Tips For Using Exposure Compensation

I’ve already discussed some of your camera’s limitationsarticle. In another articlelink I discussed the three equally-important methods to control how much light your sensor collects and the side effects of each method. Today’s discussion is about how to use your camera’s semi-automatic exposure modes. We will briefly review some of the earlier principles but will move beyond the single basic assumption that most experts cover as we discuss the impact that metering modes have on your camera’s control of an image’s exposure.

Why Not Manual Mode?

Although Manual mode gives you the best control, there are times when lighting conditions change too fast. And sometimes it is just more convenient to use one of the advanced auto-exposure modes. This lets the camera set the exposure level by adjusting one of the three controls – shutter speed, aperture, or ISO – while you control the other two. For Canon cameras the mode is called Aperture-Priority if you set the aperture and ISO (and let the camera control shutter speed), Shutter-Priority if you set the shutter speed and ISO (letting the camera control aperture), and Manual Exposure with Auto ISO if you set the shutter speed and aperture (leaving the camera ISO). Never let the camera control more than one variable. Keep in mind, the camera now has TOTAL control to adjust the exposure; your two controls are only for the side effects – motion blur for shutter speed, depth of field for aperture, and noise for ISO. Although your two parameters always have an impact on exposure, the camera gets the last word and uses its parameter to overcome those impacts. If you want to have any say at all about exposure, you must use exposure compensation. But why would that be necessary?

What The Camera Considers

The main reason you need to use exposure compensation is that the camera programmer has no clue as to where you are pointing your camera or what kind of picture you are taking. So s/he is forced to make assumptions. (There is an old saying about when you ASSUME you make an ASS of U and ME. Unfortunately in this case, as an inanimate object the camera is incapable of accepting its share of the responsibility.) The most important assumption the camera makes is that your picture (subject) is of average light intensity. No matter what you shoot, the camera will let in enough light to make it a medium gray (or colors that would translate to medium gray with black-and-white film). Many times this is fine, but nobody likes gray snow in their winter vacation pictures or pictures of the rare gray bear from their trip to Yellowstone. To make your snow white again, you would need to apply a positive exposure compensation before taking your first shot to tell the camera to let in more light than it really wants to (for a brighter subject than it was expecting). To bring those black bears back to life, you would need to apply a negative compensation. Regardless of the subject, to tweak the exposure in subsequent shots, increase the exposure compensation to make the picture lighter, and decrease the compensation to make it darker. Once you’ve nailed it, you shouldn’t have to change the compensation on later pictures of the same subject, even if the lighting changes. You should be prepared to change the exposure compensation every time you change subjects, but not every time the light changes (that’s the only reason those three auto-exposure modes are so attractive).

And this is where most discussions of exposure compensation end.

What The Camera Can’t Consider (But You Must)

The camera can’t differentiate between your subject and its background. It further assumes that everything you might be interested in is at the same gray level. It’s fine if that happens to be true. But if they are not the same level, and if you go from a close up of the black bear (in an obviously lighter background) to a general landscape shot that includes the bear, then you might need to change the exposure compensation, or you might want to change your metering mode.

Metering Modes

The metering mode determines how much of the view is considered in adjusting the exposure. On Nancy’s Canon EOS 7D, there are four modes. Spot metering, as you might guess, covers the smallest part of the center of the screen – about 2.3% of the viewfinder area. Next would be Partial metering, covering 9.4% of the total area. Then they get a little trickier. Center-weighted average metering gives an undisclosed, but presumably larger center area most of the weight, but does consider everything else in view. Finally, Evaluative metering, in which “the camera sets the exposure automatically [ed: read as “magically”] to suit the scene”. Right.

For consistent exposure compensation, the area considered should be smaller than the size of the subject if you want exposure compensation to behave as described in the “What The Camera Considers” section. If your backgrounds are more stable (whether or not they happen to be the equivalent of a medium gray), then a wider-looking metering mode might be better. Then you might be able to go from shooting a (black) crow to a (white) ibis as you hiked the consistently-lighted trail without having to adjust the exposure compensation at all. But this is starting to get into personal preference. Experiment with all of your metering modes and decide what works for you. Just be aware that if your settings or situation changes (as when you are metering on the background and the subject moves ‘too’ close, or when you are metering on the subject and then widen out for a cover shot), the computer may start behaving in the opposite manner than what you were expecting. Now you know why. It is (probably) just because you and your camera weren’t on the same page as to what was the important part of the picture.

I hope this helps you work with your camera instead of against it in your efforts to get the best shot. Good luck.

Our Latest (Toughest) Canoe Trip

We May Not Have To Trade In Our New Canoe After All

As I mentioned in the discussion on our page for Royal Terns, I managed to flip our new canoe shortly after Nancy got that shot. Although I believe that was the first time I’ve ever done that to Nancy, it really damaged her confidence. She has been more hesitant about our canoeing adventures ever since. She has even been considering trading in our new canoe for another model. It might be too early to tell, but that may have all changed after our last trip out of Lake Kissimmee State Park.

Our New Canoe

We bought the Kevlar Flex-core Wenonah Escape, a 17½-ft, 53-pound canoe, because our old 75-pound, 17-ft, aluminum Grumman seemed to be getting heavier every time we used it. We got that canoe less than six months before our Cedar Key trip and had used it only about eight times. But we had already noticed that although our new canoe was faster in calm conditions, without the small keel of the Grumman, it was much more sensitive to weather conditions. Especially in a crosswind, the weight distribution of our gear was now critical; too much weight aft and the wind would tend to turn the vessel away from the wind, and having the center of gravity too far forward would turn the canoe into the wind.

The Cedar Key Trip


We were in Cedar Key for the 53rd Annual Old Florida Celebration of the Arts, but decided to stay around for a few days to explore. When we began the canoe trip that morning, it was a beautiful, sunny day. The winds remained about 5 knots throughout most of the day. Our first stop was on the first island, Atsena Otie Key, about a mile south, to get pictures of downtown Cedar Key. Then we were off to Seahorse Key, a couple of miles further to the southwest, to get lighthouse pictures and such. The “Royal Terns” was one of Nancy’s last photos, taken just before 5 pm. The wind started to pick up as we headed back to Cedar Key. By the time we passed Grassy Key (about 2/3 of the way back), winds were approaching 15 knots and we were in the trough of a chop that was higher than one foot. As the wind was picking up, I was spending more and more effort maintaining our course and less force was devoted to making forward progress. I was wearing out, so decided that I needed to shift some weight forward. That’s when I made some critical errors in judgment. Without alerting Nancy, I raised up just enough to lift a gear bag over the next thwart. But that was too much. I clearly overestimated the stability of the canoe and the seriousness of our situation. We flipped.

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So how should we have handled these conditions? There’s always more than one way to skin a cat, but I should have first told Nancy what I was about to do. Instead of staying in the trough, we could have let the wind help us to a downwind heading (which is much more stable). Then Nancy could have stabilized the canoe with her paddle while I made the necessary ballast adjustments. And although I tended to attribute my lack of judgment to a lack of familiarity with our new canoe, I can’t guarantee the Grumman would have survived the original operation either.


Most of our gear was in dry bags but Nancy hadn’t put away her best camera and lens before we started the crossing. From the water, we righted the canoe, rounded up and returned most of our gear to the canoe, and from inside the waterlogged canoe, paddled or swam to shallower water west of Atsena Otie Key. There we could stand up and touch bottom, bail out the canoe, and continue to the Cedar Key harbor. From there, we immediately called Canon to see how best we could preserve the equipment. They said we didn’t need to do anything except mail it to them so they could take care of it. But they couldn’t. We had to buy a new Canon EOS 7D body and 100-400mm zoom lens. Oww.

Lake Kissimmee State Park

At Lake Kissimmee State Parkofficial website, there is the Buster Island Loop Paddling Trail, which winds over eleven miles. Nancy has brought her school camping club here before and they have canoed this trail. We planned to follow our traditional routine of launching just west of the bridge to the cow camp, heading west along Zipprer Canal into Lake Rosalie, then south to Rosalie Creek, where we paddle to Tiger Lake, then east-northeast to Tiger Creek.

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For what it’s worth, on an earlier trip with Nancy’s school camping club, it was at a spot on Tiger Creek, just before you get to Lake Kissimmee, on a decent beach before the line of trees on the right (south) side that parallels the Lake Kissimmee shore, that they found the subject model for Barred Owl.


Tiger Creek leads to Lake Kissimmee, and then it’s a shorter paddle northwest to the east entrance to the Zipprer Canal. From there, the journey ends at the State Park Marina, just a short hike around the water structure from the starting point.

The Trip

This trip started normal enough. It was mostly sunny at first and windy, but we didn’t feel the wind below the banks, and especially in the tree-lined sections of Zipprer Canal. Lake Rosalie was another story. By then, the wind was seventeen to twenty-four knots out of the southwest, which means its fetch was essentially the whole length of the lake. As we entered the lake we were paddling directly into waves of at least 1½ feet. We were paddling full speed ahead and Nancy was really getting pounded riding up (and down) in the bow. (Where I came from, you’d have to pay at least a quarter to get this much excitement). It was Nancy’s understanding that we should be hugging the shoreline where it would be flatter, a misconception apparently held by many people. It is only flatter near the windward shore, where there is no fetch, or distance the wind has blown over the water to build up the waves. On the leeward (away from the wind) side where we were, there is no relief; the waves are as high as they are going to get.

Protocol

Whether in the front or the back, a straight stroke along the side of the canoe will tend to turn the canoe away from that side. Normally, the two paddlers would be stroking on opposite sides of the canoe – one on port and one on starboard (right as you face forward) to cancel out their individual turning forces. You should change sides on a regular, but not too frequent basis. When one needs to change sides, they call out so both paddlers change sides together. The weaker paddler (or the photographer if they are not the same person) would usually be in the bow. The stern paddler is normally responsible for course corrections and casual maneuvering. S/he does this by adding a little side flip or “J” to their stroke as necessary. If the strength of the paddlers is the same, few “J”s would be necessary. In other circumstances, they may be required on every stroke. Tight curves, as found in many creeks in Florida (like the two mentioned below, for example), require turning effort from both paddlers. Nancy taught canoeing in her previous day-job. She knows more strokes than I do and is very good.

Since we’ve owned this new canoe, I’ve had to make modifications to the standard tandem canoeing protocol/etiquette. As a crosswind picks up, I’ve started making sure the stern paddler (which is I) is stroking on the lee side (or on the same side as the wind is trying to blow the bow) to better counteract that force. When the wind is really strong, I ask the bow paddler (Nancy) to shift so that we are both on that side.

Lake Rosalie

At first, we are paddling directly into the wind. Our next waypoint, the next creek entrance, hidden in the tall grass, is about 45° off the port (left) bow. The problem is, under our current wind conditions I soon discovered that if I let the bow get over 30° off the wind, then even with both of us paddling hard from the leeward side or even using one of the turning strokes, it takes quite a while (and a lull in the wind) to bring the bow back on course. Paddling in the trough of an occasional 2-foot chop isn’t something I was going to let happen. As we got into the middle of the lake (and the bearing to our waypoint approached the beam), the waves are slightly smaller and the wind shows signs of weakening (at least part of the time). We changed course so the wind came from about 30° off the starboard bow, which is as far off the wind as I felt we could reliably recover from. Then we eased off on the power a bit (when not recovering from a gust) and let our leeway (the sideways direction and speed that the wind is impacting us) make up the difference in course angle. We eventually find and enter Rosalie Creek.

Rosalie Creek is narrow, winding, picturesque, and protected for the most part. Nancy is able to photograph. There is some current, which makes station-keeping a little more difficult, especially since I’m already tired. We enjoy the view and the rest, and then we enter Tiger Lake.

Tiger Lake and Lake Kissimmee

As we enter Tiger Lake, we see an osprey catch a fish. Then an eagle tries to take the fish. We watched a remarkable aerial display that lasted at least five minutes. The osprey had a tighter turning radius but the eagle was never far behind. Finally, the osprey dropped the fish. Maybe it decided that it was expending more calories defending the fish than it would have gained from eating it. The eagle made a low pass looking for the fish, but unsuccessful, it flew off, as did the osprey in the opposite direction. Just a few minutes later the osprey flew by again and grabbed another fish (without interruption).

Although not quite as strong, the wind is still alive and well. But we are a little more rested. From Tiger Lake, our next waypoint, Tiger Creek, is close to directly downwind. The wind is now helping with our speed. But the waves, which are growing as we cross the lake, are trying to broach the canoe (turn it sideways to the wind, possibly burying the bow in a wave or capsizing the boat when it gets in the trough). This takes heavy corrective paddling from the stern paddler as every wave goes by until we reach Tiger Creek.

Tiger Creek is wider than Rosalie but still serpentine. Again, Nancy is taking pictures (including close-ups of a snail kite eating lunch).

In Lake Kissimmee, our intended track was to the northwest just off the windward shore of the lake, and the lake was full of water plants so the waves aren’t too bad. The wind had even started subsiding. We found our way to the canal entrance and then to the marina. Although we were completely bushed, we did manage to get the canoe secured back on top of the van right at sunset.

Conclusions

This wasn’t our longest paddle. We’ve done more than fifteen miles on a day trip on more than one occasion. The most recent time was around Snake Bight east of Flamingo (which is at the end of the road in Everglades National Park). And even though almost half of that trip was through water about two inches shallower than the canoe with a thick muddy bottom, the weather was mild and the trip wasn’t as tough as this one. (Interestingly enough, on our last trip to Flamingo, Nancy mentioned canoeing to Ingraham Lake, which is at least ten miles west of Flamingo. Now that would be quite a day trip for us.)

But more importantly, the wind and waves were worse on this trip than on the Cedar Key trip that caused us to capsize. I’m hoping that was enough to rebuild Nancy’s confidence. Stay tuned.

Answers To “Is This Picture Level?”

A few weeks ago, I asked a few questions about a picture of me on the Turner Riverlink. I even offered a reward for the best answers. Here are my answers.

First Question

NO, the picture is not level. The photographers’ usual reference point for getting a picture level is the horizon. One of the rules of composition says that your horizon must be perfectly straight (unless it is so far off that the viewer will know that you did it on purpose).

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What some people call “The Rule of the Horizon Line” is just an implementation of the Rule of Thirds. In the section “Horizon Lines” in his article Using Leading Lines and Horizon Lines in Photographic Composition, Todd Vorenkamp discusses both aspects.


But what if the horizon is not available, as in this picture? Nasim Mansurov, in his article The Importance of Straightening The Horizon and Aligning Lines, discusses (and shows examples of) several options for getting your picture straight. But he didn’t mention this situation.

Bruce on Turner River (annotated)

Q2: How Do We Straighten It?

First, let me say what won’t work: allegedly horizontal elements on a canoe, like seats and thwarts, even in calm water, can be expected to deviate from horizontal as a matter of routine. This case, as it turns out, is no exception. So what can we use?

When you have a calm body of water, as we do here, and the horizon is not visible, you can still depend on the levelness of the water. As I discussed in Reflections – My Answer To “What’s Wrong With This Picture (Version 2)?”, the angle of incidence of a reflected light ray equals the angle of reflection, which means, since the surface of the water is a horizontal plane, that the reflected object will be directly under the object itself, or the line between the two will be vertical, or 90° from the horizon. In the picture above, I have identified four different reference lines. Once you are convinced that this works, you really only need one. Two things make this more challenging, however. There are floating obstacles obscuring good reflection candidates. Also, as I discussed in “Reflections…”, the reflection won’t look exactly like the reflected object due to the changed perspective. Since identifying the exact point reflected may be subject to slight errors in estimated position, the further they are apart (meaning the longer the line connecting them) the better because the error in the angle needed to rotate for the picture to be level is proportional to the positional error divided by the distance apart (for small error angles). In the above picture, the flower (labeled “A”) is an easy choice, but it and its reflection are close together. The hole in the canopy (“B”) and the more prominent branch (“C”), although less identifiable in the reflection, do have good separation distances. “D” shows that in a pinch, when no well-marked points are available, you could even use the point on a curved line where the slope of the curve and the slope of its reflection are the same (or parallel). Expect a higher positional error in cases like that.

Once you have a reference line, most editing software has a horizon-straightening feature, or at least the ability to rotate the image until your reference line is vertical. For what it’s worth, this image needs to be rotated about 8⅓° clockwise. To see the corrected version, go to the bottom of our Red Mangrove Maze image page, where you can also find the identity of the person who took this picture.

Bonus Question

For the last question of the article, which was a math problem to find my age, see the note below.

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Timeline for age problem

As you can see in the above illustration, there are three related timespans (years before 2008, years after 2008, and total years); if you know any two, you can find the third. This is true whether you are talking in years or percentages. We want the answer in years, but we only know one of the three. As a percentage, we know two of the three, so we can (and will) know all three. What we have to do, then, is find a relationship between years and percentages.

Twelve years is less than 19% of my current age,

or 12 \leq 0.19 \times Age

Age \geq \frac{12}{0.19} \approx 63.2

Actually, I’m about 64½.

Your reward (including bonus) would be \frac{1}{0.81} \approx 1.23 times the original award, meaning your bonus would be about 23%.

And The Winner Is…

There were four responses to the original post. All addressed the title question. Nobody addressed the follow-up or bonus questions. The judges have concluded that the first correct answer and winner of this contest, receiving ten dollars off of any Bee Happy Graphic product or service, and all bragging rights, is M. Alexander (former member of Kendall Camera Club). Congratulations!

Tips For Setting Up Your Booth Canopy

We have a Trimline Canopy by Flourishabout, with lower StaBars and a small (30″) front awning. Although we’ve also heard good things about the Light-Dome canopywebsite, I don’t know how many of the following tips would apply to other manufacturers. Not all of these concepts are brand-specific, however.

Booth at ArtsFest in Stuart February 11, 2017
Our booth at ArtsFest in Stuart on Saturday, February 11, 2017

This will not replace the setup instructions provided by the manufacturer. I refer to the latest information on the Flourish website as appropriate (I’ve noticed they have made a few changes since we bought our canopy in 2010), and suggest you read your instructionsFlourish and even watch their video (For ours it would be TrimLine Canopy Detailed Setup Video With Chris) before starting.

Storing Gear

We don’t completely disassemble our poles after each show. Since we carry all tent gear and art in our van, we follow something very similar to the “Fastest set up” on Page 8 of the “Trimline Canopy 10′ x 10′ Instructions for Assembly” (373.pdf). Specifically:

Illustration of roof poles with rafter hardware attached
Figure 1: How we store our Rafter Base Poles (from Page 3 of the “Trimline Canopy 10′ x 10′ Instructions for Assembly”)
  • The rafter base poles have rafter base joints and corner joints attached, as shown in Figure 1 above.
  • The Ridge Pole has Ridge Support Joints on both ends. The Riser Poles get stored with the Rafters.
  • The Awning Ells are attached to the long awning pole (described as the no-color 116½” pole in the “Trimline Awning Assembly Instructions” (394.pdf). The short poles for the side of the awning are stowed with the Rafters.
  • The legs are stowed in the “Rest-Stop position” with the top half against the Rest Stop Button. The StaBar Ell or 3-way is attached, as is the foot and the LD (a.k.a. Awning Support) Ell (as appropriate). All of these attachments are locked in their base positions.

We store the tent walls and other small parts in a large tote box (outside dimensions 32″L x 20″W x 18″H).

Setup

We set up our canopy with the heat/wind vents on the sides instead of front and back so that I don’t have to reach over the awning to open the vent. The downside of this is that if the tents are too close together, I may have to open the vents from inside the booth.

Illustation showing map of tent and offset for raising roof
Figure 2: Sample Booth Setup Scenario

When placing the roof in position, either while assembling or afterward, place the wall that will go up first exactly 24″ inside (toward the center of the booth from) its final position.

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This is assuming a ten-foot tent with legs in the Rest Stop position (roughly 79″ long). It is based on the Pythagorean Theorem (Notice that in Figure 3 below, the roof poles, legs, and ground form a right triangle with the ground being the hypotenuse since the legs connect to the roof poles at a 90° angle. The general formula (in case you have longer roof poles and/or longer legs) would then be

Offset = \sqrt{(PoleLength^2 +    LegLength^2)} - PoleLength


Its two adjoining walls should be in line with their final position. Which side of the roof goes up first may be dictated by the placement of neighboring tents and other obstacles. For example, if you are in a line of booths that are being set up with their back wall against the curb and both of your neighbors have already set up, you should place your back wall two feet from the curb, meaning the front wall will be 24″ further out in the street but the sides will in their correct plane (see Figure 2). As you tilt the top up and attach your back legs first, their foot will land against the curb (see Figure 3).

Illustration showing how much canopy moves when raising tent
Figure 3: How the roof creeps as you install legs

When attaching the roof to the frame, we connect the straps and buckles on the vent sides and the wide Velcro on the rafter sides. But if we were to connect the thinner corner Velcro straps at that time, they would get in the way of hanging the weights.

Leveling The Tent

Roof Poles

We don’t see many other artists do this, but we use a small level to make sure our walls, and subsequently our panels, are vertical (and our roof poles and StaBars are horizontal). As you can see in Figure 4, it is important to have your framed pieces against the wall and straight. With all four legs in their lowest (“Rest Stop”) position, find which corner is highest by placing the level along your roof poles on all four sides (and “follow the bubble”). Since the poles sag over time due to the weight hanging from them, you should take measurements at more than one location along each pole. The leg in the highest corner will remain in its lowest position. Lengthen the adjoining legs as appropriate. Since one can only raise a leg in 1¾” increments, it is possible that the ‘true’ adjustment will fall between two holes. Pick one.

Illustration comparing leveled and unleveled canopy frame
Figure 4: Leveling the tent

StaBars

Since the lower bars are only held by thumb screws, positioning is continuous (no 1¾” increments), so we could do an even better job of leveling them than we do with the top bars. But because of the way our panels hang from the horizontal bars (see www.beehappygraphics.com/panels.html), it is more important to get the lower bars parallel to the top bars than it is to get them level. After measuring the change in length of the leg (which should be in agreement with the formula

HeightDifference = AdjustmentHoles \times 1.75" ,

move the StaBar joint up accordingly. After measuring each leg for each festival for about nine years, I came up with a shortcut.

Top and bottom sections of canopy leg, showing added markings
Figure 5: New markings on canopy legs

Notice in Figure 5 that I labeled the holes in the top section of the leg and pre-measured, marked, and labeled the correct adjustment distances on the bottom of the leg. This has already saved me much more time than the time I invested in making these improvements. The figure also mentions my suggestion for Version 2. Although the important measurement is the distance from the bottom edge of the StaBar Joint to the top of the foot, it would be better to have the markings and labels on the top edge of the StaBar Joint so you can read them without having to bend over so far to look under the joint.

Weights

Trimline canopies come with Ground Screws and 10” Steel Spikes for anchoring the canopy to the ground. These are almost never allowed at the art festivals in Florida that we attend. We can use weights anywhere. Flourish has their GreatWeightsabout, heavy-duty vinyl bags that will allegedly hold up to 40 pounds of sand or pea rock, at an additional cost. We built our own from parts readily available at any hardware store, namely a 30″ section of 4″ PVC pipe with a flat endcap, a bag of cement, and an eyebolt with nuts and washers. Ours weigh 34 pounds; some festivals want more, but our panels and art hanging from the roof make up the difference. Construction details for the weights will have to wait for another day (in the meantime, email me or comment below if you need details). We hang the weights from the canopy with ratchet tie-downs and strap them to the leg with a bungee cord at the top and bottom. It is very important not just to have them dangling but to have them held firmly in place (so they don’t turn into wrecking balls in heavier winds). If you look closely, you can see our weights in action in the picture at the top of this article.

Our Skirt

Typically, the bottom of our walls are less than three inches from the ground, so we were amazed to see how far up from the ground our panels (and art) got wet after a rain. To solve this, Nancy got some clear plastic sheeting to wrap around the bottom of the tent before the walls go up. The plastic should come at least 24″ up from the ground, plus a couple of inches extra on the ground. Ours is at least 4 mils thick. We need about 42 feet to go around all four walls. We use the clear 2″ shipping tape to attach it to each leg (which works much better if you get the skirt up before it starts raining). Start with one of the front legs, and then go around past the back legs to the other front leg. At this point, there should still be about eleven feet of plastic to go across the front, but while the tent is open we roll up the extra and stow it behind the nearest weight. When we close up, we pull out that last bit of skirt, stretch it across the front, and tape it to the last/first pole. Then we lower the front wall and secure the tent according to the manufacturer’s instructions.

Instead of using the skirt, we recently considered extending the walls about 18″ and including straps to keep the bottom of the wall lying on the ground under all circumstances but Nancy decided it wouldn’t keep the walls as clean as our current method does.

The Awning

Occasionally awnings are not allowed, but we usually put up a front awning. It doesn’t go up while setting up the tent, and it is the first thing to come down after closing on Sunday afternoon so that it is out of the way of other artist vehicles coming in to drop off or pick up their supplies. We also take it down Saturday night so that we don’t have to lose sleep over the weather or other artists driving to their tent. The awning zips to the same zipper the front wall would use, but there is another zipper on the bottom edge of the awning for attaching the wall.

Daily routine

Our procedure Saturday and Sunday mornings would be to unzip and roll up the front wall, unzip it from the roof and set it aside, attach the awning poles, zip on the awning to the roof, and attach it with the bungees to the awning poles. Then we would zip the front wall back up to the awning and leave in the rolled position (on immediate standby in case of sudden severe squall). Finally, we would reconnect or adjust the Velcro at the top edges of the front walls and the corners of the canopy. Saturday and Sunday evening we would reverse this procedure.

In Case Of Rain

During light rain, we would stay open and continue working with customers. I would move the LD or Awning Support Joint on one side, which is normally at the top of the leg as described in Step 3 of the “Trimline Awning Assembly Instructions”, up as high as I can get away with and lower the joint on the other leg a couple of inches or as much as it takes to stop the water from forming a puddle in the middle of the awning that would ultimately spill over onto unsuspecting customers. If the rain became too severe, we would drop the front wall and hang out with whatever crowd needed a dry place in the middle of a storm.

In Closing . . .

That’s about everything we’ve learned so far. I hope it helps. If you have a better solution, or a solution to a different tent problem that could save our readers some grief, please explain in the comment section below. Thanks!

Check Out Our RSS Feeds

revised 6/12/2020

Some Blog History

The story of our first 200 blog articles is chronicled in an earlier postblog. Since then (August 2018) I’ve redeveloped and described our twelve blog categories in An Explanation Of Our Groups, and have made it easier to subscribe to any combination of blog categories a la carte (notice column to the right of this article). This last season, I even started putting out a clipboard at our booth for those who wanted to sign up. When you sign up, you will receive an email with a link to each new blog article in your chosen category as it is published.

The RSS Feeds

Now we have created five different RSS feeds, each targeting a different audience.

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RSS stands for “Really Simple Syndication”, and is a way to have blog articles and podcasts delivered automatically to your browser. Most browsers have RSS readers. There are companies like Inoreader and Feedly that also have a free version of their reader with at least limited functionality (this is not an endorsement – what I’ve just explained is all I know about these two companies). For more information about RSS Feeds, check out RSS for Beginnners (sic) at wired.com.


The feeds are:

  • Bee Happy Graphics for Art Lovers, which includes mostly articles from categories Images, Nature & Wildlife, Promotions, Upcoming Events, and Recognition;
  • Bee Happy Graphics for Photographers with articles primarily from categories Photography, Post-processing, Business, Images, Nature & Wildlife, Travel, and Other topics;
  • Bee Happy Graphics for Printers & Framers, bringing the Business, Printing & Framing, and Other topics categories;
  • Bee Happy Graphics for Teachers, focussing on categories Applied math, Nature & Wildlife, Promotions, and Travel; and finally
  • the Bee Happy Graphics blog, which will bring you everything.

When you visit our home page (www.BeeHappyGraphics.com), your RSS reader should find our feeds. If not, you may need to go to “The Latest Word” section toward the top of that page and click on the appropriate button. This will open a pop-up box with a web address (URL) that you may need to copy and paste into your RSS reader. For your convenience, I’ve added those buttons here:

feed iconfeed iconfeed iconfeed iconfeed icon

What You Get (and Don’t Get)

First, what you don’t get are ads or other promotions.  Our website and blog have hundreds of pages, but not one single ad.  We will not sell or give away your address or other information, and it will be used for no other purpose than providing you with the latest information from Bee Happy Graphics.

So How Many Articles Will I Get?

Just to give you an indication of what to expect, here are the number of articles you would have received had each of these options been established and had you signed up for each option for the one year ending April 18, 2020:

Whole Blog 46
   
Bee Happy Graphics (BHG) for Art Lovers 32
BHG for Photographers 10
BHG for Printers & Framers 5
BHG for Teachers 13
   
Applied Math category 4
Business category 7
Images category 9
Nature & Wildlife 6
Photography 4
Post-processing 4
Printing & Framing 4
Promotions 5
Recognition 5
Travel 6
Upcoming Events 23
Other Topics 2

Keep in mind that an article may fit into more than one group/category and could appeal to more than one audience (that is why the sum of the feed totals and the sum of the category totals are both more than the total number of articles).  That total number of articles in a year is typical for us, and I am happy that I was able to keep the number of non-‘Upcoming Events’ articles at or above 50%. My ultimate goal of 60% could be tough, however.  For one thing, it has so far not been my policy to discuss an idea that has already been adequately covered elsewhere.  And during the art festival season, I have little time to develop the ideas that do occur.  It was also good to see that there was some balance; no category (besides Upcoming Events) hogged too much attention and no category was ignored. I might need to give Printers & Framers a little more love, but already have a few ideas and have already made a few promises for articles that should keep them happy.

In Conclusion . . .

Go ahead and sign up for whatever you think might be helpful or interesting. If you have a question or an idea for an article or even a new category, leave a comment below (or private blog comment by following the link at the top of the right column). Thank you for reading this far.

Is This Picture Straight/Level?

This is I, canoeing on the Turner River just south of the Tamiami Trail just before noon in the late spring of 2008 (when I was just over 81% of my current age). In this picture, I’m just keeping the boat steady. The photographer (who is very near and dear to me) would normally be facing the other way in a vessel like this and had to reach all the way around, without getting up, to get this shot. Is it level? If not, is there anything in the picture that would be of any help in straightening it?

Besides my usual readers, I may be inviting my Facebook friends, as well as our Instagram viewers, LinkedIn links, and members of Kendall Camera Club, as well as any of their friends and acquaintances to participate in this discussion. I will copy most of those answers below. The best answer will get ten dollars off of any Bee Happy Graphic product or service, and of course, bragging rights. This reward may be combined with other offers and awards. If two or more people come up with the same idea, the one who speaks first will win the prize. Honorable mentions may also be rewarded. You will have at least two weeks to come up with an answer. Good luck!

(OK, since I mentioned it, I might as well make it worth something; if you can tell how old I am now, based on the evidence above, I will increase your reward by the same percentage as my age has increased since this picture was taken. Is that better?)

Please enter your comments below (after submitting, there may be a delay before your comment appears). Good luck, and thank you.

Certificates Of Authenticity Shipping This Week

Although it has been four years since our last updateblog, we have not been idle. I had a campaign the first quarter of 2017 and another one that October to create certificates, but most of those efforts were geared toward having the certificates available in our booth as a picture was sold, and neither campaign was completed. In April 2018 we did improve the design of our certificates.

But now it looks like God has gone to great lengths to eliminate distractions (with the current COVID-19 policies), so I feel confident we can finally finish this project soon. Only Nancy can stop me now! 😎 Certificates will start going out today. First, we are mailing the ones we have already printed (but overlooked), then we will mail the rest of the certificates for images already sold, and then we will finally complete the certificates for the work we have in stock. If you don’t get your certificate by the end of the month, let us know. And again, thank you for your patience!