) Develop your photographic literacy. Read books, attend exhibitions, subscribe to magazines (particularly ones with photographs that are non-photographic magazines) and develop your own personal mental gallery of images, image-makers, imaging trends, and likes and dislikes. The more you know about other photographers, strange as it sounds, the more you’ll know about yourself – and in particular when it is that you are walking your own creative path and when you are walking someone else’s creative path in delusion.

14.) Ignore advice from others if they tell you how to do it their way. Of course, ultimately I suppose this advice also pertains to this list. But, fundamentally, I mean this to apply to photo criticism. There is no more useless critique than when the comment starts out, “If it were my picture I would have done...” It is not their picture, and how they would have done it is totally non sequitur. The best critics will tell you what it is they see in your photograph and leave it up to you to decide whether or not what they see is a function of their unique vision or your success or failure in making the image you intended.

18.) Photography is not a group activity. Learn to work alone. Learn to work without distractions. Turn off the music. Surround yourself with silence. Each one of us has a muse within us who tries to communicate and advise us on the creative path. There are no exceptions to this. But there is also a universality that all muses tend to whisper. To hear them clearly one must reside in a very still place.

19.) Don’t photograph what is “photographable.” Photograph what interests you, even if it is impossible to photograph. It is almost impossible to make a great photograph of something that doesn’t interest you. Passion about the subject matter, about the way it reacts with light, about the way it moves and changes, about the way it makes you feel – this is the subject of photography, not the things in the image. There are no boring subjects in the entire universe – there are plenty of boring photographs made by bored photographers. Become passionate about something and that passion will, with time and dedication, manifest itself in your images.

20.) Think. Think from your subject’s point of view. Think from your audience’s point of view. Think about what you are communicating. Think about how this will look in the passage of time. Think about what’s on the edges, just inside, just outside the photograph. Think about what you have said. Think about what you haven’t said. Think about what people will think you have said, and what they’ll think you haven’t said. Most importantly, know when to think and when to suspend thinking on purpose. Art without thought is incomplete. Art with thought is incomplete. Artmaking requires both thinking and non-thinking in order to become more than mere pretty pictures.

21.) Remember, art is not about artwork. Art is about life. To become a better artist, first and foremost become a better person – not in the moral sense, but rather in the complete sense. Remember that the greatest artist is not the one with the best technique, but the one with the most human heart.

That’s about it, although I do reserve the right to amend and modify this advice as I grow older. I do so because – and this is the real key – artmaking is a process, and lessons wait in every moment to be discovered. I’m still making art and still learning every day. And I have faith that the most important lessons – as well as my most important works of art – are yet to be discovered. Come to think of it, that in itself is a lesson worth remembering."

Brooks Jensen
Editor, LensWork Publishing

The entire list can be read here.

(P2)-PROJECT #1: ARCHITECTURE

2012-02-07T08:24:00.001-08:00

1ST DAY NOTE:
Hello Photographers!
I am very happy you have again chosen to take photography. Thank you for coming back to continue your exploration. We will start with a project to get you reacquainted with your camera, and dive head first into further exploration of image making. Your enthusiasm, intellect, and curiosity will sustain you on this journey. I will give you my 100%, and expect yours in return. I will work hard, and hope that you will also. Hopefully, you will come out of the course with a great sense of accomplishment, an greater appreciation for the art of photography, and have developed a personal vernacular that is intentionally your own. I look forward to seeing the work you do.
:)
Hohman
*********************
EXPLANATION: Think of this project as an exercise in finding shape and line. The shape and line you photograph will cut your picture frame in to geometry. How can you photograph shape and line (in architecture) so that the viewer's eye is led into the photograph, and kept there. You will look for leading lines, repeated shape, light and shadow, visual rhythm created by shape and line, etc. You are to make photographs that give us a section of your subject matter: a glimpse of it.

Leave the horizon line OUT of the photograph. By doing this, you will force yourself (your body) to be interacting with the space you are in differently. Your eye will see things in a new way.

Your composition should be cut and pieced solid structures, empty places, edges, shadows, light and dark, shape and line. Your objective is to give a detail of your subject.

A few photographers that would be interesting for you are: Frederick Evans (Cathedral photos), Albert Renger-Patzsch, Paul Strand (his 1915 photo of Wall Street), Berenice Abbott (photos of NYC), Bernd and Hilla Becher, Andreas Gursky, Candida Hofer, and many more...

TWO EXAMPLES OF WHAT TO DO:


WHAT NOT TO DO (Do not give us the whole structure)


A FEW VIDEOS TO INSPIRE


Kai Ziehl HERE.

WHAT TO LOOK FOR:
Shape, line, angles, edges, corners...the geometry around you.

WHAT TO LEAVE OUT OF THE COMPOSITIONS:
trees, people, organic matter, etc.

A FEW LINKS:
ArchitecturePhotography.org HERE.
Jeff Wolfram HERE.
Mark Citret HERE.
Ben Schneider HERE.
Architecture Week Design Community board HERE.
A guide to architecture photography HERE.
50 stunning architecture photographs HERE.

PHOTO 1 & 2 - SYLLABUS - SPRING 2012

2012-02-02T09:39:00.001-08:00

ALL ASSIGNMENTS, STUDENT BLOGS, TIPS, RUBRICS, AND UPDATES CAN BE FOUND ON THIS SITE THROUGHOUT THE SEMESTER.

Hello Photographers!
I am happy you have chosen Photography, and know that you will have a great semester. I will give you my 100%, and expect yours in return. I will work hard, and hope that you will also. Hopefully, you will come out of the course with a great sense of accomplishment, an appreciation for the art of photography, and a way of seeing the world that will help enrich your life. We will learn a lot, have fun (and frustration), and great reward. I'd like to start our semester with a quote from the photographer Ernst Haas (1921-1986). He said, “There is only you and your camera. The limitations in your photography are in yourself.” You are in charge of your success in this class. I look forward to seeing the work you do. Let’s Photo! ☺
Hohman

PHOTO 1 COURSE DESCRIPTION. Photography 1 is a five-part study in visual literacy using the camera. The five components of the course are:
1. Operation of the camera (Strand #1)
2. Darkroom (traditional and digital) procedures and skill sets (#1)
3. Historical movements in photography (#3)
4. Elements of design (#1, #2)
5. Aesthetics and Theory (#2)

You will explore the technical aspects of photography as they enable you to express a personal vernacular (language) in picture making. The course will include instruction in the ‘digital darkroom’ (i.e. Computer-based photo editing software), and publishing photographs to the web.

PHOTO 2 COURSE DESCRIPTION.
My goals this semester for you are relatively simple:
1. To take charge of your camera, and operate it regularly with more confidence, meaning, and skill.
2. To begin developing a personal vernacular - a visual vocabulary, if you will.
3. To take you out of your comfort zone and try new photographic methods and subject matter.

Photography 2 is an intermediate high school level course that will provide you the opportunity to continue the refinement of the skills and knowledge acquired in Photography 1, as well as exploring advanced techniques and processes in photo- and printmaking. The components of Photography 2 are:
1. Continued exploration of the camera as artistic medium.
2. Continued darkroom procedures for developing black and white images
3. Historical movements in photography
4. Aesthetics and Theory – continued study of what makes one photograph “Art” and another simply a “picture?”
Through the study of these four components, you will explore the technical aspects of photography as they enable you to express the art of photography.

COURSEWORK. Assignments will include photographic projects, class critiques, on-line photo blogging, self-assessment, and a final portfolio.

Projects/assignments will be introduced every one to two weeks. The duration of each project will be determined by the rigors of each project and follow an appropriate time frame. Each project will be followed by a class critique. A Critique Rubric will be given to you at that time, and will be designed to measure your contributions in presenting your own work and your commentary on your fellow artists.

TAG Students: To ensure that students designated as “Talented and Gifted” (TAG) receive academic instruction that is appropriate to their rate and level of learning, the curriculum and instruction of this course may be differentiated to include specialized groupings, compacting of curriculum, accelerated pacing, and providing of extension/challenge activities.

ASSESSMENT/HOW YOU WILL BE GRADED. Each project/assignment will be scored by the rubric that is viewable on the class site (listed above). The rubric follows the following form:

Your final semester grade is a simple cumulative total of all of your work.

CLASSROOM/BEHAVIOR ACADEMIC & SAFETY EXPECTATIONS. Student safety is my number one priority! Photography includes a handful of standard classroom processes and it is imperative that all students follow stated and posted procedures in the classroom and darkroom. Failure to do so will result in a verbal reminder on the first occasion. If it happens again, the student will not be allowed to work in the class until a parent/teacher conference has taken place. If a situation/event is such that the education environment and/or other student’s learning/progress/safety is compromised, the student will be removed from the class permanently. Due to the use of chemicals, this policy will be adhered to strictly and without exception.

ATTENDANCE/MISSED WORK/LATE WORK POLICY. School policy applies.

TARDIES. You must be seated at the bell - with all your photo materials (negatives, paper, etc.). If you must leave the class to retrieve photo materials, you will be considered and marked tardy. No exceptions.
Every TWO unexcused tardies will drop your final semester grade by 3%. Example: If your semester total on the last day of class is 90%, but you have been tardy two times, your total for the semester will drop to 87%. No exceptions. This does not apply to excused tardies with a pass from your originating location

"CURIOSITY & INTEGRITY. For our class, curiosity/attitude/intellect is a willingness to explore, learn, investigate, work, and be mentally present. Your participation and willingness to explore our class is important. It is a skill (and it is good) to stay focused on, ask questions about, be curious about, show dedication for, and be enthused about our class. Both exemplary curiosity and intellect, and distractions (cell phones, inactivity, absent on critique days, working on homework for other classes, aimless web surfing, etc.), will be noted throughout the semester. High levels of curiosity and intellect will earn you up to 50 extra credit points at the end of the semester. Each time one is observed engaging in "distractions", it will be noted, and will diminish the possible end-of-semester earning of these points. (Note: With your great attitude and effort, this is a great deal - and could mean that your semester grade is significantly impacted by your curiosity and willingness to learn ☺) Your performance over the course of the semester (staying on task, being interested, exhibiting curiosity and a willingness to go beyond the minimum, pushing yourself intellectually) will be assessed from my records and your daily performance.These points can only help you. If you earn few or none of them, it will not hurt your semester grade from the scores you earned on each individual project. NOTE: Simply fulfilling each project at the minimum requirement will NOT earn any points. These points considered "extra", and therefore require "extra" from the student.

CLASS EQUIPMENT, AND CHECK OUT of THAT EQUIPMENT
If a student is using in class, or has checked out equipment (camera, tripod, enlarger, darkroom equipment, computers and peripherals, memory cards, scanners, cables) for a any period of time, that student is responsible for the care and/or replacement of that equipment if said equipment is damaged, stolen, or returned in less-than working order. Given that food/drink are not allowed in the class, if food or drink is spilled and renders classroom equipment unusable, that student is responsible for the care and/or replacement of said equipment.

MATERIALS.
-$10 class fee payable to the school bookkeeper (This fee goes entirely to purchase developing and printing chemicals for our film)
-35mm Single Lens Reflex (SLR) camera with working light meter
-8-10 rolls of 35mm BLACK & WHITE film
Note: NOT THE B/W FILM THAT REQUIRES C-41 PROCESSING! CHECK THE PACKAGE. IF IT SAYS C-41 ANYWHERE ON IT, DO NOT PURCHASE IT AS WE DO NOT HAVE THE CHEMICALS FOR IT.
-8-10 negative sleeves
-B/W photographic printing paper
-8-10 clear plastic sheet covers
-3-ring binder
-Fine-point permanent marker (Sharpie) – ESSENTIAL!

SUPPLIERS:
If you wish to acquire your own materials, the following will help you:
Online:
www.freestylephoto.biz
www.photowarehouse.biz

Local:
Oregon Photo: 503.692.5965 / 19299 S.W. Martinazzi Ave., Tualatin / www.oregonphoto.com
ProPhoto: 503.241.1112 / 1112 NW 19th Avenue, Portland 97209 / www.prophotosupply.com
Citizens Photo: 503.232.8501 / 709 SE 7th Portland / www.citizensphoto.com

BULK CLASS ORDER, FEBRUARY 9, 2012:
If you wish to have your supplies ordered for you, please have a check (payable to “TuHS Photo) or cash in the amount of $50 to Mr. Hohman by THURSDAY, FEBRUARY 9 at 3PM. A mass order will be placed on that day, and soon after you will receive ten rolls of 24 exposure B&W film, and one box of 100 sheets B&W 5X7” darkroom photographic paper. If used wisely, this should last you the entire semester.

HOW YOUR PHOTOGRAPHS WILL BE SCORED:
5………….EXCEPTIONAL
The photograph is exceptionally well exposed, developed, printed, and presented (no defects of any kind).
The range of value is exceptional (beyond 10 tints/shades of gray) and includes an unmistakably deep and rich absolute black, white, and middle gray)
The composition is exceptionally composed and obviously follows the rule of thirds, symmetrical or asymmetrical balance, or can be verbally justified as to why it does not.
A combination of the elements of design (line, shape, form, texture, space, and value) are not just present, but it is clear that the photographer uses the devices in an intentional and deliberate manner, and has a firm handle on their ability to unify a composition.
The photograph has that ‘something extra’ – apparent either through subject matter, careful attention to detail, or methods of photographing - that raise it to the category of aesthetically exceptional. In other words, the photograph stands-up to the best of all high school level photography that is being done.

4………….VERY GOOD
The photograph is very well exposed, developed, printed, and presented (no defects of any kind).
The range of value is beyond 10 tints/shades of gray, and includes an unmistakably deep and rich absolute black, white, and middle gray
The composition is deliberately and very well composed and obviously follows the rule of thirds, symmetrical or asymmetrical balance, or can be verbally justified as to why it does not.
A combination of the elements of design (line, shape, form, texture, space, and value) is present, and it is clear that the photographer uses the devices in an intentional and deliberate manner, and has a firm handle on their ability to unify a composition.
The photograph commands attention and stands above others as a work to aspire to.

3………….GOOD
The photograph is mostly well exposed, developed, printed, and presented, (Defects or blemishes are apparent, but minimal)
A range of value is present, and includes an absolute black, white, and middle gray.
The composition is mostly composed and follows the rule of thirds, symmetrical or asymmetrical balance, or can be verbally justified as to why it does not.
A combination of the elements of design (line, shape, form, texture, space, and value) is mostly present,
The photograph is pleasing to look at and holds the viewer’s sustained attention.

2………….COMPETENT
The photograph is somewhat well exposed, developed, printed, and presented, (Defects or blemishes are present).
A small range of values is present, and an absolute black and white are present.
The composition is somewhat composed, but may appear haphazard or accidental.
A combination of the elements of design (line, shape, form, texture, space, and value) is mostly present,
The photograph holds the viewer’s attention for a few moments.

1…………NEEDS WORK
The photograph is not well exposed, developed, printed, and presented, (Defects or blemishes are plentiful.)
A range of value is not present – absolute black and white are missing.
The composition is not composed using the rule of thirds, symmetrical or asymmetrical balance,
The elements of design (line, shape, form, texture, space, and value) are not present.
The photograph does not hold the viewer’s attention.

0...........INCOMPLETE
Did not complete the assignment fully, or did not demonstrate enough skills, product, work to be scored.

***********************
DAY ONE HOMEWORK FOR PHOTO 1 STUDENTS:

1. After you and your parent/guardian have read the above syllabus and scoring rubric, sign the 1/2 sheet of paper contract you received on the first day and return it to Hohman at the beginning of the next class.

REMEMBER:
If you are purchasing film and paper through me, please bring a check or cash for $50 payable to TuHS Photo. Bring your money/check to the bookkeeper and then bring me the receipt. The bulk order will be placed on Thursday, February 9, 2012.