Enamel & Orchids © Steve Lemke


Redwood Camera Club Handbook

New Member Information

Welcome to the Redwood Camera Club.  We pride ourselves on being a comfortable group with great diversity in our membership: from professional photographers to award winning amateurs to beginners 18 years of age or older.  We hope to provide an environment of inspiration, support, passion, talent, expertise, and skills.

The Club meets on the second and fourth Saturdays of each month (subject to change) at the Farm Bureau office, 5601 S. Broadway, Eureka, CA.  We emphasize education for our members through critiques, mini workshops, and guest speakers.  Special photographic challenges are scheduled periodically throughout the year.

Ideas from the general membership for various activities are welcomed and are then decided on, and developed by the Board. Decisions and/or recommendations are brought back to the membership.

Each meeting allows time for critique by the attending members of photographs brought to that meeting.  Each member may provide two photos to share with at least an 8×10 inch format.  These photos (which may be presented anonymously) will be commented on with regard to impact, composition, and technical merits.  Additional photos may be shared if time permits.

The three main goals of the Redwood Camera Club are to:

  • Provide members with photography related education
  • Provide a forum for exhibiting photographs
  • Perform a community service

Helpful Information

Dues:  Dues are $35 per calendar year payable in January (or when you join the group.)  For members who join during the last quarter of the year (October – December), full payment is due for the remainder of the year and membership will carry over through the following calendar year.

Attendance and Participation:  The intent of the Club is to provide a forum for discussion among members.  Participation is key to being a successful member.  Additionally, everyone is invited to join the group for lunch after the meeting.

Newsletter: The Snapshot is published bi-monthly and emailed to the membership.  Becque Olson is the editor.  Members are encouraged to submit articles.  Articles will be published at the discretion of the editor. The newsletter is on hiatus as of October 2020.

Membership Roster:  A membership roster with names, addresses, phone numbers and email addresses is made available to each member.  This is a confidential document; it is not to be released to unauthorized individuals.

Member Benefits
Bi-monthly newsletter (Note: as of October 2020 newsletter on hiatus)
Photo critiques
Participation in club shows
Free advertisement in the club newsletter (on hiatus)
Club membership in the Photographic Society of America (PSA) and
the Columbia Council of Camera Clubs (4Cs)
Mini workshops
Promotion of members’ blog/web pages

The following business offers discounts to RCC members.  Please express your appreciation.  You may need to present your membership card.

  • Eureka Art and Frame 10%

RCC Web pagewww.redwoodcameraclub.com

Board Members 

Sharon Falk-Carlsen, President
Peter C. Koczera, Vice-President
Becque Olson, Secretary
Janice Rollins-Dean, Treasurer
Steve Conger, Member at Large
Jack Hopkins, Member at Large
Steve Kamelgarn, Member at Large
Diana Minton, Member at Large

Email address:    redwoodcameraclub@gmail.com


The RCC presents a forum for exhibiting members’ photographs.  We pride ourselves on professional installations in a variety of venues throughout Humboldt County.  We look for uniformity in presentation however the most important consideration for hanging your image in an RCC exhibition is the safety of the piece and the liability to the venue.

Your art should be prepared in a professional manner so that it will not fall apart when handled by the installation committee or fall off of the wall after installation.

All club show labels shall be standardized per the label instructions and shall contain only the photographer’s name, the name of the photograph or “untitled”, type of photography (optional), and selling information.

 If you have a concern about your piece, please speak to the curator before the submission day.

Matting and Framing Guidelines

For all shows photographs must present a professional appearance, therefore we make the following suggestions:


  • Everything – mats, mount board, adhesives should be acid free. Cheap, non-acid free materials will ruin your work over time.
  • The backboard should be archival as cardboard absorbs moisture (this could cause your photo to become wavy) and craft board can cause distortions.


  • When purchasing glass we ask that it not have nicks or scratches and that the edges be sanded.
  • Use over-the-counter glass cleaner. Glass needs to be clean inside and out.  Watch for finger prints and smears.


  • Acrylic is lighter than glass, more expensive than glass, scratches more easily, and needs a special cleaner.


  • There should be no visible over cuts.
  • Borders should be about three inches wide.
  • The mat should be weighted (wider) at the bottom so as not to give the impression of having your photo fall off the page (i.e., top 3 ¼” sides, 3 ¼” bottom, 3 ½” inches).
  • Burnish the beveled edge after cutting the inside opening to smooth the edges and eliminate fuzziness.
  • Use a sharp blade (change frequently) to avoid curves and fuzzy edges in your mat.

Assembling your photo

  • Hinge the mat and backing board at the top using a strip of archival tape. Hinge your photo on the backing board using archival tape making two or three hinges depending on the length of your photo, or you may want to hinge your photo on the back of your mat board.
  • You may want to use corners on all four corners or just to support the bottom edge.
  • Your photo should lie flat in the frame.
  • Remember to check your glass again to remove all fingerprints, dust, and lint.


  • There should be no obvious nicks on metal frames or wood frames.
  • Wood frames can be painted with black acrylic paint (matching color) to patch nicks.

Attaching wire to your frame: 

  • Braided wire, aluminum, non-stretch cord, non-stretch plastic or coated wire, hereafter referred to as “wire”, must be used.  No string or rope should be used.
  • Attach D-rings not eye hook fasteners for the wire about 1/3 of the way down from the top of the frame.
  • Wind the wire tightly at least four times after running through the hangers.  If possible, wrap ends of wire in such a way that handlers are not cut by the sharp edges. Electrical tape is a material that works well.
  • The apex of the wire when pulled taut should be two inches below the top of the frame.  Do not use saw tooth hangers or spring clips.
  • Non-skid material (or bumpers) on the corners will help reduce movement and protect walls from scuffing. 

See details with photographs here:     How To Wire Picture Frames‎

The Show Committee has final say as to the integrity of the framing at the time of exhibition.  A committee usually made up of the current curator, the Vice-President, and the President or designee, who will decide on questionable framing entries.

Sites members use to order materials are:
www.americanframe.com   1-800-537-0944
www.framedestination.com   1-877-537-2637

The following are RCC requirements, NOT suggestions: 

Mat colors for shows need to be a shade of white, or black.

Wire must be attached to the back of the frame two inches from the top and 1/3 of the way down the side of the frame.

Use only frames meant for wall hanging.

One person will be asked to do all labels for shows for a year.  The club will provide blank labels.  Information must be provided two days before the show.  Any piece not having information provided will have a label made designating an “Untitled” label and NFS (Not for sale).  If a price is required by the venue the person doing the labels will assign a price.

Labels must be printed on Avery white business card stock using club format or the photo will be excluded from the show.

A Buddy System has been implemented to support members new to exhibiting with the Redwood Camera Club.  There are members who have volunteered to meet with new members and review framing requirements.  Anyone new to the club and interested in showing must meet with a Buddy first.  A list of volunteer Buddies will be provided upon request. 

How We Hang a Show

It is important to note that when the RCC has an exhibition we strive to display the total exhibit at its best and the photographs in the most effective manner possible.  We do not feature any individual photographer.

  1. We highly encourage members to bring their work to meetings and subsequently exhibit in official RCC exhibits. Additional limitations may be in place for some exhibits such as specific themes, topics, size, and timelines.
  1. Dates and times to submit, hang, and take down are most often determined by the venue. We will share that information with exhibitors as we receive it.

A deadline for sign-up in a group show is set in advance so that we can determine how many pieces each photographer can submit.  This is based on the available space in each exhibition.

  1. Hanging Day: We meet together at the venue at a prearranged time and date.  A hanging committee comprised of members (we ask for volunteers) will be responsible for spotting and hanging the show.  We place all the photos in the gallery prior to hanging and then regroup (spot) them in a manner that is appropriate to the venue and presents each piece of art to its best advantage.
  2.  Equipment:  Measuring tapes, levels, painter’s tape, hammer, nails, picture hangers, drill, and drywall screws are helpful.  If you are not available to help hang the show (or retrieve) your photos, club members are glad to help.  Please contact another member who is showing for their assistance, and please offer help if others need it.
  3. Photographs may not be taken down from an exhibit before the time and date provided by the curator (a photograph may be exchanged in case of a sale if coordinated with the curator). Members removing their work from an exhibit early will be asked not to participate in a RCC show for the following year.


Labels are to be printed in a uniform format on Avery White Clean Edge Business Cards, 2”x3½” as detailed below: 

Line 1: Name of photographer in Garamond font, 16 pt., bold
Line 2: Name of photo in Garamond font, 14 pt., italics
An additional line may be needed, same as line 2, for additional photo info (place, date)
(When required: Line 3: Type of photography, Garamond font, 14 pt.)
Line 4: Price or NFS, Garamond font, 14 pt.
All lines are indented approximately 5/8 inch from the left border.
Lines are to be double spaced.

Begin each word of your title and your name with a capital and continue with lower case letters.  Occasionally other information may be required such as an artist statement or comments on the theme. This will be at the direction of the show curator.

Guidelines for Submitting to the Newsletter & Website
or for Inclusion in an RCC Press Release

Each photo needs:

  • Name of Photographer, as it should be published
  • Name of Photo, as it should be published  (Jane Doe_Tree.jpeg)
  • Photographs should be sized at 1,800 pixels on the long side and 300 ppi/dpi.

For Press Releases:  When the RCC has a member exhibition, press releases are sent to local media.  Only a photograph that is appearing in the exhibition will be submitted with the news release.  When photos are submitted to the media we do not have control of the captions or titles or if they are printed in black and white or color.  However, it is helpful if the photograph is submitted with its title, PLUS the photographer’s name as it is to appear.

Critique Leader Guidelines

Your role is to facilitate the group. Lead discussion as to the strengths and weaknesses of the photograph. The process of critique is to benefit the photographer and the other photographers in the room therefore we need to be consistent in our process from critique leader to critique leader.

Our critique should be a three person process:

  • One person will lead the critique
  • One person will position the pictures
  • One person will man the three minute timer

Before we start, obtain the laser pointer, the cropping corners from the closet, and the timer. Check to see that you can see the person with the timer. Leave a space in the middle of the board to place the picture being critiqued so that it stands out from the others. Please handle photos carefully. Remove pictures from the board as finished and place them on the table. Also remove magnets from the board as you are through with them.

If you feel there are two pictures obviously from the same photographer, critique them at different times during the presentation so that the work can stand alone.

Before beginning the critique sessions, introduce the process. Please remind members that they have the option of identifying and speaking about their work before the critique begins. Some participants may want to explain their intent, concept, or rationale for the image while others may want to get a response on a technique they have tried rather than a full on critique. Otherwise we will do an anonymous critique until the end when we will ask the photographer to self-identify.

As a critique leader and/or assistant working in front of the group you take on a position of authority just by standing up front. Please hold your critique comments and observations (unless for clarification) until the membership has responded as your comments will set the direction of the critique and will subtly tell people how they should be reacting to the photograph. Ask leading questions regarding comments presented. If there is an element that you notice instead of pointing it out ask a question about it.

Some helpful questions might include:

  • How does this image affect you or touch you?
  • What are the photographic principles that make this a strong image? Principles such as the rule of thirds, leading lines, and the use of light.
  • What isn’t working in this picture?
  • Is there a story presented?
  • Is the approach to the subject new and creative?

When a picture has strong impact explore why. Encourage members to explain why they feel the way they do about the piece.

Refrain from opening statements that set the tone for the critique and subtly tell the viewers how they should be reacting. Comments such as these should be avoided:

  • This is a beautiful picture of…
  • This is a lovely…
  • This is an interesting…
  • This is soft…
  • This has great lines…

A three minute timer will be set at the beginning of the critique and you will be signaled at the conclusion of the time. Continue beyond 3 minutes with highly informative discussions. You do not have to carry the discussion for the full three minutes if it is finished. Wait until the entire process is finished before removing the picture.

At the conclusion ask for the identity of the photographer and their reaction to members’ comments. Encourage reactions to their comments.  Leave the photo in place during the photographer’s response.

The three criteria for judging photos used by PSA are: Impact, Composition and Technique. Even though we do not judge, these criteria are what are used in the photographic world and we should follow these considerations.

Some ideas to consider for stimulating discussion:

Crispness – Is the image “appropriately” sharp?
Contrast – Is the image too flat or listless? Needs more “punch?”
Color – Does there seem to be too much or too little color?
Composition – Is there a clear center of interest? What is intentionally left in? How are the composition elements working together? Is it a strong image? Is the space well managed (well used)?
Cropping – What is intentionally left out? Is there something – or things that should have been removed because they lessen the strength or impact of the image, or clearly detract from the subject?
Impact: An “effective” image is one that has an impact on the viewer.  Impact may mean “strongly emotional,” or “visually captivating,” or even “visually strong.” This refers to the result the viewer “feels” when viewing the image. Even a “quiet” image, such as a pastoral scene or a still life, can have impact.
Does the photo tell a story?
Is the approach creative?

It is important that critiques be helpful. Honest critique is important. “Do overs” need to be acknowledged.

Curating an RCC Show

Thank you for helping with the work of the Camera Club.

Show location _____________________

Contact person at the site will set a date and time for entry and take down.

Determine if the gallery will ask a commission and how the sales will be handled (for sales most often we post an information piece on the club and a contact number for sales). Have the member in possession of the RCC framed information bring it on entry day.

Determine if we have Arts Alive!/reception responsibilities, assign duties, ask for volunteers, and set up shifts.  Encourage the membership to come to the show.

Do a call for entries from club members at a meeting and via email – start three meetings before the expected show date.

Set a cut off day for entries two weeks before the show. Then determine how many pieces each person may bring and the size limitations. Ask for the size of the piece/s members are bringing. This may affect the number of pieces an individual may bring.

Establish spotting and hanging crews for the show.

We use the club format for hanging and labels – anything different would have to be approved by our Vice-President.  The handbook lists labels details. See it for font and font sizes/styles.  It says the labels can contain photographer’s name, title of work, price in $$ or NFS.  Label info is requested by the curator’s designee. Label info will be requested by email no later than two to seven days prior to the show at the prerogative of the label maker.

Set time period for delivery of photos. Entries shall be delivered NO LATER THAN XX:xx A.M./P.M.  NO ENTRIES WILL BE ACCEPTED AFTER THAT TIME. The curator or designee will arrive 20-30 minutes prior to accept entries.  Spotting and hanging the show will begin immediately after the entry period.

Have releases (we will provide a copy to you) sent out to participants before the show (bring extras to the hanging as some will forget).  Contact our publicity crew for publicity for the show (currently this is Stilson).

Be there at pick up and remain until all pieces are picked up, and have members sign their releases indicating they took their piece/s. Call member/s to remind them to pick up their piece if they haven’t arrived by pick up time.  All pieces must be removed from the venue. Turn in releases to the Vice-President.

Members may NOT pick up early for a show; arrangements need to be made if they cannot come at the arranged time. They also may NOT leave pieces for later pick up. Release form states that if this is not followed the member may be banned from participation in club shows for a year.

Notify participants if food is needed for a reception. Drinks may be provided but no alcohol is allowed.

Rev. 4/2021