Professional Photographer August 2008

©Trista Blouin AUGUST 2008 | WWW.PPMAG.COM | $4.95 PROFESSIONAL PRINTS 4x5 / 4x6 5x7 8x10 10x10 11x14 12x12 16x20 P...

Author: Professional Photographer

14 downloads 820 Views 27MB Size Report

This content was uploaded by our users and we assume good faith they have the permission to share this book. If you own the copyright to this book and it is wrongfully on our website, we offer a simple DMCA procedure to remove your content from our site. Start by pressing the button below!
Report copyright / DMCA form

DOWNLOAD PDF

©Trista Blouin

AUGUST 2008 | WWW.PPMAG.COM | $4.95

PROFESSIONAL PRINTS

4x5 / 4x6 5x7 8x10 10x10 11x14 12x12 16x20

PRICE

.29 .99 1.39 2.49 3.99 3.99 13.50

PROOF BOOKS

1.50 PER PG. 2.45 PER PG.

8x10 10x13 PRESS PRINTED PRODUCTS 4x51/2 POSTCARDS

4x5 /2 FOLDED CARDS 1

14.99 PER 24 22.29 PER 24

Experts view each image on calibrated workstations, then make precise adjustments to color, density, and contrast for beautiful prints. Over 60 print sizes, up to 30"x40". Photographic prints on Kodak® Endura and Kodak®Metallic paper. A full range of professional texturing, laminating, and mounting options. A complete line of products for professional photographers including: proof books, wedding template pages, economical event packages, as well as two sided and folded press printed products. Sign up as a new customer, download our free ROES software, and begin ordering today.

Great Prints. Great Prices. Easy Ordering. It’s that Simple.

For more information and to begin ordering, visit: www.meridianpro.com Questions? Call us at: 800-544-1370

CONTENTS PROFESSIONAL PHOTOGRAPHER AUGUST 2008

Features 84

CHILD’S PLAY A good eye, self-knowledge and a solid business plan helped Susan Braswell transition from stay-at-home mom to busy pro photographer by Jeff Kent

67

PORTRAITS: 3 PHOTOGRAPHERS AND A BABY

Baby portraits, three ways— plus honest feedback from Mom by Jeff Kent

76

PORTRAITS: A LITTLE ADVENTURE

Coping with the more challenging children’s sessions By Sandy “Sam” Puc’

IMAGE BY GREY DARRAH OF DARRAH PHOTO

CONTENTS PROFESSIONAL PHOTOGRAPHER | AUGUST 2008 | WWW.PPMAG.COM

16

FOLIO

59

IMAGING USA

92

CALENDAR

97

PPA TODAY

114

GOOD WORKS

©Sandy Puc’

Departments C O N TA C T S H E E T 22 Bill Eppridge: A time it was

by Jeff Kent 24 What to wear

by Sara Frances 26 Full access with Kevin Mazur 28 U.S. Copyright Office moves online

PROFIT CENTER 33 What I think: Trista Blouin 34 When they say “I don’t”

by Christel Marchand Aprigliano 38 Branded by love

by Sarah Petty 40 How are your sales skills?

by Charles J. Lewis

THE GOODS 43 What I like: Mike Colón 44 Pro review: X-Rite ColorMunki

by Ron Eggers 50 Pro review: Wacom Cintiq 20SWX

by Karen Sperling 52 Solutions: The case of the

lying histogram by Andrew Rodney

76

Sandy “Sam” Puc’ loves photographing children. After years of experience,

Puc’ has an arsenal of techniques for making the portrait session go smoothly, even with special needs kids or over-anxious parents. Find out how she keeps the enchantment alive, beginning on p. 76.

6 • www.ppmag.com

56 Tutorial: Painting portraits

in Photoshop by Karen Sperling ON THE COVER: Trista Blouin captured this image of 14-month-old Madison Lee at Perdido Key, Fla. The child's parents, Neil and Janet Lee of Mississippi, chose Blouin as their vacation photographer after seeing a gallery of her creative beach portraits. The image was taken with a Nikon D80 digital SLR.

Mind. Body.

Photography. A Picture-Perfect Relationship :PVSLFFOFZFBOEDSFBUJWFWJTJPOUSBOTGPSNFMFNFOUTJOUPCFBVUJGVM POFPG BLJOEQIPUPHSBQIJDJNBHFT8IJUF)PVTF$VTUPN$PMPVSCSJOHTZPVSJNBHFT UPMJGFXJUIBEFWPUJPOUPTJNQMJDJUZUIBUIFMQTZPVBDIJFWFNPSF BOEB SFQVUBUJPOGPSRVBMJUZBOETFSWJDFUIBUEFMJWFSTQFBDFPGNJOE8IFOZPV TVDDFFE XFTVDDFFE*UµTUIBUTJNQMF

8IJUF)PVTF$VTUPN$PMPVSJTBGVMMTFSWJDF QSPGFTTJPOBMQIPUPHSBQIJDBOEQSFTTQSJOUFS 'PSBNPSFDPNQMFUFMJTUPGPVSTFSWJDFTBOEQSJDJOH WJTJUPVSXFCTJUF

XXXXIDDDPN

P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected] senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

BEING PRAGMATIC WHEN IT MATTERS

features editor

Forgive me, but I can’t get Frank Purdue’s words out of my head:

LESLIE HUNT [email protected]

manager, publications and sales/strategic alliances

“It takes a tough man to make a tender chicken.”

editor-at-large

sales and marketing assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

Tough love In a business where so much of your success is predicated on

KARISA GILMER [email protected]

emotion, sensitivity and intuition, the pragmatic notion of tough policies and studio contracts doesn’t seem conducive to the warm atmosphere you want to create for your clients. Pushing a carefully worded contract across the table toward an ebullient bride-to-be seems as unromantic as, well, presenting a 10-page prenup on the heels of an amorous proposal of marriage. But oh, is it necessary to doing business. And in a touchy-feely kind of business like photography, taking legal precautions is mandatory. Your clients are making buying decisions based on their emotions, and those emotions can turn from warm and fuzzy to cold and nasty in the blink of an eye. On p. 34, PPA Member Services Manager, Christel Aprigliano, explores a few worst-case scenarios of good faith gone bad— communication breakdowns that led to broken contracts, damaged

technical editors

circulation

ANDREW RODNEY ELLIS VENER

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

SCOTT HERSH 610-966-2466; [email protected] western region ad manager

eastern region ad manager

BART ENGELS 847-854-8182; [email protected]

SHELLIE JOHNSON 404-522-8600, x279; [email protected]

editorial offices

Professional Photographer 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly subscriptions

Professional Photographer P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com member services

reputations and unpaid fees. Clear, direct verbal and written communication between photographer and client protects the business owner from headaches and the client from unnecessary confusion and frustration. For many photographers, the one-on-one consultation is not an easy task: looking your client in the face, outlining your studio policies, and asserting that they will be enforced. No one likes to be the heavy, especially in a business where job No. 1 is making clients happy. But such discussions are critical as both legal protection and preventative medicine. When a client understands your policies and the reasoning behind them, she’ll be less likely to create a damaging situation that could land you both in court. I Cameron Bishopp Director of Publications [email protected]

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

10 • www.ppmag.com

show the world how you see it.

MEET COLORMUNKI PHOTO

YOUR NEW BEST FRIEND FOR MATCHING PRINTS TO DISPLAY WITH COLOR PERFECTION. ColorMunki is an all-in-one color control, creation and communication solution that lets you calibrate your monitor, projector, and printer so they all match. With this new solution, you can also send your images with DigitalPouch™ and create unlimited color palettes! So whether you work on a PC or Mac, ColorMunki is the innovative new way to bring your photos from screen to print accurately, simply and affordably. Swing by COLORMUNKI.com to meet your new best friend! X-Rite, the X-Rite logo, ColorMunki, and the ColorMunki logo, are trademarks or registered trademarks of the X-Rite incorporated in the United States and/or other countries. All other trademarks are properties of their respective owners X-Rite Incorporated 2008. All rights reserved.

chairman of the board *JACK REZNICKI Cr.Photog., Hon.M.Photog., API [email protected]

Professional Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400 www.ppa.com

directors DON DICKSON M.Photog.Cr., CPP [email protected] SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI [email protected]

2008-2009 PPA board president *DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP [email protected] vice president *RON NICHOLS M.Photog.Cr., API [email protected] treasurer *LOUIS TONSMEIRE Cr.Photog., API [email protected]


RALPH ROMAGUERA, SR. M.Photog.Cr., CPP, API, F-ASP [email protected]

DOUG BOX M.Photog.Cr., API [email protected] DON MACGREGOR M.Photog.Cr., API [email protected] industry advisor KEVIN CASEY [email protected] legal counsel Howe and Hutton, Chicago

CAROL ANDREWS M.Photog.Cr., ABI [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected]

SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

SCOTT KURKIAN Chief Financial Officer [email protected]

TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected]

CAMERON BISHOPP Director of Publications [email protected]

DANA GROVES Director of Marketing & Communications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] J. ALEXANDER HOPPER Director of Membership, Copyright and Government Affairs [email protected] WILDA OKEN Director of Administration [email protected] LENORE TAFFEL Director of Events/Education [email protected] SANDRA LANG Executive Assistant [email protected] *Executive Committee of the Board

Photography by Gregory Heisler.

Beautiful.

Introducing the Epson Stylus® Photo R2880, for exhibition quality prints. A beautiful print makes you take another look. That’s the essence of the Epson Stylus Photo R2880, making beautiful prints, black and white, or color. Exclusive archival Epson UltraChrome K3™ inks with Vivid Magenta and three blacks create unsurpassed gray balance and tonal range. Add Radiance™ technology for smoother color transitions and see details in the highlights and shadows that turn a photograph into fine art. Beauty, make your own. For more information visit epson.com/SPR2880.

$799 MSRP

Epson and Epson Stylus are registered trademarks, Epson Exceed Your Vision is a registered logomark, and Epson UltraChrome K3 and Exceed Your Vision are trademarks of Seiko Epson Corporation. Radiance is a trademark of Epson America, Inc. Copyright 2008 Epson America, Inc.

folio Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of award-winning photography by PPA members. The Loan Collection is a select group of some 500 photographs chosen annually by the PPA print judges from more than 5,000 entries.

JIM HERNDON Stepping out of a wedding reception for a few quick photos, Jim Herndon, M.Photog., CPP, of On Location Portraiture, in Dallas, captured “Nocturne” with a Canon EOS 5D and 24-70mm Canon f/2.8 L USM EF lens. He exposed the image for 1/50 second at f/4, ISO 1600. Herndon used three tungsten globes, one each above the bride to the right and left, one behind the camera. Herndon combined elements from a wider shot of the same scene, and performed minor retouching, including removing a historic plaque from the wall. He combined a Kubota Action and a Nik Color Efex filter in Adobe Photoshop to achieve the blue tone, with a noise filter to increase the grain. (www.onlocationportraiture.com)

©Jim Herndon

What the judge thought:

“The tones in this image set the mood for the

entire photograph. Its composition is very strong, with the lights at the top of the image balancing the subjects at the bottom. With all that said, when you get to the couple and the story being told, you almost feel like you are there and about to interrupt a very special moment.” –Rich Newell, M.Photog.Cr., PEC Committee member. 16 • www.ppmag.com

©Rodney Lough Jr.

RODNEY LOUGH JR. Trekking through the Black Rock Desert in Nevada, Rodney Lough Jr. of The Lough Road Inc. in Happy Valley, Ore., was struck by this scene, where he says, “The Earth bows down to the majesty of its own creation.” He captured “Passing Through” with an Arca-Swiss f-line 8x10 large-format field camera and 150mm Schneider f/5.6 lens, exposing Fujifilm Fujichrome Velvia 100 Professional film for 16 seconds at f/64. (www.theloughroad.com)

JOHN DERRY On the day following his wife’s diagnosis of leukemia, John Derry of Omaha, Neb., captured “Equinox” on the rainy first day of spring. “The image was representative of my feelings at the time,” says Derry, whose wife is awaiting a bone marrow transplant. Using a Canon EOS 10D and 70-200mm Canon f/4 L USM EF lens, Derry exposed the image for 1/8 second at f/16, ISO100. Derry processed the image with Adobe Camera Raw, then performed minor color correction in Adobe Photoshop CS2 before applying Drip Effect in Corel Painter IX. (www.pixlart.com)


©John Derry

Smart Transceiver

NEW PocketWizard PLUS II Triggers your flash, camera or both wirelessly from up to 1,600 feet away. Auto-Sensing Transceiver Technology Automatically Transmits or Receives for faster, easier, carefree wireless triggering. Auto-Relay mode Wirelessly triggers a remote camera and a remote flash at the same time. Fast Triggering Speed Triggers cameras and/or flash units up to 12 frames per second. Digital Wireless Radio Technology Four 16-bit digitally coded channels provide the world’s best triggering performance.

The Plus II joins the growing system of photographic products with built-in PocketWizard Wireless Freedom. Ask for these brands.

Profoto, Dyna-Lite, Norman Packs and Battery Packs A built-in radio receiver provides wireless triggering from a PocketWizard Transmitter and wireless metering.

Profoto, Norman, and Photogenic Monoblocs A built-in radio receiver provides wireless triggering from a PocketWizard Transmitter and wireless metering.

PocketWizard Plus II MultiMax Trigger your flash, cameras or both without wires from the palm of your hand.

Sekonic L-758DR L-358 Choose which flash unit to trigger and measure simultaneously and even fire your camera.

Wireless Radio Triggering

9 1 4 - 3 4 7 - 3 3 0 0

PocketWizard.com

Professional Color Lab Press Printed Books

Albums

High-End Cards

Online Posting Free upgrades to Premium Websites

Gallery Wraps

Simplify your life with Collages.net. Collages.net gives you: Professional Color Lab Print and Bind Album Solution Press Printed Products Custom, Hand-Made Cards The Leading Online Presentation

Our customers have simplified their lives by putting their important products in the hands of one company that makes great products and really cares about making professional photography studios happy! Best of all, when purchasing our best-in-class products, Collages.net customers receive free upgrades to Premium Websites – the industry’s newest and best online display of professional images.

Trust one company to be your business partner. Call Collages.net today (877) 638-7468.

Albums | Press Printed Books | Professional Printing | High-End Cards | Online Presentation | Gallery Wraps Check out Collages.net’s comprehensive product line at www.collages.net/products.

©2008 Collages.net Inc. All rights reserved. Photos ©2008 Artistic Imaging, BLR Life Photography, Carrie Workman Photography, Dan Doke Photography, Studio G, The Shooting Gallery, and TriCoast Photography

CONTACT SHEET

A time it was

What’s New, Events, Hot Products, Great Ideas, Etc.

Photojournalist Bill Eppridge’s new book captures the final days of Robert F. Kennedy BY JEFF KENT

On June 6, 1968, at the age of 42, U.S. Senator and presidential candidate Robert F. Kennedy was gunned down in Los Angeles shortly after his victory in the California primary. Kennedy was a dynamic and influential figure in an era of war and social unrest. His assassination shocked a nation that embraced his message of positive change. On the 40th anniversary of Kennedy’s assassination, photojournalist Bill Eppridge has released a retrospective of images of Kennedy at the height of his career. “A Time It Was: Bobby Kennedy in the Sixties”

All images ©Bill Eppridge

(Abrams) includes images and text document-

both images and words. An essay by writer

ing Kennedy’s brutally truncated presidential

Pete Hamill places the events in historical

campaign. Eppridge had followed Kennedy

context, with an insider’s perspective of the

from the early days of his campaign through

man who championed the power of possibility.

his funeral in New York City. He captured both

Bill Eppridge is a veteran of Life magazine,

the public and private sides of the man who had

and has covered assignments for National

captivated and inspired the youth of America.

Geographic, Sports Illustrated and many

The photographs, many of them previously

other publications. His work has been exhibited

unpublished, show the throngs of Kennedy

at the Smithsonian Museum, the National

supporters, Kennedy waving from the open

Museum of American History, the Museum

campaign convertible, Kennedy’s wife, Ethel,

of Television and Radio, and dozens of other

and their children, Kennedy with his

venues. His previous books include “Robert

Springer Spaniel “Freckles,” life aboard the

F. Kennedy: The Last Campaign” and

campaign plane, Kennedy’s death and the

“Upland Passage: A Field Dog’s Education.”

funeral cortege to St. Patrick’s Cathedral. Eppridge gives a first-hand account of the night Kennedy was shot, depicted through

For more information on “A Time It Was,” visit www.hnabooks.com. To see more from Bill Eppridge, go to www.billeppridge.com.

CONTACT SHEET

What to wear Don’t let your appearance be an afterthought

l

SARA FRANCES, M.PHOTOG.CR.

We’re all in the appearance business. For the

comfortable. The documentary approach to

boutique photographer, that means bringing

covering events is often physical, fast and

out the best in every client and looking good

unpredictable. We go for stretch fabrics we

while you do it.

can move in, layering for temperature control,

The traditional suit and tuxedo are things

combinable components, weather gear and

of the past; even plain black is passé. At wed-

the most comfortable, supportive shoes we

dings and mitzvahs, you’re not a guest or a

can find. We pack clothes for any eventuality,

businessperson or hired help, and you’re

from urban hip to five-star hotel.

visible all the time. You want to look stylish and a bit arty, yet

Often our coverage starts at a salon or on the golf course—strictly casual, upscale Palm

unobtrusive, cool but not far out, well groomed

Springs wear. The first phase of a wedding

but not staid. You also have to be comfortable

shoot typically entails physical preparations.

and able to move freely when the situation

Unlike the other event service providers,

demands it. You have to exude confidence and

we’re on show even then, because we take

competence to be entrusted with capturing

pictures throughout the day and are always

such important events in your clients’ lives.

in contact with the client and guests.

We consider our professional wardrobe

We scout our locations in advance to

Lower left, dressed head-to-toe in Patagonia wear, Karl is ready for a round of golf or a rehearsal picnic. Above, Five-star hotel events usually dictate darker and fancier clothing.

unkempt. Styled hair is the crowning touch. 2. HANDS. Smooth hands and manicured

to be equipment, just like our cameras. With

know how to prepare. One of our favorite

nails are required to safely handle a wedding

our particular clientele, we have to dress to

summer venues is a botanical garden. It’s a

dress. Photography is dirty work, so carry

impress across several generations. Today’s

challenge, though. The wedding site is some

moistened towelettes or wash your hands

technical clothing, the kind sold in travel

300 yards from the parking area, accessed

often during the day.

wear catalogs, can mesh with the event and

by a dirt path, and in full sun.

the environment, and be both stylish and

Afternoons are transition times for taking

3. HEAT. Wear clothing that wicks moisture and colors that conceal perspira-

portraits in various backgrounds, wedding party

tion. Include a small, super-absorbent towel

dressing shots and guest-arrival candids.

in your kit.

Perhaps the wedding itself will be in progress,

4. POLISH. Layering clothing makes sense

even in the heat of the day. Black clothing here

for regulating body temperature. Long skirts

not only defeats the goal of unobtrusiveness,

are fine, but check the hem and practice walking

but could well result in heat exhaustion.

with the shoes you’ll be wearing to avoid

In the late daytime and in traditional venues such as cathedrals, synagogues and hotels,

tripping. And don’t dress like a waiter. 5. PREPARE. Pack the day’s creature

we blend in by wearing darker, more formal

comforts and necessities, like a water bottle

attire. Clients and guests alike are highly

and energy bars, a pocket knife, a flashlight,

sensitive to inappropriate dress; among other

safety pins, and a large umbrella to protect

things, it implies an offensive lack of respect

you and your gear from rain or searing sun-

for the occasion, the client and the guests.

shine. Forget the purse. Try small zippered bags that fit on your belt pack to hold a cell

5 TIPS TO SURVIVE IN STYLE 1. HEAD. Conceal facial blemishes with makeup. Ladies, use simple, all-day makeup that doesn’t need constant touchups. Men, shave carefully and keep your grunge look arty, not


phone, business cards, lip balm, hand lotion, breath mints, cash and ID. I See the full collection of appropriate outfitting examples in Web Exclusives at www.ppmag.com.

What you see on the outside is just as important as what you see on the inside. With nearly twenty new selections for Miller’s Albums and Press Books, your cover can now reflect the same beauty and creativity as your photographs.

www.millerslab.com

800.835.0603

CONTACT SHEET

Full access Kevin Mazur on his career as a chronicler of the world of music BY JEFF KENT

For more than a quarter century, rock ’n’ roll photographer Kevin Mazur has photographed the biggest names in music. He’s done sessions with Bob Dylan, toured with the Rolling Stones, and stood on stage to capture Ozzy Osbourne. He’s worked monumental concerts, music festivals and broadcast award shows internationally. He’s hung backstage with everyone from Beck to The Boss, Sir Elton to Sean Combs. You could say he’s seen a lot. After such rarefied experiences, he’s often asked, “When are you going to do a book?” This year, Mazur responds at last with an ambitious project titled “All Access.” Mazur sat down with a writer friend who helped him express his stories in words. Then he created a mockup for the book, which his partners at HP printed on an Indigo Digital Press. HarperCollins signed on,

All images ©Kevin Mazur

and the project started coming together.

when I shot Bob Dylan while he was recording

Mazur gathered images, memorabilia,

“Love and Theft,” only hours after the birth of

notes and stories into an exhibition for the

my second child, and they ended up using one of

Rock ’n’ Roll Hall of Fame in Cleveland, and

my images for the album cover. Or the time that

had his friends at HP produce a series of

I photographed Ozzy and he wanted me right

large-format prints on a DesignJet Z3100,

up on stage, I mean right next to him, shooting

featuring images of icons from Keith

from a couple feet away as he performed.”

Richards to Kurt Cobain.

“All Access” is slated for release by

“The exhibition only scratches the surface

December 2009. Mazur plans to donate all

of what will appear in the book,” says Mazur.

proceeds from the sales of the book to Save

“One thing that really disappoints me about

the Music, a nonprofit foundation whose goal

photo books is that, often, you look through

is to restore music education to American

them, and there are all these beautiful photos,

public schools (savethemusic.com).

but then you put them down and they just collect dust. So I’ve been putting together all these great stories to go with the photos, like

For more information on things Mazur, visit www.kevinmazurphotography.com.

PHOTO BOOKS

TX. Image courtesy of Sallee Photogaphy, Dallas,

Tell your story with a Photo Book from Mpix. Our new Custom Hard Covers give you complete freedom to add vibrant, colorful images to the front and back of your book. Now your story starts before you even reach page 1.

Visit www.mpix.com to see our full line of photographic and press products.

CONTACT SHEET

Registration moves online U.S. Copyright Office announces new way to register works To have full protection under U.S. Copyright law, you must register your work with the

Filing an electronic copyright claim has several advantages, including:

An updated design makes them compatible with the new eCO system. Form CO, fea-

U.S. Copyright Office. Doing so strengthens

• Lower filing fees—just $35 per application

turing a 2-D barcode, will allow the Copy-

your defense in the event of copyright

• Faster processing (it can take months

right Office to convert the information on the

infringement, making you eligible to collect

after filing on paper to receive registration

printed application into an eCO record. The

statutory damages and attorney fees if you

confirmation)

cost of filing a paper application remains $45.

mount and win an infringement lawsuit. Last month, that process just got a great deal easier. In July, the U.S. Copyright Office officially launched the electronic Copyright Office

• Online tracking of registration process • Secure online payment via a deposit

Despite the new form, photographers registering groups of published or

account with the Copyright Office or online

unpublished works must continue to use

with a credit/debit card or e-check

either Form GR/PPh/CON or Form CON.

• Instant image file uploading

To access an eCO tutorial or download the

(eCO) portal for online copyright registra-

Paper applications continue to be available

latest copyright forms, visit

tion, www.copyright.gov.

for download on the Copyright Office Web site.

www.copyright.gov/forms.

CLARIFICATION Through the looking glass

Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! • Web Exclusives: Fresh stories, tutorials and reviews you’ll ONLY find online! • Archived features, organized relevant to your specialty. • Photo Gallery • Profit Center • An in-depth product review library • Online Classifieds • Buyer’s Gallery FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter: http://ppmag.com/email.php


A Professional Photographers of America (PPA) ad that appeared on p. 65 of our June issue caused quite a flurry of phone calls and e-mails from concerned readers. The ad pictured photographer and PPA member Audrey Woulard, and the image appeared to have been reversed for printing. In actuality, the image is a self-portrait Woulard captured using a mirror; and Woulard asked PPA’s Marketing and Communications Department not to alter the image for the ad. We apologize for any confusion caused by not clarifying how Woulard captured the photo. ©Audrey Woulard

PICTORICO GEKKO ENGINEERED FOR BLACK & WHITE PRINTING The new Pictorico GEKKO is a distinctive line of inkjet media with four different textures, all specifically designed for printing digital black and white images. Offering outstanding grayscale performance with deep blacks and high D-Max, GEKKO inkjet media will meet your highest standards.

Experience Pictorico GEKKO for yourself.

s GEKKO Green has the look and feel of traditional

Baryta black and white photo paper and was the winner of the 2008 DIMA Award for best black and white print from a color inkjet printer.

s GEKKO Red is a 100% cotton paper with a distinct, textured surface.

s GEKKO Black has a unique matte surface finish on traditional resin coated photo base paper.

s GEKKO Blue has a unique luster surface finish on traditional resin coated photo base paper.

Learn more about the complete line of Pictorico inkjet media by visiting www.pictorico.com. Use promo code PPMAG to receive 20% off your online purchase. Valid until December 31, 2008.

Winner of the 2008 DIMA Award for best black and white print from a color inkjet printer.

Distributed in the Americas exclusively through Mitsubishi Imaging (MPM), Inc.

8IJUF)PVTF$VTUPN$PMPVS :PVS1SPGFTTJPOBM1IPUPHSBQIJDBOE1SFTT1SJOUJOH1BSUOFS

30&4XIDD 0VSDSPTTQMBUGPSN30&4TPGUXBSFNBLFTJURVJDLBOE FBTZUPPSEFS1IPUPHSBQIJDBOE1SFTT1SJOUFE1SPEVDUT GSPN8)$$

30&4XIDD

(BMMFSZ8SBQQFE$BOWBT 0VS(BMMFSZ8SBQTBSFBWBJMBCMFJOUXPEFQUITBOE EJGGFSFOUTJ[FT1SJOUFEEJSFDUMZPODBOWBT PSBT.FUBMMJD QIPUPHSBQIJDQBQFSCPOEFEUPDBOWBT BMMPGPVS(BMMFSZ 8SBQTIBWFBMBNJOBUFQVUPOUIFNGPSQSPUFDUJPO BOE JODMVEFGSFFTIJQQJOH

1SPPGCPPLT "OJOFYQFOTJWFBOEDPOWFOJFOUXBZUPEJTQMBZQSPPGT B1SPPGCPPLXJUIZPVSMPHPPOUIFDPWFSJTBMTPB NBSLFUJOHQJFDFZPVSDMJFOUTTIPXBSPVOEGPSZPV

1SPPGJOH 8FPGGFSMPXDPTUQSPPGTJOY Y Y YBOE YTJ[FTTUBSUJOHBU"EECJOEJOHUPDSFBUFB NJOJCPPLGPSBTFOJPS GBNJMZPSCBCZTFTTJPO

7JTJUQSPXIDDDPNHP4UBSUUPEBZUPPQFOZPVS8)$$BDDPVOU

8IJUF)PVTF$VTUPN$PMPVSJTBGVMMTFSWJDF QSPGFTTJPOBMQIPUPHSBQIJDBOEQSFTTQSJOUFS*O BEEJUJPOUPUIFTIPXDBTFEQSPEVDUTPOUIFTFQBHFT XFPGGFSBGVMMMJOFPGQIPUPHSBQIJD QSJOUTQSJOUFEPO,PEBL1SPGFTTJPOBM1BQFST'PSBDPNQMFUFWJFXPGPVSQSPEVDUTBOE TFSWJDFT WJTJUPVSXFCTJUF XXXXIDDDPN

1SFTT1SJOUFE#PPLT 8JUIIJOHFEQBQFSGPSUIJDLQBHFTUIBUMBZGMBU BOE DVTUPNQIPUPDPWFST PVSCPPLTXJMMTFUZPVBQBSUBOE HJWFZPVBNPOFZNBLJOHQSJDJOHTUSVDUVSFY Y Y Y YBOEYTJ[FTBWBJMBCMF1MVT UIFZ TIJQGBTU°NPTUCPPLTTIJQUIFOFYUEBZ

1SFTT1SJOUFE(SFFUJOH$BSET 5ISFFZFBSTJOUPPVS1SFTT1SJOUFE(SFFUJOH$BSEMJOF XF PGGFSGPVSEJGGFSFOUQBQFSTBOEOJOFEJGGFSFOUDBSETJ[FT"MM DBSETJODMVEFFOWFMPQFTBOETIJQJOEBZT

1SFTT1SJOUFE1SPEVDUT %JGGFSFOUJBUFZPVSTFMGXJUIUIFTFBEEJUJPOBM1SFTT1SJOUFE 1SPEVDUT#VTJOFTTDBSET 3FQDBSET 4UJDLFST #PPLNBSLT BOE1PTUFSTBSFBWBJMBCMFJOEJGGFSFOUQBQFSTBOEBSF QSPEVDFEJOEBZT

'JOJTIJOH4FSWJDFT 8FPGGFSBGVMMSBOHFPGQSPGFTTJPOBMMBCGJOJTIJOHBOE NPVOUJOHTFSWJDFT JODMVEJOHNBUCPBSE TUZSFOF GPBNCPBSE NBTPOJUFBOEUSBEJUJPOBMDBOWBT

XXXXIDDDPN

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Trista Blouin relies on good relationships and reciprocity What do you wish you knew when you were first starting out? That I can’t do everything. I’m pretty determined— read: stubborn—and I thought I could take on all aspects of my business single-handedly. That led to a lot of wasted time and money. What advice would you give to someone just beginning in the photography business? Don’t devalue your work or that of your colleagues by pulling your prices out of thin air. There are some great resources that will help you build a price list that allows you to make a decent living without working so much that you burn out. Look for some on PPA’s Web site. I’m especially fond of Ann Monteith’s contributions. What’s your deal breaker? I do not negotiate on price. Period. What do you consider your big break, the turning point? When I saw that the relationships I’d been nurturing were beginning to nurture me, it felt wonderful. When you give selflessly and tirelessly to others, the rule of reciprocity ultimately shifts into gear. I firmly believe that successful business is all about the relationships you build over the years. What’s the secret to running a successful photography business? As much as I would love to say create beautiful art and they will come, the real world just doesn’t work that way. Determine your weaknesses and outsource to the best talent within your budget. Then the puzzle will come together. IMAGE BY TRISTA BLOUIN WWW.LOOKWHOJUSTBLOUIN.COM

August 2008 • Professional Photographer • 33

PROFIT CENTER

C H R I S T E L M A R C H A N D A P R I G L I A N O, P PA M E M B E R S E R V I C E S

The tough economy has triggered a dramatic increase in wedding contract disputes. Learn to protect yourself from capricious clients.

When they say “I don’t” HOW TO HANDLE BRIDEZILLA, AND OTHER LEGAL MONSTERS

to return the 50-percent partial payment she had made. A few weeks later, a co-worker of the bride brought in the joyful newspaper announcement of the ex-client’s engagement. Williamson felt he’d been grossly misled. The betrothed would be wed on the same date, at the same time, and at the same venue, yet the bride had continued to request by e-mail that the studio refund her money. Williamson sent a kind and poignant response. Having turned away other potential clients for that date, and unable to book a new one, on the wedding day, Williamson went out to enjoy the lovely weather at a public venue, and there was the wedding party. He photographed the couple—public venue, after all— and enclosed a print with his note, along with a reminder that the refund was for the cancellation of the wedding, not for his services. Williamson never heard from her again, and he kept the money due to him. To head off such cases, Williamson says it’s crucial to hold a consultation with every wedding client. “The photography may be the largest outlay they make, so I want to ensure they’re informed.” Now he clearly states his policies, as well as his fees and services, before the contract is signed. One of those policies is that clients who wish to cancel must do so in writing or forfeit any refund due.

©Jerry Ghionis

Williamson is always open to help in extenuating circumstances, but he’s firm

Vows taken, rice tossed—the bride and groom

Bruce Williamson, CPP, of Bruce

about his non-refundable retainer. This

and their wedding photographer live happily

Williamson Photography, listened as a bride

strategy soothed the pain when another

ever. But what happens when the couple

sobbed into the phone about her cancelled

client cancelled her contract because she

decides at the last minute that they will not

wedding, scheduled three months away. She

found a photographer who’d charge less. He

take each other? Maybe they’re better off,

had purchased Williamson’s largest wedding

kept the retainer, and she got an amateur

but what about the photographer they

package and signed a contract, but now she

photographer. In the end, Williamson got

promised to cherish, honor and pay?

wanted a full refund. The studio’s policy states

the better deal.

Howe & Hutton, the legal firm that handles

that all monies are refundable with the

Ryan Brown, M.Photog., CPP, of Ryan

PPA member Indemnification Trust matters,

exception of the retainer. Williamson had the

Brown Photography, could have avoided at

has noted an alarming increase in wedding

bride sign a document stating that the

least one contract dispute, but he didn’t

contract disputes over a variety of causes.

wedding had been cancelled, and he agreed

heed the warning signs.


© Dillon and Carrie Koster

AT FIRST, I DIDN’T WANT THE RESPONSIBILITY OF RUNNING A BUSINESS. But I was given a push to start when I learned my employer was going to sell his business. Suddenly, my part-time job turned into running my own fulltime photography business from home…while supporting my family. When I looked to see what other photographers were doing to be successful, I found and joined Professional Photographers of America and the Delaware Professional Photographers. Through their networking, education, and events like Imaging USA, I saw real people getting real results. NOW,

I’M ONE OF THEM, AND I LOVE WHAT I DO BECAUSE I CAN DO WHAT I LOVE.

DAVID KOSTER, CPP PROFESSIONAL PHOTOGRAPHER PPA MEMBER SINCE 2002

ONE OF THE MANY FACES OF PPA

Professional Photographers of America 800.786.6277 | [email protected] | www.ppa.com

PROFIT CENTER

Brown’s final consultation with the clients two weeks before the wedding quickly fell apart when the bride and her mother wanted

it’s not all that profitable, just to see how you

raphy adds, “Everyone wants their money

interact. Money’s dear, but your time is priceless.

back, but this is a business.” Her experience

Becky Johnson of BeckyJohnson-

with cancellations includes a bride’s mother

to change everything, even his signature photo-

Studios.com, says she’s interested in running

who complained that the non-refundable

graphic style. Brown politely agreed to cancel

a business, not a bank, where clients can deposit

retainer fee was “an awful lot of money to

the contract and return all funds, which had

and withdraw funds at leisure. One groom,

keep for nothing.” Zoumberos enlightened

been paid by credit card. The mother wanted

who’d already intimated that her contract

the client’s mother—nothing? What about

the funds in cash—“The cheaper photographer

was one-sided, wanted a full refund after the

the consultations, shot lists, preparations,

we found only takes cash.” Ryan called upon

couple’s relationship disintegrated. By e-mail,

and turning away other business, losing

the PPA Indemnity Trust to help resolve the

he threatened to take Johnson to court.

money she cannot recoup? She suggests your

situation, and ended up issuing a credit card refund—not cash. Brown has learned to listen to his instincts.

Johnson called PPA, and with the backing of the Indemnity Trust, explained to the groom that as he and the bride had signed

consultation include an explanation of why certain fees cannot be refunded. Even with what seems to be an enforce-

“I highly recommend working with a couple

the contract, he could sue for only half of the

able contract, after one dispute, Ernie

before committing to a contract.” He suggests

money. She never heard from him again.

Russell of Ernie Russell Photography

offering to do an engagement session, even if

Rebecca Zoumberos of Limelight Photog-

cautions: “Photographers are in a tenuous position.” Many states will not uphold a policy that reads “non-refundable deposit,” and will

LEGAL ADVICE Protect yourself with the right wording in your contract When our firm receives a phone call from a photographer, no matter what the initial reason, the conversation frequently turns to contracts, often specifically about the difference between a retainer and a deposit. The questions have to do with verbiage—”retainer” versus “deposit”—as well as how photographers can protect themselves from demands for a full refund when a wedding is cancelled. Several salient factors could be at work regarding this issue. For instance, if the contract is paid in more than one increment, what part of the amount actually paid constitutes the retainer/deposit? If the contract is paid in full, how much of that total payment constitutes the retainer/deposit? There are also legal questions surrounding the use of the words “retainer” and “deposit,” the legal meaning of which varies from state to state. The confusion could be clarified by the use of the words “monies paid.” “Monies paid” can be stated on the

retainer/deposit line to describe the amount paid before the event to hold the date. It can also be used in the cancellation clause of the contract. It can help stem questions that arise about how much of the monies paid constitutes the retainer/deposit. Here’s a wording suggestion for a cancellation clause in a photographer’s contract:

force the photographer to forfeit the entire

This contract does not become effective until this agreement is signed and the initial amount due has been paid. At the time the contract becomes effective, the Studio/Photographer shall reserve the time and date agreed upon and will not make other reservations for that time and date. For this reason, in the event the client cancels this contract for any reason, unless the Studio is able to fully replace the cancelled reservation, all monies paid shall be retained by the photographer to offset the Studio/Photographer’s loss of business.

of Fairytales Photography was hospitalized

—Sam Erkonen, Howe & Hutton

amount. Russell has streamlined his contract and now goes over each line with the clients and invites their questions before the contract is signed. Couples pledge to stay together in sickness and in health, but there’s no such promise to the photographer. When Kimberly Hammond with pneumonia, her assistant called a client to reschedule a bridal portrait session. The bride demanded to have the session immediately, as scheduled. Hammond had already done one engagement portrait session with the bride. Twentyfour hours later, the bride notified the studio that she’d signed with another photographer, wanted her entire deposit refunded, and had called a lawyer. Then she began calling the photographer’s home insisting on a refund, and even got the local police to witness the pick up of her engagement prints. Hammond called the PPA Service Center

You can find many answers and resources for your legal questions at the members-only area of www.ppa.com, or call 800-786-6277.

to learn her options, and with the Indemnity Trust’s guidance, issued a letter to the client reiterating the details about her non-


returnable booking fee policy. The bride never

having signed a contract stating that some

client took Dyer to court. The judge

called again, and Hammond kept the fee.

compensation would be owed the photog-

asserted that the contract was ambiguous,

Unfortunately, due to the client’s unrealistic

rapher for cancellations made this late.

and ruled in favor of the client. Peggy Dyer

expectations, the studio lost revenue. For Hammond, having access to an

Dyer wanted to work with the client,

Photography paid over $7,800 for damages,

despite her written cancellation policy, and

court fees, and the client’s expenses and

attorney to discuss the incident made all the

offered several options. The client refused all

attorney’s fees, all before dealing with her

difference, not just for the business, but for

proposed alternatives and insisted on the

own attorney’s fee.

stress relief as well. The counsel she received

immediate return of all funds. Then he began

through the Indemnification Trust helped

a campaign of less than professional e-mails

cost more than the financial,” says Dyer. She

her make her contract clearer, stronger, and

and phone calls.

regretted having let her PPA membership

more enforceable. Things don’t always end up in the photog-

Dyer finally responded by e-mail, including

“The emotional aspect of the experience

expire before the incident, knowing that the

copies of all written documentation and

Indemnity Trust would have helped tremen-

rapher’s favor. Peggy Dyer of Peggy Dyer Pho-

restating her cancellation policy. The client

dously. Her attorney has helped her

tography endured an excruciating nightmare

responded with a threatening phone call, and

strengthen the wording of her contract, and

involving a wedding coordinator that cul-

Dyer hired a lawyer. An investigation found

her business continues to be successful.

minated in having to make a $7,800 payment.

that the event had been cancelled before the

The wedding coordinator told Dyer of

60-day cut-off, but the wedding coordinator

came to realize that an intensive and

the wedding cancellation less than 60 days

had delayed informing Dyer. In the eventual

informative consultation with clients

before the scheduled event. The father of the

mediation, that fact was disputed.

before signing a contract can alleviate

bride wanted all monies returned, despite

The mediation was unsuccessful and the

In each of these cases, the photographer

many problems. I


THE JOY OF MARKETING

TM

S A R A H P E T T Y, C P P

Branding isn't the same as identity. Knowing the difference will help you fully use them both.

Branded by love TO CREATE A STRONG BRAND, PEOPLE MUST FALL IN LOVE WITH YOU

In 1985, for example, Coca-Cola released a new formula of the old standby, Coke, thinking to hold onto consumers who were trying newer brands. In blind product tests, tasters preferred the newer, more sugarladen cola. Well, consumers hated the very idea of New Coke. They flooded the company’s customer service lines with complaints. Loyal customers actually felt betrayed. Coca-Cola

We often hear the words “branding” and

personal identity—and extends to your

had failed to factor in the powerful emotional

“identity” used interchangeably, and they’ve

photographic style, your studio design, your

attachment consumers had to its brand.

become kind of catch-all terms, like “marketing.”

signage, your colors, everything associated

I’ve found that many people don’t know

with how your business looks and what it

of the Coca-Cola brand is that the product

what these words really mean, and therefore

says about you. Before you begin to promote

itself is basically colored sugar water. Think

can’t grasp the tremendous power they wield.

your business, it needs to have a well-

about the emotion-packed products profes-

constructed, consistent identity.

sional photographers sell—how hard could

For years I was an ad agency marketing director and working with small businesses.

Your brand is how people feel about you.

What I find interesting about the success

it be to make clients fall in love with us!

With every new client, we’d always begin

In photography, we all have that certain

with an analysis of the firm’s identity. We

client who was our first fan. I bet everyone

a row of funky blue Coke cans, would you even

needed to know where the business had been

has a client or lots of clients who brag on us

consider buying one? You’d think it wasn’t the

before we could get them where they wanted

like we’re the most talented person ever, or

brand you knew and loved, that it wouldn’t

to go. Often, the companies would have

we wouldn’t be in this business. To them,

meet your expectations. That’s how strongly

several faces, looks, styles and atmospheres.

ours is one of the strongest brands in

color is linked to identity and brand. You

Clients would invest in a new logo design,

existence. Companies invest thousands, even

can’t build a strong brand on a weak identity.

then a year later, abandon it for a totally

millions every year to capture that kind of

new look. By the time such clients sought us

client loyalty toward their brand.

out, they’d made just about every mistake you can make concerning their identity. An identity starts with a logo—kind of like how your face is the focal point of your

If you walked into a grocery store and saw

Every decision a photographer makes about his business affects his brand and how

Marketing is figuring out how to get

people feel about that brand. If you’re trying

more people to fall in love with your brand.

to build an upscale, boutique business, don’t

We can take a lesson from mega-companies that underestimated the power of their brand.

place a promotional display in a thrift store. If you’re building a high-fashion-type business, ditch the wall displays from the ’80s. If you want people to see you as a high-

client, we’d always begin with an analysis of the firm’s identity. We needed to know where the business had been before we could get them where they wanted to go. With every new


quality business, don’t hand them your prices on a black-and-white printout. It’s easy to forget how every single decision you make can change how people feel about your company. Remember the first client who loves you and thinks you walk on water. Make a commitment to your identity and stay true to your brand. I Sarah Petty’s studio is in Ballwin, Mo.

PROFIT CENTER

C H A R L E S J . L E W I S , M . P H O T O G .C R .

You can learn to give the people what they want.

them to do. They are seeking someone they can trust, someone to lead them, someone

How are your sales skills?

to help them do the right things. They pick up on subtle cues that tell them what’s expected of them. Give clients every indica-

No matter how creative you are, no matter what

matter of finding out what people what and

tion that you honestly expect them to do

your style is, if you can’t sell it, you’ll starve.

helping them to get it, obviously the first

what you’re recommending. Exude confi-

skill to learn is what questions will help you

dence, not arrogance.

I worked myself to death keeping my prices low, because I didn’t know how to

discover what prospects really want. For

sell. And I almost lost my family because I

example: If you don’t mind my asking,

expect the other party to invest in your

was never home.

what’s most important to you about your

photography. Never, ever say “would,” as in

photographs? Why are you seeking portrait

“this would be the perfect … .” Instead, say,

start working on dramatically improving your

photography at this time in your life? Who

“This is the perfect … .”

sales skills. First, let’s be clear about what selling

are you thinking of having photographed?

is not: pressuring, trickery, manipulation, a

Will the portrait be a gift for someone?

I don’t want this to happen to you, so let’s

bad thing. Now what selling is: finding out

• The Listen Law: The more you listen

• Transmit subtle messages that say you

Always sound enthusiastic about your work and what you can do for the client. Show the love you have for photography.

what people want, then helping them to get it.

the more you sell. Ask a question, then

Show that you are sold on yourself, and they

Selling is a skill you can learn. Practice

shut up and listen to the answer. Ask,

will be, too. I

listen, ask, listen.

For more on the business of photography, visit www.cjlewis.com.

these key points: • Questions are the answer. If selling is a


• People want to do what you expect

Images by Michael Ayers and Patrick Rice

Protect and present your client’s memories with the best press printed album in the industry today.

Your Photos. Your Life.™

What sets Eclipse Digital Offset Albums above the competition? Diamond Luster™ encapsulated pages Matte or glossy tear resistant pages Unique durable binding Guaranteed to last! Beautiful cover material choices including New Patent Leather New Square layouts now available Fast drag-and-drop design software or use your own (download free trial at www. gpalbums.com/downloadForms.htm)

1-800-888-1934 www.gpalbums.com

Want to DOUBLE or TRIPLE your sales and net income?

STUDIO MANAGEMENT SERVICES’ (SMS) CLIENT STUDIOS HAVE EXPERIENCED THAT KIND OF SUCCESS. Attend one of the 2- or 3-day SMS workshops and walk away with business methods you need to pave the same path to success: Q Q

PRICING FOR PROFIT MANAGERIAL ACCOUNTING

Q Q

SALES TECHNIQUES BRANDING

AND MUCH MORE…all from some of the best-known instructors in this business (Ann Monteith, Mary Fisk-Taylor, Lori Nordstrom, Jennifer Roggi, & Julia Woods) CHOOSE THE CLASS THAT FITS YOUR NEEDS: Q

August 4-6 (3-Day Business Workshop with one-on-one consultation) $949

PPA members receive two merits for attending

Q

n

November 10-12 (3-Day Business Workshop with one-on-one consultation) $949

Visit www.ppa.com for more information

It could be the SINGLE MOST IMPORTANT BUSINESS DECISION you make this year. Classes fill up fast…Register today...800.786.6277 Questions? Call Beth Moore at 888.851.0405 Professional Photographers of America | www.ppa.com

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Top quality helps Mike Colón service a high-end clientele What do you absolutely depend on? My partnership with Pictage. Pictage not only keeps my clients satisfied with timely fulfillment, they also free up my time to do what I love most, shoot! What’s the best equipment investment you’ve ever made? My Epson printers. I have the Stylus Pro 7800, 4800 and 3800, and they are absolutely amazing. The color and quality are unbelievable. The advanced black-andwhite mode gives me the creative control to keep my prints completely neutral or to tone them with a touch of warmth. Little thing, big difference ... Lexar Professional 300X UDMA CompactFlash cards—so fast on capture and transfer. Has a piece of equipment ever changed the way you approach photography? The Nikon D3 camera. I’m using less and less flash and looking for a nice quality in available light, no matter how dim it may be. When I walk into a room now, my eyes are open to all possibilities because I can capture detail at ISO 6400. The camera is simply light-years ahead of its time. What’s the one piece of gear they’d have to pry from your cold, dead fingers? My baby, the 200mm Nikkor f/2 AF-S VR lens. taken with IMAGE BY MIKE COLÓN WWW.MIKECOLÓN.COM


THE GOODS: PRO REVIEW

Setup is aggravating, but ColorMunki is an affordable color management solution with advanced options for pros. BY RON EGGERS

Ready or not? X-RITE COLORMUNKI The ColorMunki professional color manage-

do have to install the ColorMunki software

make the process easier. Though

ment system from X-Rite comes in two

via Internet connection, which could pose a

ColorMunki is meant to simplify color

versions: the ColorMunki Photo and

problem for photographers who isolate their

management, there are only 39 lines of instruc-

ColorMunki Design. Both include a versatile

imaging systems from online activities to

tions in English in the 38-page quick start

spectrophotometer for measuring multiple

protect them. My first two attempts to

guide. The documentation for the unit is

color sources, including ambient and

download the software failed, and the

poorly structured and confusing. The reviewer’s

projected light, monitors, charts and targets,

installation bombed. On the third try, it took

guide has more information, but it’s

and spot color. The only difference between

just over 29 minutes to download the

generally not available for consumers.

the two versions is the software. With

updated software in a zip file format with

ColorMunki Photo and its versatile color

high-speed DSL. ColorMunki should come

on the ColorMunki, and says to rotate the

measurement capabilities, you can control

with usable software on a CD, and the

dial on the measuring device to access the

color through the entire imaging process.

download should be faster. Even after the

desired mode. But you have to read ahead to

While it’s a good idea to install the latest software available online for new products, you shouldn’t be forced to download it for your initial installation. Unfortunately, you All images ©Ron Eggers


The overview section names the controls

installation, I had to reboot the system several times before it stabilized. Color management is a complex topic, and it helps to have a thorough guide to

When first connected, the spectrophotometer has to be calibrated (left). The opening screen presents five options for color managing systems.


The first test chart has to be printed out and scanned back into the system. If the scan of each row is successful, an orange border appears, if not, a red border (above left) indicates you'll have to try again. The Photo Color Picker (right) makes it possible to extract colors from images for custom color palettes, one of ColorMunki's more advanced features.

find out what measuring modes are

though the computer recognized the

available. The spectrophotometer’s mea-

hardware during activation, the software

tion several times when I picked it up or

surement modes—Display, Print and Spot,

read “Device Status: Disconnected.” You

moved it. After I calibrated the unit,

Projector and Ambient—are set with a dial

have to accept the installation wizard’s

several times I got screen messages saying

on the side of the device. Only later do the

prompt to install the software from a local

that the ColorMunki measurement dial

instructions say that you have to calibrate

source before it will recognize the unit—

needed to be switched, and then that the

the unit before starting; there’s a separate

that’s counter-intuitive because the software

unit needed to be calibrated. Maybe that

calibration measurement mode for that.

is already installed.

was due to the loose connection on the

Finally arriving at the starting point of

mini-USB plug of the unit.

The instructions are also a little confusing

The ColorMunki lost the USB connec-

about how to take measurements. For spot

profiling the system, a software wizard

measurement, the instructions say to measure

walks you through the process. To begin,

the screen, the sand-filled straps attached

the color of a single patch, but further on,

select Match My Printer to My Display to

to the suspension case are supposed to

the guide refers to measuring patches of the

create a profile for your printer and monitor

hold it in place. It didn’t work. Even

test chart. In fact, you have to print test

for screen-to-print color matching.

weighted with a small book, the straps let

When using the spectrophotometer on

charts before doing measurements, which

The software supports multiple-monitor

isn’t covered in the quick start guide at all.

profiling for LCD, laptop and projector screens.

to make the ColorMunki stay in position,

It automatically senses all displays in the

flat against the screen.

You also have to register online to

the unit slip down. It took a thick almanac

activate the software and hardware. Then X-

system. Pick the easy installation process if

Spectrophotometer positioned, the

Rite e-mails you the Pantone Matching

your experience with color management is

screen displayed a series of colors, which

System (PMS) digital color libraries for solid

limited. The advanced menu includes options

took just a minute or two. In my first

coated, uncoated and matte stock for color

for optimizing the brightness and contrast

attempt, a screen message said an error had

selection and palette creation.

of the display, optimizing the luminance

occurred during the measurement, and to

level of the display based on current

try again. This time I took the unit out of its

via USB connection. You can use it on up to

ambient light conditions and adjusting the

case and pressed it against the screen. That

three unique computer systems. Even

target white point for a specific monitor.

worked better, and the monitor profile was

The ColorMunki needs to be activated



accomplished. The ColorMunki can also profile

first try. Saving the profile takes about 3

extract colors from images for detailed

projectors for accurate projection display.

minutes. You must generate an individual

custom color palettes, organize those

profile for each paper and printer

custom color palettes, and capture spectral

combination you’ll be using.

color from the surface of any real-world

To begin printer profiling, you create a new profile or modify an existing one. Pick the printer from the menu of the printers in

The final step in the process is the

object. You can also drag and drop colors to

your system, enter the paper type for your

AppSet module, which enables you to

build palettes. For easy creative control, you

profile, and configure the printer for the

automatically add profiles to a default list

can add new colors to the palette of other

output and paper type. Now you can print a

and configure installed imaging applications

software packages, including QuarkXPress

test chart using the software.

to use those profiles.

and Adobe Photoshop, Illustrator, and

Allow the print to dry, then scan the test

The results were good—not quite perfect,

InDesign. ColorPicker can also display the

chart with the spectrophotometer. It takes a

but good. Initially, the printed image was a

association between related colors, which

little practice. There are five rows of color

little more saturated and darker than the

the software categorizes as Color Harmony,

patches, each with numbered arrows to

soft proof on the screen. I decided to try the

Color Variations and Similarities.

indicate the direction of the scan. The color

option to optimize the printer profiles. To do

chart also appears on the screen, with the

this, you load your print image into the pro-

ambient lighting conditions into effect. The

first row highlighted in yellow. If the scan is

gram, which creates a unique color chart for

software can also display which colors are

successful, the highlight moves to the next

you to scan in. Resave the profile, and then

PrintSafe and which aren’t based on specific

row. If it isn’t, the highlight changes to red

make a new print with the optimized profile.

printer profiles.

and you have to scan again. I had to scan

The new print was noticeably closer to the

the first row a dozen times or more, but by

soft proof. As with all color management, it

make color management simpler and

the fifth column, scanning was successful

takes some tweaking to optimize the process.

affordable at $499. It’s a sophisticated piece

after two or three attempts.

The DigitalPouch applet makes it possible

The ColorMunki module can take

The ColorMunki has the potential to

of equipment that does a lot, at a more

Repeat the process with a second test

to share images with embedded profiles and

affordable price than packages with similar

chart of muted patches that have been color

checks for correct viewing conditions on the

capabilities. Hopefully, X-Rite will work out

corrected for the system. By now I had the

receiving end. Another handy option is the

the installation, documentation and

hang of scanning and was successful on the

Photo ColorPicker, which does things like

software hang-ups. I

It's possible to optimize paper profiles to achieve more accurate results. Load the image you want to print into the program (left) and it generates a custom color chart (right). Print the chart and scan it back into the computer for closed-loop calibration.



Wacom combines graphic tablet function with display technology, to give artists a whole new way to explore their creativity. BY KAREN SPERLING

Dramatic display WACOM CINTIQ 20WSX

I have been using Wacom tablets since 1991,

In Painter, I switched the cursor profile in

when I demo’d the first version of Painter in

Preferences > General to Single Pixel, which

on the Cintiq while using your stylus and

the Wacom booth at Macworld in Boston. I’ve

virtually hides the cursor so it won’t be a distrac-

never have to reach for your keyboard.

always used the 6x8 tablet in its various incarna-

tion. Photoshop doesn’t have a similar option,

There’s a strip in the back that you touch to

tions, up to the latest version, Intuos 3.

so I set the Painting Cursors on Brush Size in

zoom in and out of the image. If you prefer,

Wacom tablets come in two basic varieties,

the Cursors preferences, which works pretty

you can easily program the strip to make

Intuos and Cintiq. With Intuos devices, you

well for me, though I prefer the hidden cursor.

your brush larger or smaller.

paint on a tablet with a special pen as the

The Cintiq 20WSX, like the Intuos 3,

like command/control, so you press buttons

I use the pen on the screen for painting,

information appears on your monitor. With

has buttons that you can customize to act as

and the mouse for accessing menus and

Cintiq devices, the tablet is the display, and

frequently used keys, key combinations and

selecting tools in the toolbox. Some people

you paint directly on it with the pen.

tools. The default settings work just great

use two monitors, using the Cintiq as the

for me. They’re set up to correspond to keys

painting area and the computer monitor to

I’ve always been happy with my Intuos tablets, and when I tested a Cintiq, I was in

hold palettes. I’m using the Cintiq for

for a surprise. I tested the Wacom Cintiq

everything, but I may reconsider when I’m

20WSX, which came with easy-to-follow

accustomed to using it.

directions, and I was up and running in no

When I’m not in Painter or Photoshop, I

time. I absolutely love it.

use the Cintiq in its stand as a monitor and

I encountered only one glitch, and it was

work with the mouse. The stand tilts to

small and temporary. The Cintiq 20WSX

whatever working angle you find com-

monitor’s native resolution is WSXGA

fortable, including nearly flat so you can rest

1,680x1,050, but when I set it up with my

your hand on the Cintiq as you paint.

MacPro, it looked blurry at resolutions

I had some trouble finding a suitable

higher than 1,360x768. Wacom tech

angle at first because my table was too high.

support, which was readily available and

I tried raising my chair, but it wasn’t com-

helpful, advised me to simply flick a switch

fortable. My solution was to remove the

on the back from DVI to VGA; that

Cintiq from its stand and work with it on

remedied the problem.

my lap, which is how I’ve always used my

After loading the software and following

6x8 Intuos tablets. At 16.3 pounds, though,

a simple calibration process to align the pen

it’s a little heavy for prolonged use this way;

with the cursor, I was painting away, delighted to see the cursor keeping up with the pen without lag time.


The buttons on the Cintiq 20WSX, like those on the Intuos tablets, are programmable to your preferences and enable quick access to functions that typically require a keyboard.

eventually I’ll get a lower table. Overall, painting with the Cintiq feels more precise and creative than with the

Intuos tablet. For instance, in Photoshop I frequently use the magnetic lasso to select figures to place into backgrounds, and selecting right on the screen is quicker, and

The bottom line is, painting on the Cintiq is great fun.

it gives me better results. I’m surprised how much more creative the painting feels when I do it right on the

inch monitor, plus the added benefit of

Cintiq is that you’ll never leave your studio

screen. I suppose that even if you’re used to

being able to paint directly on screen, so I

because you’ll enjoy painting so much.

painting on the tablet, there will be a slight

think the cost is reasonable. By easing some

disconnect when you’re painting on the

tasks and boosting the user’s creativity, it

tablet but the results are appearing on the

should pay for itself after one or two

screen. Maybe the Cintiq feels more creative

commissioned portraits.

because your brainpower is going into your

If you don’t have a Wacom tablet at all, I

painting instead of processing the gap

highly recommend getting one, especially if

between tablet and screen.

you do any painting or photo retouching in

The bottom line is, painting on the Cintiq is great fun.

Photoshop or Painter. If you already have an Intuos-type tablet, it’s worth upgrading to the

You might see online complaints about

Cintiq, especially if you’re working for clients.

the $1,999 price tag, but you’re getting a 20-

The only downside to using the Wacom

For more information, visit www.wacom.com/cintiq/20WSX.cfm. I Artist, author and photographer Karen Sperling is the original Corel Painter expert. The next Artistry Painting for Photographers Retreat, Artistry GARTEL Marketing Seminar and Artistry Creative Photoshop Seminar are in Malibu, Calif., August 25-September 11. Sperling's latest book, "Painting for Photographers," shows how to turn photos into paintings using Corel Painter and Adobe Photoshop. It’s available for preorder at www.artistrymag.com.


THE GOODS

SOLUTIONS BY ANDREW RODNEY

The histogram has long been touted as the guide to your exposure, but sometimes it misleads, or outright lies. Which histogram can you trust, and what does it really mean?

The case of the lying histogram

Photoshop histogram might tell. If you open a high-bit (16-bit) image, the histogram will show only 256 possible steps from black to white, when in fact, the image could contain as many as 65,536 tones. Since the histogram builds a single line for each tone,

All images © Andrew Rodney

one with a line for each of those tones would be too huge to fit on many displays. So, what you see in a histogram for 16-bit data represents just a fraction of the actual color encoding of the high-bit data. The Adobe Camera Raw histogram is more useful in terms of visible feedback because it also provides information about color and color clipping. It plots color information in the vertical scale, in addition to the white area, which Exhibit 1: Left, Photoshop’s histogram plots a smooth black-to-white gradient. Right, the same document is posterized into 21 steps. Notice that there are now 21 lines plotted in the resulting histogram, one for each tone.

represents all three colors in combination. This histogram is especially useful to evaluate the gamut of a color space. Exhibit 3 is the histogram plotting a GretagMacbeth

As a longtime Photoshop user, I recall when

white areas. White lines in the histogram

ColorChecker with the current (default)

photographers paid no attention to the

indicate data loss, which you can generally

rendering settings, using sRGB as the final

histogram. The pendulum has swung. Now

avoid by working in more than 8-bits per

encoding color space. On the far left is a red

users tend to place too much emphasis on

color, or what Photoshop calls 16-bit data.

spike at the end, meaning somewhere in the

this graphical representation of image data,

The histogram is most useful for viewing

image, the color red is clipping saturation.

which appears in raw converters and digital

tonal clipping: blacks that are blocked up,

Based on the current color space (sRGB),

camera backs. Did you know that a

whites that are blown out. If you see a line

there are reds that are out of gamut. As soon

histogram can lie to you? How can you tell?

butted up on either end of a histogram, it

Let’s begin with some background informa-

means that there was initially data on the

tion in Photoshop. Exhibit 1 shows two

other side that was clipped to this level. Some

simple black-to-white gradients overlaid

histograms can show saturation clipping,

with their histogram. In the first histogram

indicating there may be colors, rather than

of an 8-bit RGB image, the data runs horizon-

tones, that were clipped to either 0 or 255.

tally from end to end, representing data

The vertical axis plots the relative number

from 0 (black) to 255 (white). There’s a

of pixels in an image at that point in the

single line in the horizontal axis for each

histogram, and isn’t really useful; the

represented tone. In the second histogram, I

horizontal spread might be. The one rule of

used Image > Adjustments > Posterize and

histograms is there are no rules. A

selected a value of 21, reducing the 256

histogram of an image with black cat on a

tones to 21 levels, which are clearly shown.

pile of coal might show no highlights, with

The data between these levels—the data that

all the data shoved to one side, much like an

made a smooth gradation in the first example

image of a white dog on snow (Exhibit 2).

—is missing; the data loss is represented as

This brings us to a little white lie the

52• www.ppmag.com

Exhibit 2: A properly exposed high-key image of a white dog on snow shows why there’s no reason to work toward a histogram that covers the entire tonal scale.

as I change the workflow option to ProPhoto RGB, a larger color space, the clipping is gone. As for the colors in this histogram, red, green and blue represent the actual colors. The complementary colors, cyan, magenta, and yellow, represent a combination of two of the RGB primary colors in the additive color system. An easy way to figure this out is to think of the complement to the color in the histogram. For example, yellow’s complement is blue, which means there’s no blue represented here, so in this histogram, yellow represents red plus green. Cyan would be green plus blue (or not-red, if that

Exhibit 3: The Camera Raw histogram shows saturation clipping of the GretagMacbeth red patch in the sRGB color space, but that disappears when I use a larger color space like ProPhoto RGB, which can contain that saturated red.


THE GOODS

be the case. The encoding is simply spread out differently than that of gamma-encoded images. To illustrate the lie of the on-camera histogram, I shot a RAW + JPEG capture on my Canon EOS 5D, but exposed it based on placing the most data in the linear-encoded raw format, not the gamma-adjusted camera JPEG. The JPEG appears to be overexposed by at least one stop, and the histogram shows a spike indicating clipping in the highlights. But as you can see in Exhibit 4, the raw data isn’t overexposed after I simply move the exposure, recovery and fill light sliders in ACR to “normalize” the rendering. The camera histogram based on the JPEG indicates highlight clipping, but in fact, there’s plenty of data in the raw image, and far less noise in the shadow—the photo is properly exposed for raw and not based on the exposure on the camera meter or the misleading camera histogram. This is why, when shooting raw, you want to expose to the right*, that is, expose for the highlights just shy of actually clipping the linear raw data. If you shoot raw and not JPEG, the incamera histogram is virtually worthless. It Exhibit 4: Compare the same exposure used for a RAW + JPEG capture and the resulting histograms. Notice all the fine highlight detail in the dog’s hind leg in the raw image. The highlight clipping displayed in the camera’s JPEG-based histogram is simply wrong!

does not reflect the actual raw data. Perhaps someday camera manufacturers will show us how the linear-encoded raw histogram looks, as a better visual guide to exposure.

makes it easier to understand).

Did you know that the histogram you see

Until then, the histogram is based solely on

Note that the histogram in Lightroom

there isn’t based on the raw data, but on the

the JPEG, and that data is vastly different

operates on the same premise, but represents

in-camera JPEG, which you might not even

from the raw data. I

another white lie. Lightroom’s histogram is not

save? Raw data is a high-bit depth, linear

based on the underlying color space used to

encoding. Half of all the data is represented

process the image, nor is it based on the color

in the first stop of highlight data, half in the

space you’ll eventually export, as we saw in

next stop, and so on (see www.ppmag.com/

Adobe Camera Raw. Its histogram is based

reviews/200612_rodneycm.pdf).

on a color space you never have access to called

A linear-encoded histogram would look

Melissa RGB (see www.ppmag.com/reviews/

quite odd to most photographers, what with

200701_rodneycm.pdf).

most of the data shoved to one side. That would

If you’re shooting raw, the biggest lie in histogram history is on your DSLR display.


lead a photographer to think that the image was severely underexposed, but that wouldn’t

READ MORE ABOUT IT Melissa RGB: www.ppmag.com/reviews/200701_rodneycm.pdf Linear and gamma encoding: www.ppmag.com/reviews/200612_rodneycm.pdf “Expose (to the) Right,” by Michael Reichmann, publisher The Luminous Landscape: www.luminous-landscape.com/tutorials/ expose-right.shtml

THE GOODS: TUTORIAL Painting ©Karen Sperling

Corel Painter isn’t the only option for painting. Adobe Photoshop has all the tools you need to brandish a digital brush. BY KAREN SPERLING

Photoshop paints

©Joan T. Sherwood

PAINTING PORTRAITS IN PHOTOSHOP Adobe Photoshop has always been called “the digital darkroom,” and Corel Painter has always been likened to an artist’s atelier. Nowadays, the difference between the two is less distinct. Corel has incorporated more tools for photographers in Painter, and Adobe has enhanced

Final image and original

the functionality of Photoshop’s paintbrushes. I’ve used Painter since its debut 17 years ago, and was interested in how Photoshop’s brushes have developed over the years. While you can adjust the controls in both programs to get almost any effect you want, I find both do best with only minimal software tweaking. I find it’s easier to paint subtley textured strokes and blends in Painter, and with Photoshop, getting a bolder, perhaps slicker result is more direct. To create a painting, I opened a photo in Photoshop, I chose Image > Duplicate, and named and saved the duplicate (File > Save As), then closed the original to keep it intact. Interesting areas of contrast in the photo made it a good candidate for a painting. The lighting was challenging; no matter how I corrected the image, the eyes were different colors, and the left one never had enough visible information. I decided to show one eye slightly darker, and make a guess about the information to add in the left eye. I wanted to give the painting a color scheme to make it look more painterly than it would have with the original colors. I chose adjacent

Figure 1

colors on the color wheel—red, red-orange, orange, yellow-orange and yellow. When you choose colors, you’re also choosing tones of

paint. To better see what areas of light and dark to paint, I lightened

those colors, so here the color scheme includes browns and creams.

the photo using Image > Adjustments > Levels (Figure 2).

Painting is 90 percent thought, 10 percent execution. Getting

I selected the figure with the Magnetic Lasso tool, saved the

better at painting isn’t as much a matter of gaining physical

selection (Select > Save Selection), and made the selected figure a

dexterity with a stylus, as making better decisions about what to

layer (cmd/ctrl + J).


With the layer selected, I chose Filter > Blur > Smart Blur. In the Smart Blur dialog, I chose a radius of 25.6 and a threshold of 41.9, then clicked OK. Blur takes away some detail, making the image more painterly. Next, I painted the subject’s right eye with the Chalk selection in the Brushes palette. To see the brush names (Figure 3), click the triangle options menu in the Brushes palette and choose Text Only. I painted at low opacity, building up colors by painting coat upon coat. Unlike Painter, where you use blending tools to create color transitions, in Photoshop, you paint layers of transparent colors to create blends. I painted the left eye in the same way, using darker tones. I switched to using Airbrush Soft Round and painted the eyes and

Figure 2

the rest of the face where I saw lights and darks in the photo. I adjusted the opacity and Master Diameter sliders to vary the transparency and size of the brushstrokes. As the colors started to obliterate the face, I clicked off the eye icon next to the figure layer in the Layers palette to see the lights and darks in the photo, then clicked the eye on to show the layer, and painted again. At other times, to see the underlying photo as I painted, I turned down the layer opacity in the Layers palette and painted with some of the photo showing through, then raised the opacity to see the results. I went through many interim steps to get the tones right, based on the tones in the photo. I was trying to make the woman’s face darker on the left side, but not as dark as in the photo. I painted the catchlights in the eyes with the chalk. Sometimes the catchlights in the photo aren’t where you’d like them to be or don’t appear at all. The general rule about adding catchlights is that they should be pointing in the direction of the light source, and

Figure 3

cover part of both the iris and pupil. I painted with Airbrush Soft Round to lighten and add dimension to the whites of the eyes. The idea is to paint a shadow along the top of the eye, as though the lid is casting a shadow there. For the lips, I followed the general rule of thumb, darkening the upper lip and lightening the lower lip, as if there’s light hitting the lower lip and the upper lip is in shadow (Figure 4). Sometimes I picked up existing colors in the image (opt/alt-click on the desired color) to paint with, others I chose colors from the color square in the toolbox. You can choose colors from the Swatches palette as well. Using the photo as my guide, I painted in lights, midtones and shadows. Now I wanted to give the hair colors from my color scheme. I selected the hair with the lasso and pressed cmd/ctrl + J to make it a layer. I clicked the lock transparent pixels icon next to the word Lock in the Layers palette so that

Figure 4


THE GOODS: TUTORIAL

the next step would be applied only to the hair selection. I selected a light color in the foreground color square and a dark color in the background square in the toolbox, and chose the gradient tool set to the Foreground to Background preset in a linear gradient. I clicked a beginning and ending point in the layer to create a gradient in the hair. I chose Overlay as the blending mode in the Layers palette, and now the hair had a colorful tone with highlights in my color scheme. In the image, you see how the portrait looked with the Overlay (left) and Normal blending modes selected (Figure 5). I painted some strands throughout the hair with the chalk. Then I created a layer mask (Layer > Layer Mask > Reveal All) and painted black with a soft round brush to make the layer conform to

Figure 5

the hair in the main image, then I chose Layer > Layer Mask > Apply. Next, I lightened the background. The subject, or focal point, is the area of greatest contrast between light and dark. To emphasize the subject, I wanted to create more contrast between her and the background. I selected the background and made it into a layer, then lightened it as before. I added color to the background and the woman’s top in the same way I added color to the hair: I made each into a layer and filled with a gradient (Figure 6). For the top, I used Color Burn and for the background I used Hue as the blending mode. I also darkened the side of the face by creating a layer, filling it with brown, and setting the blending mode to Luminosity. I removed parts of the brown layer by painting them away in a layer mask. I chose Color as the background layer’s blending mode to give it a warmer hue. I painted in the background layer with Laurence Gartel’s Collection of Photoshop Brushes Volume 1: Automobiles (available

Figure 6

at www.artistrymag.com). I chose various Master Diameter settings and colors and a low opacity setting and painted with several of the brushes, creating a textured background (Figure 7). Next, I chose Layer > Flatten Image, and with the Spatter brush at a low opacity, fixed up edges in the hair and figure, choosing colors from the image (opt/alt-click). I built up the effect by repeatedly painting one color on top of another. I painted in the eyes and eyebrows with the burn tool to emphasize them. Finally, I cropped the image, eliminating the door to the figure’s left. This portrait has what I’d call a slick, bold look. It was easily accomplished in Photoshop with a minimal amount of setting adjustments. I Karen Sperling is the original Painter expert. Her latest book, “Painting for Photographers,” is available for preorder. For details visit www.artistrymag.com.


Figure 7

The experiment: We sent a young family to three different photographers to have portraits made of their 10-month-old daughter, and asked the parents to tell us about their experiences with each. PORTRAITS

By Jeff Kent

3 photographers and a baby Baby portraits, three ways—plus honest feedback from Mom

T

he staple of many independent portrait studios around the

Our subject was a gem. Lyla, the daughter

Photography in Pensacola, Fla., whose

of Chris and Karisa Gilmer, is a blond-haired,

owner, Trista Blouin, schedules sessions in

country, baby portraits vary dramatically

blue-eyed beauty, whom one photographer nick-

Atlanta once a month. Each studio had a

in style, from formal studio settings to

named Little Miss Sunshine. At 10 months old,

style all its own, and all provided a unique

candid playground shots. To view a cross

she was bright-eyed, inquisitive and playful.

experience that favorably impressed the

section of those styles, as well as the tech-

(Karisa also happens to be Professional Photog-

Gilmers. For the full scoop, read on.

niques and business plans behind them,

rapher’s manager of publications and sales.)

GREY DARRAH

this spring we asked three studios to photo-

The Gilmers live in suburban Atlanta, so

graph the same child over the course of several

we offered them their pick of several studios

The most experienced photographer of our

weeks. The photographers were asked to follow

in the area. Karisa, our main contact, selected

group, Grey Darrah has been a professional

their usual procedures, from the pre-session

Darrah Photo, a classic portrait studio on

photographer for more than 20 years. He

consultation to the sales session. The parents

the town square of nearby Cartersville; Julia

operated a studio in California and worked in

of our subject would note their experience

Greer Photography, a home-based studio in

commercial photography before opening a por-

with each studio, and report back to us.

New Hope; and Look Who Just Blouin

trait studio in Cartersville, Ga. Working mostly

©Grey Darrah of Darrah Photo

©Julia Greer

©Trista Blouin


PORTRAITS they’re not crawling around on the ground.” Darrah would create a single beautiful portrait of Lyla to hang in the Gilmers’ home. He generally prefers deep colors, but in this case he also used some light backgrounds to present more options. THE SESSION. Darrah prefers to use directional lighting to simulate window light. He placed the main light at an angle of about 90 degrees to the subject, and angled a fill light at about 45 degrees. He uses Profoto lights modified by Larson Soff Boxes. He shoots with a Canon EOS-1Ds Mark II camera with a 70-200mm Canon f/2.8 lens. Sessions usually last 60 to 90 minutes, longer when necessary, and shorter with infants.

THE POST-SESSION POSTPRODUCTION. Darrah typically shoots 300 to 350 images, then edits down to 20 to 50 gems, which he optimizes and retouches in Photoshop before the in-studio projection session. Lyla’s images needed only mild retouching, but did require color correction and background enhancements. VIEWING. The client’s next trip to Darrah ©Grey Darrah of Darrah Photo

Above, Karisa’s top choice. Right, (p. 69) Grey Darrah’s favorite.

in his well-appointed studio, Darrah caters to

Photo is for the viewing session. Darrah never does printed proofs, and rarely posts images family history, we stress, so let’s approach

online. “I don’t believe in letting a lot of people

the session with that in mind.” Kaysi

see them and offer their opinions of what’s

consulted with Karisa by phone.

best,” he says. “Art is a personal thing.”

classic portrait tastes, and augments his straight

Darrah projects the images at 40x50

photographic line with oil-painted portraits.

THE SESSION

inches onto the wall over the sofa opposite

WWW.DARRAHPHOTO.COM

LOCATION. The Darrah Photo studio,

the clients to show how the portrait will look

where Darrah shoots roughly 90 percent of his

in a home setting. Using PrismProjector

THE PRE-SESSION

portraits. The rest are done in the client’s home.

software, he front loads the slideshow with

Darrah prefers clients to come in for the

ARTISTIC APPROACH. “Ten months

his favorites, then scrolls through all the

pre-session consultation, but if necessary, he

old happens to be my favorite age to pho-

images. After the slideshow, he eliminates

or his wife, Kaysi, will cover the important

tograph babies,” says Darrah. “Usually they

about half of them based on feedback from

details in a 15- to 20-minute phone call.

can stand up when they hold onto some-

the client. He follows up by projecting

“We say we don’t want you to come here for

thing, but they can’t walk away. You have

multiple images for comparison, further

your annual 8x10, we want to create

more control over them. Standing up, they

narrowing the selection by 50 to 60 percent.

something you can show your grandchildren

appear for the first time as tall creatures.

SALES. Darrah helps clients decide on the

in 60 years,” says Darrah. “This is your

They have a new kind of elegance when

size of the final portrait, then displays the picks


that would be suitable at those dimensions.

and not worry about choosing anything yet.

making it easier to pick facial expressions.

Most everyone makes a purchase decision at

The room was dimly lit so the images would

Out of the original 30 or 40, we narrowed it

this time. For sessions with a baby, such as

stand out, and the slideshow was set to soft

down to 14 images. Grey encouraged us to

Lyla’s, Darrah promotes a four-session baby

music. My baby girl looked so sweet I cried.

make our decision based on how the images

plan, which brings in about $700 per session. Such economic plans suit young families, and serve as an entrée to Darrah Photo. Clients can also schedule in-depth child or family portrait sessions, which yield average sales of $4,000 to $7,000.

MOM’S TAKE I set up the appointment with Kaysi in a brief phone call. I didn’t have the stress of deciding on clothing for Lyla, because they had a selection of nice Strasburg dresses. Kaysi suggested we bring a special heirloom

We started choosing the images we really

‘‘ ’’ loved. Grey displayed similar ones together,

Located in a small town square, Darrah Photo is an enormous, elegant studio with tall ceilings and multiple sets. Grey and Kaysi were very laid back. I felt welcome in their studio and immediately felt the pride they take in this family-run business. Grey put together the set for each group of portraits, and talked a little about his custom-made backdrops. Kaysi entertained Lyla and got her to smile and look where Grey wanted her to. Their experience working as a team was obvious. At 10 months, Lyla

swayed by the opinions of family members.

We want to create something you can show your grandchildren in 60 years. This is your family history.

—GREY DARRAH

like a silver rattle, or some sentimental item. This was our only in-studio experience.

struck Chris and me, and to try not to be

was in a stage of separation anxiety and wanted me nearby. The Darrahs positioned me close to her to make her feel comfortable and to help her stay balanced as she stood on a chair. They expressed their confidence that the session was going well, which reassured me when Lyla was being a little fussy. We scheduled the presentation for two weeks later. The Darrahs have a special room set up like a living room, with a nice leather sofa. Grey explained that we’d go through a slideshow of the images he’d selected. He asked me to relax and enjoy viewing them,

©Grey Darrah of Darrah Photo

PORTRAITS JULIA GREER

THE PRE-SESSION

Julia Greer walked away from a career in

“I screen my clients in an informal way,” says

Lyla’s session, she asked what elements drew

marketing four years ago to open Julia

Greer. “I want them to have a comfortable

Karisa to her style of portraits. Karisa said

Greer Photography. Passionate about

feeling from beginning, and get to know me

she admired Greer’s black-and-white

photography since her teens, Greer saw her

and my style. If we determine it’s a good fit,

images, and other stylistic details. Now

portrait business as a way to revive her

we’ll schedule an in-person or telephone plan-

Greer was ready to move forward.

long-dormant artistic talents and fulfill the

ning session, and the portrait session, too.”

need for progressive photography in the

In the planning meeting, Greer wants to

When Greer spoke with Karisa about

THE SESSION

environs of New Hope, Ga., and to enter

hear the client’s ideas for the portrait. She

LOCATION. “We chose the Gilmers’ home.

the children and family market of metro

walks the client through the entire portrait

Babies are usually happier and more comfort-

Atlanta. Word-of-mouth referrals keep

process, telling her what to expect, and

able at home,” Greer explains. “A home session

her appointment book filled.

sends her off with a packet of info about what

becomes the ultimate customized portrait.”

WWW.JULIAGREERPHOTOGRAPHY.COM

clothing to wear and other preparation basics.

ARTISTIC APPROACH. “My goal in every session is to capture personalities and relationships in an emotional and storytelling

©Julia Greer

way,” says Greer. Intentionally incorporating blur in action shots gives them a dynamic feel. She likes to work in unconventional light and capture shadow effects to portray a certain mood. THE SESSION. “Lyla is Little Miss Sunshine,” says Greer. “We wanted to capture her personality. We spent some time outdoors in the sunshine with the green grass for a background. I also wanted to capture some family interaction, to show how Karisa and Chris adore their baby girl.” Outside, Greer likes shooting at a fairly large aperture to attain shallow depth of field, especially in images focusing on a single child. Inside, she uses all the window light she can. Greer captured a series of images of Lyla in various rooms of the house. In one room, she set up a Nikon SB800 AF Speedlight flash unit on a stand and modified it with a 50x50 Westcott Apollo soft box. She often syncs several flashes together, but for this shoot, she used just

We chose the Gilmers’ home. Babies are usually happier and more comfortable at home. —JULIA GREER

one directional light to mimic window light. Greer shot with a Nikon D3 and a Nikon

Left, Julia Greer’s favorite. Right, (p. 71) Karisa’s top choice.

©Julia Greer

D200, using a 70-200mm Nikkor f/2.8 lens outside and a 35-70mm Nikkor f/2.8 inside. Greer schedules 60 to 90 minutes for a session, and asks clients not to plan anything for immediately after the session. She doesn’t want anyone to feel rushed, and she’s happy to stay for as long as it takes.

THE POST-SESSION PRODUCTION. Just after the session, Greer downloads and backs up the images. She flags the keepers in Adobe Bridge, and later in the week, works on each of them in Photoshop. She wants the printed version to look the same as the image she envisioned during the session. “I do want my clients to see the images as they remember them, just enhanced,” she says. VIEWING. The clients’ first view of the images is an online flash slideshow created with PhotoPulse software. She posts the 30- to 35-image slideshow several days before the viewing appointment to build excitement, and to give clients time to

photo session with a 10-month-old. There were

in the moment—who she is and doing what

identify their favorites.

also links to the Marathon Press site for info

she does every day. The pictures have a

SALES. Clients have already seen the online

on decorating with portraits in your home

modern classic style like something straight

slideshow, so they’re ready to buy when they

and the importance of capturing images of

from an upscale magazine.

come for the projected viewing. Controlling

your children at different stages in their lives.

We went to Julia’s home studio for the

the sales session is important in Greer’s business

Julia suggested we begin at 10 a.m., as

formal presentation. She projected all of the

model. “I don’t want people coming in, look-

mid-morning is when most babies are in

images onto a screen, including a few I

ing at all of these images and saying, ‘We can’t

their best mood. We showed Julia all of the

hadn’t yet seen. We went through a process

decide. Can we go home and think it over?’”

rooms of our house. Julia helped me select

of narrowing down to my favorites—not an

says Greer. “This will be a big purchase

Lyla’s outfits, including a polka-dot dress

easy task. I loved that she sold a session

[typically $1,500 to $2,000], and it’s

she’d never worn—the images of her in that

album with about 20 of our favorite images.

unrealistic to expect someone to make that

dress ended up being some of my favorites!

It’s a good idea because it’s not realistic to

buying decision within an hour at my studio.”

Of the three sessions, Lyla was the most

plaster all of our walls with pictures of Lyla,

comfortable here at home. She played and

and it’s a sad feeling to walk away from all

MOM’S TAKE

acted naturally in the familiar environment.

the other images. The session album allows

From the beginning, Julia was accommo-

Julia gently suggested some staging, but we

you to hold on to every image.

dating and easy to work with. She’s such a

really just played and interacted as a family.

sweet, caring person. You could immediately

I felt Lyla was showing Julia all of the things

ideas for grouping images and showed off

tell she was excited to be doing this.

she likes to do; it was so sweet.

some of her storyboards that would allow

To wrap things up, Julia gave us several

We chose to do a home session and set it

A few weeks later, Julia e-mailed a link to

up over the phone. She e-mailed us a welcome

a slideshow of about 40 images set to music.

the shots I loved (this is something each

kit with tips and info on what to expect in a

The pictures were genuine. She captured Lyla

photographer offered).

me to get a modern product with several of

August 2008 • Professional Photographer • 71 ©David Anderson

PORTRAITS

©Trista Blouin

TRISTA BLOUIN

Florida’s Emerald Coast. She shoots

THE PRE-SESSION

In business since 2003, Look Who Just

exclusively on location, at parks, clients’

“The underlying philosophy of my business

Blouin Photography specializes in child,

homes and on the beach. Once a month,

is to get to know my clients on a personal

family and maternity photography.

Blouin does portrait sessions and sales

level,” says Blouin. “I accomplish that by

Founder Trista Blouin works out of

presentations in Atlanta.

having a conversation with them prior to the

Pensacola, Fla., and covers a wide swath of

WWW.LOOKWHOJUSTBLOUIN.COM

session, at their home or on the phone,

‘‘

depending on our schedules.” Blouin usually e-mails a new client welcome packet in a PDF document. It

The underlying philosophy of my business is to get to know my clients on a personal level.

includes information about clothing and details about their upcoming session. In their initial conversation, Blouin and Karisa agreed that the session should focus on Lyla’s bright blue eyes. Karisa had been drawn to Blouin’s use of vivid color in the images on her Web site. Karisa mentioned how Chris would use a funny voice to make

’’ —TRISTA BLOUIN

Lyla laugh, and Blouin planned a series of black-and-whites built around that interaction.

THE SESSION LOCATION. The Atlanta Botanical Gardens. Everyone wanted to bring in vibrant colors, so they worked in spots with bright flowers and foliage. ARTISTIC APPROACH. Blouin bases her approach on her relationship with the client. After the first “hello,” she constantly interacts with the subject. She wants clients to trust her completely, to relax and reveal their true personality. IN SESSION Blouin says being flexible is especially important when photographing kids under 5. “I allow situations to flow. I don’t want to force things, because even the well-behaved children get tense and the images show it in looking contrived.” If a session starts getting stiff, Blouin suggests taking a break. She offers snacks to the kids, maybe wine to the parents, and

Left, Karisa’s top choice. Right, (p. 73), Trista Blouin’s favorite.

invites everyone to rest and unwind. Blouin wanted to portray Lyla’s sense of wide-eyed wonder. “She’s an observer,” she says. “She was fascinated by all the colors and textures and smells surrounding her in the garden. Knowing that is part of her personality, I wanted to capture it.” Blouin photographed most of the shots with a Fujifilm FinePix S5 Pro with an 85mm Nikkor f/1.4 lens, switching to an 1855mm f/2.8 lens for closeups. Everything was captured solely in natural light. Blouin’s sessions with kids typically last one to two hours. Newborn sessions usually slide into three hours with plenty of breaks.

THE POST-SESSION POSTPRODUCTION. Immediately after the session, Blouin pulls a few of her favorite images, does a quick edit and retouch, and posts them on her blog. Alongside, she shares little anecdotes about things that made an impact on her during the session. Blouin does all proofing and retouching in Photoshop. During seasonal slow times (January through March), it takes about two weeks to prepare the images. In the busy summertime, it might take four to five weeks. VIEWING. Blouin conducts viewingordering sessions at the client’s home. She projects the images onto the wall using ProSelect software.

©Trista Blouin

SALES. Blouin wants clients to feel free to ask her opinion, confident that she’s not going to pressure them to spend more.

pictures of their walls and rooms. She builds

canvas for the playroom, and suggested

“When they ask questions, I will take every-

an image collection and digitally places them

some wall groupings.

thing I have learned about them and give a

in the client’s settings. “When they see that,

recommendation that’s best for them.”

99 percent of the time they buy it,” she says.

Most clients make their decision on the

During the sales session with the Gilmers,

MOM’S TAKE Trista had the most in-depth phone con-

spot, but Blouin does offer the option of online

Blouin went around the house measuring

sultation of the three photographers. She

ordering for distant clients, or those whose

likely display spots and talking about the

asked a lot of questions about Lyla’s

schedules preclude setting a viewing date. In

options. She displayed a few series of

personality and the qualities I wanted to

such cases, she asks clients to e-mail her

images, recommended black-and-white

capture. We talked about Trista’s style and I


PORTRAITS

WINNING OVER THE BABY’S MAMA

‘‘

What really appealed to Lyla’s mom?

Looking back, I was surprised at how much I loved all three photographers’ work, even though they were so different. All three created true works of art that I would happily hang in my home. The most difficult part was narrowing down the images! As a new mom, I was not familiar with baby plans, and wish I had signed up for one before Lyla was 10 months old. I would have added a baby plan package to my baby registry—so much more useful than the bottle warmer I never used. I’m sometimes overwhelmed with the feeling that I need to capture every minute of Lyla’s precious life, because it changes every day. I have hundreds of pictures on my computer, but I have yet to do anything with them besides occasionally printing a 4x6 or e-mailing a few shots to my family. It was an amazing experience to have someone create actual works of art and counsel us on how to display them in our home. We felt some hesitation and nervousness when each of the photographers said we’d play minor roles in the sessions, but those relationship shots are among the ones I love most. All three photographers gave projected presentations. Life is so busy sometimes, but sitting through the presentation and focusing on Lyla’s expressions allowed me to take in some of the qualities that I overlook on a busy day. Those presentations are a perfect way to display the images, as they force you to stop, pay attention, and appreciate the beauty of your child. —Karisa Gilmer


I loved that she sold a session album with about 20 of our favorite images. It’s a good idea because it’s not realistic to plaster all of our walls with pictures of Lyla, and it’s a sad feeling to walk away from all the other images. The session album allows you to hold on to every image.

’’

—KARISA, LYLA’S MOM

identified the images that appealed to me

notice Lyla in awe of something new, and

most on her Web site. I loved the vividness

she’d capture it. Trista was different from

of her color shots. She emphasized how the

the other photographers in that she just

best pictures result from clients relaxing and

wanted us to “be.” She would give a little

being themselves. She told us not to worry

guidance, but most of all we just wandered

that Lyla might get crabby, because the day

the gardens. She did a great job capturing

would be ours without time constraints.

Lyla’s inquisitive nature, and the whole

After we talked, Trista sent an info packet that had amazing suggestions for the

experience was enjoyable.

Within a few days of the shoot, Trista

different types of clothes that would work

sent us a link to her blog with four sneak-

best. The welcome kit had pictures of spring

peek pictures. Later, she came to our house

2008 clothing trends for all members of the

for the presentation and projected the

family. There were suggestions for every

images on our wall. We narrowed down our

look, from trendy to classic, including shoes

selections, then her software allowed us to

and accessories. These suggestions are very

compare them side-by-side. We went into

appealing to a young mom!

the two rooms where we thought the images

We met Trista at the Atlanta Botanical

would look best, and she measured the walls,

Gardens for the session. She helped me choose

suggested sizes, then projected the images at

outfits from those I’d brought. She already

those dimensions into the space. We loved

knew the areas she wanted to visit, but we

that she prepared some image groupings

really just relaxed and walked through the

and brought giclée samples of how the final

different sections, stopping to let Lyla explore.

piece would look. I enjoyed the whole process

Trista’s passion for her work was evident

of her coming to our house, seeing the

from the very beginning. She would see an

images on our wall, and having a customized

area of the gardens that she liked, or she’d

piece designed for our house. I

Triplets, quadruplets and quints—Oh my! In an excerpt from her first book, Sandy Puc’ imparts words of wisdom for dealing with formidable child portrait sessions with grace and ease. PORTRAITS

By Sandy “Sam” Puc’, M.Photog.Cr., CPP, ABI

All images ©Sandy Puc’

I

n the world of children’s portraits, so-called special sessions can be more the norm than single-child sessions. Whether you’re photographing triplets, children with special needs, or a child accompanied by his beloved Welsh Springer Spaniel, rest assured

you can manage the session with aplomb.

GROUP PORTRAITS With a little planning, working with more than one child can be both fun and rewarding. Regardless of the age difference, children really love their siblings and enjoy having fun with them. It’s your job to capture that bond. SISTERS. Little girls are always a delight. So many posing and prop ideas can be used: a tea party, reading a book, playing dress up, or just giggling on the floor. When working with sisters, I try to enlist the older sibling as an assistant. She could be tying a ballet slipper onto her younger sister, or reading her a book. Such images show the girls’ connection, and can be very emotional for the parents to view. Tender moments are exactly how Mom and Dad want to remember their little girls. BROTHERS. Little boys are lots of fun. Their adventurousness and eagerness to play are great tools for creating a portrait. Anything that’s interactive and involves nature, construction, or playing in water will grab their attention for a winning image. I often use the bigger brother as an anchor in the image, capturing him seated and the younger sibling standing. I finish the session

A little adventure Coping with the more challenging children’s sessions


with a little wrestling or splashing in the water. These images can be a hoot to create, and they look great in a framed series. Just

keep everything under control; it takes only seconds for things to get to rough. AGE GAPS. Photographing a 16-yearold with a 3-year-old sibling can pose a challenge in creating a timeless look. The goal is to get the older sibling to look less dominant, the younger less small. TWINS, TRIPLETS, AND MORE. One of my favorite challenges. I know Mom and Dad’s expectations are simply that I get the kids together in the image. By preparing ahead, though, I can provide a wonderful portrait. I have worked with every combination—twins, triplets, quads and quints. Each group brings its own mix of fun. Your best strategy is patience. Understand that things are going to be fast and crazy. Know the poses you’ll suggest and have everything ready to go. INFANTS. Posing multiple infants can be a very rewarding challenge; there’s something magical about them. You must

other starts to cry. Allow ample time for

these sessions just makes me laugh—the

feedings, burping, and diaper changes; they

vision of adults chasing babies left and right

will definitely be a part of the session.

while I try to capture the moment must be a

TODDLERS. This is where you earn your

sight to behold. As you can imagine, the

have patience and allow extra time to ensure

badge of courage. Having multiple toddlers

poses that work best tend to be interactive.

you capture the images the parents expect.

in your studio can be exhausting. Thinking

(I understand the power of the Photoshop

Often, just as you get one infant happy, the

of all the chaos I’ve seen over the years in

head swap, and I know how to use it!)


PORTRAITS

CHILDREN. After the toddler years, I find that multiples tend to be well behaved. I’ve had many quads and quints march into the studio and do just about anything I ask. I guess being raised in a group scenario teaches patience to both the children and the parents. Some children will arrive in matching outfits, others like to show their independence and arrive in an eclectic mix. TEENS. By their teens, multiples are often looking to define their own identities. They might choose different haircuts, attitudes and clothing to show their independence. Capturing these differences is important, but the relationship among them should be apparent as well.

KIDS WITH SPECIAL NEEDS During your career, you’ll probably be asked to photograph children with special needs. These children are loved dearly, and regard-

TIPS ON PHOTOGRAPHING KIDS WITH SPECIAL NEEDS

less of the challenges, your goal is still to create an heirloom portrait the parents will treasure.

ATTENTION DEFICIT DISORDER (ADD).

with a sibling or parent. Props like books,

Parents might mention this condition at the

blocks and small toys might provide a great

what the child’s needs or difficulties might be.

consultation. Children with ADD can be easily

distraction, but be prepared to shoot quickly.

The best source of information is the parents.

distracted. They may be hyperactive or restless

Have your equipment ready and focused so

or unable to focus on anything for very long.

you won’t miss your moment.

To prepare this session, pile up all the interesting

MENTAL RETARDATION OR DOWN

One of the biggest hurdles is understanding

You may feel uncomfortable asking some questions, but parents will appreciate your interest and your efforts and willingly offer advice or

toys available. Sometimes a laser pointer or

SYNDROME. These conditions can cause a

fiber-optic lights are useful attention-getters.

range of behaviors. The children might be develop-

MUSCULAR DYSTROPHY (MD).

mentally delayed, or they may need constant care.

It’s best to ask such questions during the initial

MD causes the muscles to grow weak, crippling

These children often break into smiles easily.

client consultation. If possible, do some research

the arms, legs and spine. Most individuals

Games such as peek-a-boo or using a feather

about the child’s condition before the parents

with MD will be confined to a wheelchair. You

tickler work very well, but do everything slowly

arrive, so you’ll know what questions to ask.

can prepare for this by having a special chair

to avoid scaring the child. Once you capture his

available that will comfortably support the

attention, you’ll also capture a wonderful image.

child. I’ve also covered the child’s own wheelchair with white fabric for a soft nest-like image.

Your best option is to research the condition

assistance on making the session run smoothly.

Be sure to allow extra time for the session. Help the parents feel comfortable and not rushed. Parents are often adept in coaxing a

and know what to expect. Talking to mom and

smile. They may have a special song or game

dad will be a big help, too. Remember, the

or toy that works like magic. As a team,

communication and behavior. Some autistic

parents’ expectations will be different in these

you’ll definitely capture something special.

children are withdrawn and unwilling to even

cases. They’ll understand the limitations and

look at you. Others may be very hyperactive.

be grateful when you show a caring heart, an

Following directions can be difficult for these

educated mind, and the patience it takes to

children, so it’s best to work on casual poses

create a special portrait.

AUTISM. This severe disorder disrupts


As for staging, sometimes it’s best to create an image that tells a story. It could be a shot of the child playing with blocks, looking at a book, or interacting with a sibling; often

“SuccessWare gives me the information I need to be successful— and that gives me the time to give back to my community.”

“When colleagues ask me why I don’t just use QuickBooks, the answer is simple: I can’t get the information I need to stay on top of my business without SuccessWare. I tell them that SuccessWare asks for more information because it gives you more information back— information that is essential to business success.” Susan Michal Susan Michal Photography | Jacksonville, Florida

SuccessWare is the only studio software that manages your clients, prices your products, pays your bills, and helps you plan for more profit. All this…plus financial reports that actually make sense!

© 2008 Susan Michal Photo taken by: Taylor Crawford.

Read Susan’s story at successware.net/success_stories.

successful photographers have a lot in common. creativity. passion. successware.

Carol Andrews, Sam Puc, Jason & Tammy Odom, Audrey Wancket, Mary Fisk, Jamie Hayes, Lori Nordstrom, Jed & Vickie Taufer, Jeff & Julia Woods, Frank Donnino, Michael Redford, Sarah Petty

PURCHASE OR LEASE | WINDOWS & MAC GET YOUR FREE DEMO AT WWW.SUCCESSWARE.NET | 800.593.3767

PORTRAITS

the most endearing images are of siblings

OUTTAKES

embracing. Keep your posing informal and

It just wouldn’t be right not to share the

just let the session evolve. With a little love

hilarity and haplessness of a typical day with

and a lot of patience, you’ll provide a

kids. It’s even better when the moment’s

wonderful session and a treasured portrait.

captured for everyone to see. From the silly faces to the warm, wet gifts a naked infant

KIDS WITH PETS

will bestow, there’s always something hap-

Whenever you combine pets and children,

pening to evoke a smile. As long as they’re

you’re sure to hear laughter. I love watching the

appropriate, keep these images in the sales

relationship unfold as children play with their

session. Mom and dad will see the humor,

pets. Large or small, with fur or scales or feath-

too, and don’t be surprised if they want to buy

ers, pets bring out the magic that is childhood.

a small portrait as a reminder of the day. I

As for a portrait session with a pet, all rules go out the window. Posing strategy rarely works, because your main goal is just to get everyone’s eyes on you. My biggest suggestion is don’t sweat the small stuff. Relax, look for ways to show laughter, movement and love. Somewhere in the chaos, you’ll capture the perfect moment.


Excerpted and condensed from the book, “The Sandy Puc’ Guide to Children’s Portrait Photography” (Amherst Media). For more on Puc’, go to www.expressionsphotos.com. Her book is available online at Barnes & Noble or Amazon.

©Susan Braswell

Child’s play A good eye, self-knowledge and a solid business plan helped Susan Braswell transition from stay-at-home mom to busy pro photographer

BY JEFF KENT

‘‘

Until late 2004, Susan Braswell of northern

I love new faces, new voices and meeting new people. It’s a fresh experience every time, and I think that my excitement shows up in the images.

’’

Virginia had been a stay-at-home mom with a husband and two children. She’d been avidly photographing her family since her first-born was an infant. That’s not uncommon for proud mothers, but Braswell’s images were anything but ordinary. Friends and family admired them so much that she thought seriously about becoming a professional photographer. A 15-year veteran of collections work, Braswell is diligent and goal-oriented. When she decided to launch her own portrait business, she had a plan. Her focus would be child and family portraits, particularly kids under 2, and her prices would be midrange. She’d focus her marketing on the nearby environs of metro-Washington, D.C. Braswell established an on-location portrait business model, and planned to launch by October 2005. She bought professional equipment and learned to use advanced digital SLRs. She networked with a local mothers group, then announced a six-week program of free portrait shoots to build a portfolio. She got a logo, commissioned a Web site design, began a blog, invested in search engine optimization, and created displays of her work for two boutique baby and maternity clothing stores. Checking off the startup tasks at a feverish pace, Braswell was ready to go well ahead of her target date. Her Web site was finished in December 2004, and she immediately opened for business. Next day the first call came in, and Susan Braswell Photography was off and running. Braswell built up a steady stream of baby portrait clients in the first year. Almost 90 percent of her subjects were between 6 and 9 months old, most of them girls. The clients were largely first-time parents, who had heard of her through her networking efforts and the complimentary portrait sessions. With a niche market carving itself out for her,

Braswell nudged along the fledging business with word-of-mouth marketing and keyword-intensive blogging. Using an online proofing system, she encouraged clients to share her images with their friends and families. She got plugs from a couple of young, hip moms, who gave her kudos on a mothers message board. Four years after that first phone call, Braswell’s business is thriving, yet she’s kept the operation small by design—no assistants, no employees. During the busy season of March through November, she averages four to five sessions per week. She’s adamant about conducting only one session per day, which she schedules around her own kids’ school time and family obligations. “I’ve done a lot to keep the momentum going, such as redesigning my Web site, making sure my marketing materials were consistent, working with the boutiques on my image displays, and doing a lot of blogging to keep my site high up on the search engines,” says Braswell. Besides having had a business plan in place, Braswell manages her rapid and continuing success through having an absolute passion for her work. With a working personality she describes as “fun and giggly,” she brings a tremendous amount of enthusiasm to her portrait sessions. “I love new faces, new voices and meeting new people,” she says. “It’s a fresh experience every time, and I think that my excitement shows up in the images.” In-session, Braswell encourages subjectto-surface contact, having subjects seated on the ground or otherwise resting in relaxed positions. Her minimal direction goes toward positioning and body language. “Body position is so important when working with families and young children,” says Braswell. “Body language is everything. My interaction with them involves speaking to them and making them comfortable. I do a lot to help them loosen up, shake it off, and just relax.” Once the subjects are in place, Braswell


usually steps back and works with longer lenses,

people, and $400 for Saturday sessions. Per-

way, in her style and at a scale in volume

usually 85mm or 135mm. “I shoot from farther

person fees begin with groups of three. Her

and price that makes sense for her. Perhaps

away so I’m not in their face or invading

limited product line is focused on high-end

that’s the ultimate secret of her success. “I

their space,” explains Braswell. “Sometimes

print sales (starting at $45) and canvases

think about different things I might want to

they don’t even know when I’m taking a

(starting at $510 for a 16x20 print) This

do in the future, but most of all I just want

picture. That helps me capture those ‘blink-

year, she introduced a line of albums for

to do what I’m doing now, and do it well,”

you-missed-it moments’ that people love.”

image collections.

she says. “I got into this business because I

People do love Braswell’s images, enough

If you asked Braswell how she stacks up

to support a steady increase in prices over

against her competition, she couldn’t tell

the years. From the original sitting fee of

you. She doesn’t look at competitors’ Web

$150, Braswell’s rates have bumped up to

sites. She doesn’t sneak peeks at their pricing.

$275 for weekday shoots with up to two

From the beginning, she’s done business her

enjoy it. It’s been rewarding so far, and I’m really quite happy.” I

To see more work by Susan Braswell, visit www.susanbraswellphotography.com.

calendar Submit your organization’s convention, workshop, seminar or exhibition dates to Professional Photographer at least six months in advance. Editors reserve the right to select events to be announced on these pages, and to determine when announcements will appear. Editors are not responsible for conflicting or incorrect dates. For readers’ convenience, each event is identified by a code preceding its name: C=Convention, W=Workshop, S=Seminar, C/E=Approved PPA Continuing Education Seminar, E=Exhibit. Send all Calendar of Events additions or corrections to: Marisa Pitts, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected].

Current Events September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin, [email protected]; www.ppok.org September 13-16 C: PPA of New England, Radisson Hotel Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226; [email protected] September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum, 770-972-8552; [email protected]; www.gppa.com September 14-15 W: Missouri Show Me Workshops, Tan-Tar-A Resort, Mo.; Dean Conrad, 816-632-7293; [email protected]; www.moppa.com September 21-22 C: PP of West Virginia, Days Inn; Princeton, W.V.; Steve Jessee; [email protected]; 304-425-5519

PPA EVENTS Professional Photographers of America (PPA) has a proud tradition of providing its members with outstanding educational opportunities through its annual events, PPA-Merited classes and its PPA Affiliate School Network. Don’t miss out on the vital knowledge you’ll gain at these events! For information on PPA events, call 800-786-6277 or visit www.ppa.com. October 27 Super Monday January 11-13, 2009 Imaging USA, Phoenix


September 27-29 C: PP of Nebraska, Midtown Holiday Inn, Grand Island, Neb.; Brian Baer, [email protected]; www.ppofn.org

October 26-28 S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-6272; [email protected]

October 3-7 C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; [email protected]; www.swppa.com

November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net

October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com

November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

Future Events

October 12-13 C: PP of Colorado, Denver, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.ppcolorado.com

January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected]

October 12-14 S: PP of Mississippi-Alabama, Guntersville State Park, Ala.; Wayne Rawson, 601-693-1966; [email protected]; www.ppma.net

February 6-10, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat, wilber@jeffcoatphotography; www.ppofsc.com

October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected]

February 13-15, 2009 C: PP of West Virginia, Morgantown, W.V.; Tom Gilson, 304-232-3686; [email protected]; www.ppwv.org

October 20 S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com

February 20-23, 2009 C: PP of Oregon, Embassy Suites Hotel, PDX, Portland, Ore.; John Alexander; 541-382-5587; [email protected]; www.pporegon.com

October 20-21 C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Mary Gueller, 920-753-5302; Jim Buivid, 262-377-5118; Deb Wiltsey, 866-382-9772; wppa-online.com October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected]

January 10-12, 2010 Imaging USA, Nashville

Certification Exam For a complete list of exam dates, go to www.ppa.com and click on Certification.

Image Review Online submission: August 8 & October 10

February 20-23, 2009 C: PP of Massachusetts; Steve Meier, 781-8294282; [email protected]; www.ppam.com February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth, Va.; William Garrett, 434-836-2751; [email protected] February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-4047762; [email protected]; www.ppofnc.com February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Mary Gueller, 920-753-5302; Mary Mortensen, 262-754-8889; Deb Wiltsey, 866-382-9772; wppa-online.com March 15-18, 2009 C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-6979015; [email protected] March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

March 28-31, 2009 C: PPSNYS, Desmond Hotel, Albany, N.Y.; Kelvin Ringold, 315-451-3716; [email protected]; www.ppsnys.com March 28-31, 2009 C: PPA New Mexico, Albuquerque, N.M.; Jessica Lozoya, 505-243-1007; [email protected]; www.ppanm.com April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783; [email protected]; mnppa.com April 19-22, 2009 C: Northern Light, Breezy Point, Minn.; Jeff Fifield, 218-722-3777; [email protected]; Nicole Bugnacki, P.O. Box 567, Ironton, MN, 56455; 763-390-6272; www.nlpp.org April 25-28, 2009 C: SEPPA, Athens, Ga.; Tom McCollum, 770972-8552; [email protected]; ww.4seppa.com

November 1-2, 2009 S: Northern Light/MPPA Fall Seminar, St. Cloud, Minn.; Nicole Bugnacki, 763-390-6272; [email protected]; www.mnppa.com February 6-9, 2010 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; www.ppiowa.com February 26-March2, 2010 C: Wisconsin PPA, Radison Hotel, Green Bay, Wis.; Donna Swiecichowski, 920-822-1200; Carl Caylor, 906-779-1535; wppa-online.com April 10-13, 2010 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

April 25-28, 2009 C: New Hampshire PPA, North Conway, N.H.; Don Chick, 603-335-4448; [email protected]; www.nhppa.com

November 14-15, 2010 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

April 26-28, 2009 C: PPA New Jersey, Atlantic City, N.J.; Leslie, 866-985-4300; [email protected]; www.ppanj.com

February 23-29, 2011 C: PP of Ohio, Dayton Convention Center, Dayton, Ohio, Carol Worthington, 614-228-6703; [email protected]; www.ppofohio.org

August 8-12, 2009 C: Tennessee PPA, Marriott Cool Springs, Franklin, Tenn.; Ernie K. Johnson, 615-5095737; [email protected]; tnppa.com October 18-21, 2009 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected] November 1-2, 2009 S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; [email protected]; www.ppiowa.com

2008 PPA-AFFILIATED SCHOOLS

March 4-9, 2011 C: PP of North Carolina, Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com April 2-5, 2011 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com February 29-March 5, 2012 C: PP of Ohio, Dayton Convention Center, Dayton, Ohio; Carol Worthington, 614-228-6703; [email protected]; www.ppofohio.org

PPA members receive both merits and the best-published prices. September 28-October 2 Lamarr Williamson School of South Carolina; Springmaid Resort, Myrtle Beach, S.C.; John Wrightenberry, 803-7812130; [email protected]; www.ppofsc.com Send all additions or corrections to: Marisa Pitts, PPA, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303; [email protected].


Send all Calendar of Events additions or corrections to: Marisa Pitts, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected]

PPA-Approved Continuing Education Seminars PPA members receive both merits and the best published prices. September 7-8 C/E: Joyce Wilson “Imagine,” Nashville, Ind.;Malcom Fancher, 317-547-3334; [email protected] September 7-9 C/E: Spirit and the Soul Retreat, Dillon Beach, Calif.; Michael Gan, 925-462-9364 September 12-17 C/E: Great Gatsby Impressionist Workshop, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com September 22-23 C/E: Keep it Simple Strategies for Success; Winterset, Iowa; Lori Nordstrom, 515-462-9211 October 3 C/E: The Art & Craft of Studio Portraiture: Marion, Iowa; DonChick, 603-335-4448; [email protected] October 6-7 C/E: Keep it Simple Strategies for Success; Winterset, Iowa; Lori Nordstrom, 515-462-9211 October 9 C/E: Escaping from the Box, Jamestown, N.Y.; Paul Rogers, 815-436-0422; www.paulrogersphotography.com October 12-16 C/E: The 5 Business Modules, Eudora, Kan.; Quinn Hancock/Aletha Speakar, 785883-4166; 913-856-3686 October 20-23 C/E: Painter Creativity, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com November 2-6 C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com November 10-14 C/E: Joseph & Louise Simone Workshop, Virtual Backgrounds, San Marcos, Texas; Jim Wilson, 800-831-0474 November 14-16 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com

PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

Photoshop World ®

COMING TO MANDALAY BAY RESORT & CASINO LAS VEGAS • SEPTEMBER 4-6, 08 Mark Your Calendar! The world’s largest Adobe® Photoshop® educational event featuring the latest Photoshop CS3 training, and an expanded 3-day tech expo is coming to Las Vegas! Photographers, graphic designers, Web developers, educators, art directors, students, and Photoshop fanatics — this is the conference you don’t want to miss in 2008!

REGISTER TODAY AND SAVE

100

$

NON-NAPP MEMBER

NAPP MEMBER

(before August 1, 2008) includes a full year NAPP membership

(before August 1, 2008)

$

(after August 1, 2008)

$

(after August 1, 2008) includes a full year NAPP membership

599 $ 699 $

499 599

REGISTER TODAY! CALL 800.738.8513 OR VISIT WWW.PHOTOSHOPWORLD.COM

Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Systems Incorporated.

What about those who can’t smile? Those who find it difficult to even speak and eat? Now you can help them smile, too.

images courtesy

of Operation Smile

During the month of October, PPA Charities is conducting Family Portrait Month, a national fund-raising effort. The proceeds will benefit Operation Smile, which provides free reconstructive surgery to children and young adults around the world suffering from cleft lips, cleft palates, and other facial deformities. Join in this causerelated marketing program to attract new clients, encourage return business, and help create a smile. Find out more about Family Portrait Month and how you can help the children of Operation Smile: www.PPAcharities.com | www.FamilyPortraitMonth.com | www.operationsmile.org or contact Bert Behnke at 708.267.0657 or [email protected]

charities

AUGUST | 08

TODAY

PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009

PPA President

Lori and I have been blessed with three great kids of our own—each with their own personalities and dreams, but all with wonderful hearts. Whenever we sit around as a family, our children now tell stories of their childhood memories.

I could go on a long time about what I have learned from such kids over the years, but I’ll just highlight a few. First, their unconditional love is incredible. Children are born with the nature of forgiveness and love, and

my own children have taught me this often. Secondly, their simple outlook on life is eye-opening. Kids don’t care about status or material things; they care about the relationship. I am so fortunate to have the privilege of photographing children. I hope I can give back to them as they have given to me.

Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President

PPA News & Notes

While my parents were Àrm in their discipline, my memories of growing up are Àlled with laughter and love. I can remember playing street football until it was so dark you couldn’t see the ball and spending hours riding sleds in the winter. And my dad was a Lansing grocery store’s produce manager, so I have memories of him bringing boxes of popsicles and ice cream bars home for the neighborhood kids (when the store had freezer problems). He was everybody’s favorite dad that day!

As you can probably tell, this month’s magazine focus is children’s photography. It’s the type of photography I enjoy the most, and it’s the one I feel most privileged to do. But when I opened my business in 1979, I was an unmarried 24-year-old and children scared me, especially babies. I dreaded those sessions. I remember going along with my staff when they indicated we needed to build a children’s photography market, though I thought it would never happen. What did happen was the opposite: the more children I photographed, the more I grew to love spending time with them.

Children…that one word brings back Áoods of memories of my own childhood and children.

FRIENDS MET ALONG THE WAY I think most people can be trained to take pictures of children, but not many can open a child’s world and show it in their photography. While attending the Southwest PPA Convention in Arlington, Texas, I had the opportunity to visit Kim Wylie’s studio with Ron Nichols. We spent a few hours with Kim and Jessica Sikes, talking and looking around a studio Àlled with beautiful children’s photography. Kim has a unique style of photographing children, which I’m sure her clients cherish. What I noticed the most, though, was the life that was captured in each child’s

eyes. That is a gift that Kim has, and her clients are blessed to have her. There are two other photographers with similar talents who come to mind: J. Michael McBride and Mark Garber. Early in my career, I had the opportunity to enjoy their work. For years, their images inspired me to learn more and grow. I marveled at how they took a simple child and created images that reached out and demanded emotion from me. When I consider who has had an inÁuence on me and my photography, these two are at the top of the list.

© Kimberly Wylie

We are fortunate to have people from whom we can learn…photographers who take photography past “taking pictures” and into a level were we capture the inner person.

news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com

P1

TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: FARRAH BRANIFF by Angie Wijesinghe, PPA Marketing Specialist

“I wanted people to go to my site and get a feeling for ME,” Farrah states emphatically. “I tried to Àlter the Web design and word choices so that it showcased my personality.”

PPA News & Notes

© Danny Clark Photography

Web sites become more important every year. The simple fact that Internet searching is readily available increases the chances of people running into your site. When they come to your site, what will they see or think? More importantly, what will they do? Farrah Braniff, owner of Farrah Braniff Photographs in Houston, Texas, knows the importance of a photography Web site. In fact, her site tied for Àrst place in the AN-NE Marketing Awards’ Best Web Site category. Farrah had wanted to redesign her site and the rest of her marketing materials for awhile. The deadline for the AN-NE Marketing Awards was simply a good reason to get it done!

In her vision, people would go to her Web site and come into the studio, seeing the same look and personality in both. “They are extensions of each other,” Farrah explains. “The studio, the Web site, the postcards, the packaging…it’s all marketing and it should all Àt together.” How does she make a Web site Àt with all the other marketing? She likes to pick a theme. Whether it’s a color palette, a certain texture, or so on, a couple of recurring elements will bind even very different materials together. And when you redesign one aspect of your marketing montage, you can’t forget the other pieces. In this case, Farrah actually used her award-winning new site as a jumping-off point for the rest of her marketing materials. Starting out as a photographer, she wasn’t that sure of herself. Consequently, she originally chose a neutral, safe, classy color palette and look. “Then, I realized that my photography isn’t that serious, not all the time. I needed a look that represented me, and it wasn’t off-white and copper,” she says smiling. “After all, you are your best test subject.”

www.farrahbraniff.com P2

Farrah knows that the clients she wants are those that like her style, so that’s her Àrst benchmark. She thinks about how and why she consumes what she does. She pays attention to the marketing materials around her, whatever form it takes: was it the smell of the store that she liked, or something more tangible (from clothes tags to gift lists).

Then she thinks about her best customers—how she got them, what she likes about them, and what they like about her. Using these points, Farrah redesigned her Web site, mirroring her personality and photography. And with her new Web site for reference, Farrah has new postcards, price cards, shirts, and more…all representing her true style of photography. When all the marketing Áows together and reÁects you, the photographer, customers get a taste of your style before they come in. It’s essential, in Farrah’s mind. She’s had customers come in with a preconceived notion opposite of her own style. Trying to work with that was not a good relationship for either. A good Web site—if it reÁects your style and has lots of images—can be a great tool to help avoid such situations. Farrah always asks her clients if they’ve visited the site. For example, if someone calls in, she will mention that the site has real-life examples for portrait ideas, the types of clothes to wear, and her overall style. Basically, the key to Farrah’s awardwinning site is its ability to reÁect herself and her photographic style. You all know yourself. So Ànd a way to express it—accurately—online. That will stick you in the mind of the viewer. Farrah Braniff Farrah Braniff Photographs Houston, TX www.farrahbraniff.com Learn more about Farrah’s redesign in “Online and On Your Mind” in the April issue of Professional Photographer (pg. 36).


TODAY BOARD MEMBER SPOTLIGHT Don Dickson, M.Photog.Cr., CPP PPA Member since: 1981 Location: PLAINVIEW, TEXAS

FARRAH BRANIFF’S IMPORTANT WEB SITE PIECES • Images, as big as possible – They are customers’ Àrst impressions of what they will get with you.

• Blogs, to increase the interaction – It helps customers become more comfortable, and a compelling blog reminds them to come back. • Something about you, the photographer – A bio page (nice image and words in your speaking style) can help put a face to your business.

They are all extensions of each other: the studio, the Web site, the postcards, the packaging… -Farrah Braniff

Don’s career began in a darkroom (in his parents’ bathroom), turned into owning a photography business at 19, and continues today as a pro photographer and member of the PPA Board of Directors. So how has he managed to stay successful in this long career? Don holds up education as a force without which no one can survive. “Education is what creates our difference from the amateur photographer,” Don adds. “We have to make our services and products different.” While you can research ongoing education on your own, Don still sees the most value for your money as the AfÀliate Schools and Imaging USA. In fact, he has been to every Imaging USA since his Àrst time (about 1979)! Such education and willingness to look beyond the norm can help create the needed desire for photography services, which is another challenge Don sees in the industry. In his mind, photography is not just about the technology now.

Yet another approach Don uses to remain successful is volunteering. Think about it: working within your community not only helps you meet new clients, it also helps you better your relationships. Rather than only seeing people for business reasons, you establish common ground by volunteering together. “When I take a day to volunteer, it pays two to ten times more,” he says with a laugh. “The more I’m involved, the more business that develops. Everyone needs photography eventually…they are all potential customers.” Along with his continuing success, Don has never lost his appreciation for his great profession. In his words, “Most of the people we see are at a high point of their life (weddings, families, graduating seniors, etc.). And we can make them even happier with our products.”

AFFILIATE SCHOOL SPOTLIGHT AUGUST 17 – 21, 2008

The annual AN-NE Marketing Awards competition recognizes outstanding ingenuity and effectiveness in real-world marketing endeavors. Named in honor of Ann Monteith and Marvel Nelson, both marketing gurus and past PPA Presidents, the competition is open to PPA members only. More information is at the Competition & Awards page on www.ppa.comcom.

It’s the art—the lighting, composition, and other artistic elements—that sets you apart. “We have to redeÀne ourselves at artists, not just technicians,” Don says. “After all, to sell a photograph at a premium, it has to be an artistic piece.”

PPA News & Notes

• Pricing, always a debate – Farrah suggests using just enough pricing information so that it’s not a mystery. It acts like a prescreening device, for if a certain session fee is out of range, chances are they cannot afford your prices.

“Photography is the only job I’ve ever had,” comments Don Dickson of Don Dickson Photography.

Sail into the San Juan Islands of Washington during the Evergreen AfÀliate School Workshop. Spend the week in a beach house with new opportunities each day to master outdoor portrait lighting in challenging situations.

Learn from: Gabriel Alonso, M.Photog. Cr., and Don MacGregor, M.Photog.Cr., API (special one-day program). Better contact Sam now…there may still be a few spots open in the beach house! Sam Gardner [email protected] www.ppw.org


P3

LabTab


WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES


LabTab




LabTab


LabTab ad specs: Ad size: 31⁄2” x 21⁄2 12x rate: $400.00 gross per month Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge. Contact Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information.



Buyer’s Gallery THIS SECTION IS THE MONTHLY RESOURCE PHOTOGRAPHERS USE TO FIND THE PRODUCTS THEY NEED. PUT YOUR MESSAGE PROMINENTLY IN FRONT OF INDUSTRY PROS AND START TURNING BROWSERS INTO BUYERS.





Buyer’s Gallery ad specs: Ad size: 21⁄4” x 43⁄4 12x rate: $550.00 gross per month 6x rate: $600.00 gross per month Contact your advertising representative: Bart Engels, Western Regional Manager, 847-854-8182;

or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information. 110 • www.ppmag.com

Better than ever! Professional Photographer Online has exciting new features for you. At ppmag.com, we don’t simply recreate the magazine online, Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all all yours free. Go to www.ppmag.com today!

PROFE SSIONAL

Adorama (www.adorama.com) . . . . . . . . . . . . 89,91,93 Advanced Photographic Solutions (www.advancedphoto.com) . . . . . . . . . . . . . . . . 101 Allied Photographic & Imaging Lab (www.alliedphoto.com) . . . . . . . . . . . . . . . . . . . 101 American Color Imaging (www.acilab.com) . . . . 45, 103 Ameican Photographic Resources (www.apr.com) . . 113 American Student List (www.studentlist.com) . . . . 108 Art Hands Inc. (www.arthandsinc.com) . . . . . . . . . 108 ARK-LA-TEX Color Lab (www.altcolorlab.com) . . . 104 Augender Box (www.aufengerbox.com) . . . . . . . . . . 113 B & H Photo-Video (www.bhphotovideo.com) . . 82-83 Backgrounds by David Maheu (www.backgroundsbymaheu.com) . . . . . . . . . . 107 Bay Photo Lab (www.bayphoto.com) . . . . . . . . 49, 100 Big Black Bag (www.bigblackbag.com) . . . . . . . . . . . 111 Brightroom Inc. (www.backprint.com) . . . . . . . . . . 105 Buckeye Color (www.buckeyecolor.com) . . . . . . . . . 105 Paul Buff Inc. (www.white-lightning.com) . . . . . . . . 55 CPQ (www.cpq.net) . . . . . . . . . . . . . . . . . . . . . . . . . 35 Candid Color Systems Inc. (www.candid.com). . . . . 102 Canvas Artworks.com (www.canvasartworks.com. . 107 Capital for Merchants (www.capitalformerchants.com) 107 Christopher Imaging (www.chrisimaging.com) . . . . 102 Collages.Net (www.collages.net) . . . . . . . . . . . . . 20-21 Color Incorporated (www.colorincprolab.com) . . . . . . . . 101 Corporate Color/Prolab Express (www.prolabexpress.com) . . . . . . . . . . . . . . . . 100 Contemporary Photography/J. Hartman (www.jhartman.com) . . . . . . . . . . . . . . . . . . . . 110 Custom Brackets (www.custombracket.com) . . . . . 108 Custom Color Corporation (www.customcolor.com) 100

Dalmatian Lab (www.dalmatianlab.com). . . . . . . . . 105 Denny Manufacturing (www.dennymfg.com). . . 107, 111 Denny Manufacturing (www.photonovelty.com) . . . 103 Diversified Lab (www.diversifiedlab.com) . . . . . . . . 102 Dury’s (www.durys.com). . . . . . . . . . . . . . . . . . . . . . 39 Eclipse Backgrounds (www.eclipsebackgrounds.com). 109 emotion Media Inc. (www.emotionmedia.com) . . . . 107 Epson (www.epson.com/SPR2880) . . . . . . . . . . 14-15 ESS Data Recovery (www.datarecovery.com) . . . . . 108 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . 113 Fredericks Photo Lab (www.fredericksphotolab.com). . 93 GP Albums (www.gpalbums.com). . . . . . . . . . . . . . . 41 Graphic Authority (www.graphicauthority.com) . . . . 40 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . 100 H&H Color Lab Inc. (www.hhcolorlab.com) . . . Cover III Hallmark Imaging (www.hallmarklabs.com) . . . . . . 104 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . . . 103 Imaging USA (www.ppa.com). . . . . . . . . . . . . . . 59-66 Imaging Spectrum (www.imagingspectrum.com) . . 110 Jonathan Penney Inc. (www.jonathanpenney.com) . 113 Lustre Color (www.lustrecolor.com) . . . . . . . . . . . . 104 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . 27 Marathon Press (www.marathonpress.com) . . . . Insert McKenna Pro (www.mckennapro.com) . . . . . . . . . . 100 Meridian Professional Imaging (www.meridianpro.com) . . . . . . . . . . . . . . . Cover II Michel Company (www.michelcompany.com) . . . . . 109 Michigan Photo (www.michiganphoto.com) . . . . . . 104 Midwest Sports (www.midwestsportslab.com). . . . 103 Miller Professional Imaging (www.millerslab.com) . . . 25 Modern Postcards (www.modernpostcards.com/prophoto) . . . . . . 107 Morris Group (www.themorriscompany.com) . . . . . 110 NAPP (www.photoshopuser.com) . . . . . . . . . . . . . . 95 Nations Photo Lab (www.nationsphotolab.com) . . 13, 101 National Direct Marketing Services (www.ndmservices.com). . . . . . . . . . . . . . . . . . 109

Neil Enterprises (www.neilenterprises.com) . . . . . . 106 Norman (www.normanlights.com) . . . . . . . . . . . . . . 37 North American Photo (www.naphoto.com) . . . . . . 103 Onlinephotofix.com (www.onlinephotofix.com) . . . . 113 Pacific Mount (www.pacificmount.com) . . . . . . . . . 109 Perfection Distributing Inc. (www.perfectiondistibuting.com) . . . . . . . . . . . 108 Pictobooks (www.pictobooks.com) . . . . . . . . . 106, 110 Pictorico (www.pictorico.com) . . . . . . . . . . . . . . . . . 29 Photogenic Professional Lighting (www.photogenic). . . . . . . . . . . . . . . . . . . . . . . . 51 PocketWizard (www.pocketwizard.com) . . . . . . . . . . 19 Profoto (www.profoto-usa.com) . . . . . . . . . . . Cover IV Portrait Weavers (www.portraitweavers.com). . . . . 106 Pro Photo (www.prophotoimaging.com) . . . . . . . . . 105 Ramsey Resources (www.ramseyresources.com) . . 105 Reedy Photo (www.reedyphoto.com) . . . . . . . . . . . 102 Renaissance Albums (www.renaissancealbums.com) . . . . . . . . . . 47, 109 Savage (www.savagepaper.com) . . . . . . . . . . . . . . . 106 Sekonic (www.sekonic.com) . . . . . . . . . . . . . . . . . . . 17 Simply Canvas (www.simplycanvas.com) . . . . . . . . 102 Studio Dynamics (www.studiodynamics.com) . . . . . 113 Studio Logic (www.studiologic.com). . . . . . . . . . . . . . 7 Successware (www.successware.net) . . . . . . . . . . . . 79 TAP Professional (www.tap-usa.com) . . . . . . . . . . 108 Tyndell (www.tyndellphotographic.com) . . . . . . . . . 110 Unique Photo Supplies (www.uniquephoto.com) . . . . 4 United Promotions Inc. (www.upilab.com) . . . . . . . 103 Used Camera Buyer (www.usedcamerabuyer.com) . . 53 White House Custom Color (www.whcc.com) . . . . . . . . . . . . . . . . . . 8-9, 30-31 White Glove (www.wgbooks.com) . . . . . . . . . . . . . 106 Xrite (www.xritephoto.com). . . . . . . . . . . . . . . . . . . . 11 Zookbinders (www.zookbinders.com). . . . . . . . . . . . . 3

Publisher not responsible for errors & omissions


ClassifiedAdvertising CLASSIFIED ADVERTISING RATES Classified rates: • $1.50 per word; • $2.00 per word/ words with all caps or bold face. • $10.00 per issue—Confidential Reply Box Ads (Optional)—$30 minimum per ad. Closing date is 20th of the second month proceeding issue date. Remittance must be received with order. NO ADS ACCEPTED BY PHONE. Remittance to: Professional Photographer Classified Ads, 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303; 800-339-5451, ext. 221; FAX 404-614-6405.

ACCOUNTING CPAs FOR PHOTOGRAPHERS. Business set-up, tax planning and preparation, business valuations and consulting. Decades of experience. Darryl Bodnar, CPA, 410-453-5500, [email protected]. Visit our website at www.nlgroup.com.

ALBUMS GP ALBUMS (formerly General Products L.L.C.) is focused on flush mount and digital offset albums along with our NEW extensive line of self-mount albums and folios. GP’s Optimus, Quick-Stick, Digital Vision, Tempus, and Eclipse albums are the products that will help take your photography business into the future. You will experience the same great quality with a whole new look. As a manufacturer, GP Albums also has the ability to create custom photo packaging products upon request. GP Albums continues to offer variety and flexibility allowing photographers to design the perfect product that will last a lifetime. For more information, please visit us at www.gpalbums.com or call 1-800-888-1934.

ARTISTIC ENHANCEMENTS MASTERPIECE PAINTINGS FROM YOUR DIGITAL FILE. Beautiful oil paintings and watercolor portraits created to your specifications with Corel Painter, allowing you to increase your profits and add to your bottom line. Learn more at www.whitakerpaint.com.

BACKGROUNDS THE DENNY MFG. CO., INC. is the World’s Largest Manufacture of Hand Painted Backgrounds, Computer Painted Backgrounds, Muslin Backgrounds, Studio Sets, Props, Lift Systems, and related Studio Accessories. Contact us today to receive our FREE 180 page color catalog filled with exquisite products and ideas to help you succeed in Photography. Write P.O. Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit our Web site at www.dennymfg.com. STUDIO DYNAMICS’ muslin and canvas backdrops offer quality and value at outlet prices! Call 1-800-595-4273 for a catalog or visit www.studiodynamics.com CHICAGO CANVAS & SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track & Hardware for Moveable Curtains and Backdrops—Easily installed. Quick turn around time. Our prices can’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.com; [email protected] BACKDROP OUTLET, We are the Largest supplier of Backgrounds, Props and Studio Accessories. We have it all…. Canvas from $99.00 Muslin Backgrounds from $69.00 Scenics, Flex outs, Faux tex. Your options are endless. We also offer roller systems and Light Rail systems. Lights, Soft boxes, Stands and equipment. We have a huge selection of props and set systems. REQUEST OUR FREE 164 PAGE CATALOG 1-800-466-1755 or you can order online at WWW.BACKDROPOUTLET.COM 3540 Seagate Way, Oceanside, CA 92056.

CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 31 years experience servicing the Hasselblad system exclusively. Previously with Hasselblad USA. Free estimates, prompt service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main Street, #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.


CANVAS MOUNTING CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. WWW.CANVASMOUNT.COM

COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800593-3767 or visit our Web site www.SuccessWare.net. Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business— even when you don’t! More professional photographers trust Photo One Software than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio, personalized phone training for you and your staff, 75 minute no-hassle guaranteed support call-back time, 365 days of unlimited support and usable upgrades and a 90day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 ext. 101 now for your free working demo or visit www.photoonesoftware.com

DIGITAL DIGITAL PHOTOGRAPHERS—Kessler Color produces STUNNING images from digital files. Try our rapid FTP site and get a FREE 16 x 20. New Service—E-Vents from Kessler Color. Get 8x10 units for $.90. [email protected]. 800-KES-LABS. SCHOOL PHOTOGRAPHERS—Kessler Color’s digital units start at $.90 each. Beautiful color and great value! Call 800-KES-LABS.

DIGITAL TEMPLATES DIGITAL TEMPLATES AND BACKGROUNDS Delmiaco.com has fully customizable Photoshop templates sold as layered .psd files. Collections include: wedding collages, wedding invitations and thank you cards, birth announcements, birthday invitations and thank you cards, senior portrait collages and more. High quality digital backdrops also available. Visit www.delmiaco.com for more details.

EDUCATION/WORKSHOPS FREE DIGITAL PAINTING TUTORIALS. The Digital Paint Shop has FREE goodies from a variety of artists including Painter Master Marilyn Sholin. Tutorials for Painter and Photoshop, actions, brushes, textures, eyelashes and more. The Digital Paint Shop is about everything Digital Art. Register for one of the Painting Workshops in Asheville, NC and other locations; www.digitalpaintingshop.com PHOTOGRAPHY “PROFIT SECRETS” REVEALED… AMAZING FREE REPORT: A retired Arizona Businessman with no photography training used the “Six Secrets” to earn $53,762 profit his first 90 days as a photographer, and built a million dollar photography business in 14 months. www.your-photography-business.com.

EQUIPMENT FOR SALE DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW & USED, FACTORY AUTHORIZED. INSTALLATION AND TRAINING. FINANCING—$600 UP. DELIVERY— INSURED. WWW.DIRECT-RESOURCES.COM; 877-318-3015.

FRANCHISE OPPORTUNITY PROSHOTS STUDIOS-Always dreamed of owning your own portrait studio but don’t know where to start? With a Proshots franchise you can be open for business in as little as 4 months. NO exp. necessary! Our all digital full service studios come complete with everything you need to be in business. We train, support and walk you thru each step. Total investment including your franchise fee only $60,000. For more info call Darrell Collie at 864.350-6735 or visit us at www.proshotsstudios.com

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at [email protected]. PORTRAIT STUDIO MANAGER—AMARILLO, TX. We are looking for a highly motivated, team oriented portrait studio manager for a rapidly growing full service state of the art digital portrait studio. Candidate should be personable and be dedicated to customer service. Candidate should also possess 2+ years experience in studio photography and advanced computer skills. Photoshop is a requirement. Managerial experience is not required but would be a plus. Future ownership in studio a definite possibility. We are offering a top base plus bonuses depending on experience. If you are looking for a rewarding, exciting atmosphere where your work will be respected and appreciated, this is your opportunity. Send sample digital portfolio and resumes to [email protected].

INCORPORATION SERVICES INCORPORATE OR FORM an LLC today! Your art is a business. Treat it like one. The Company Corporation can help you incorporate or form a limited liability company in as little as ten minutes. We are fast, accurate and affordable. Provide additional credibility to your photography studio or business at the fraction of the cost of using an attorney. Call 1-800-206-7276 or visit www.corporate.com today!

LAB SERVICES FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd., Beverly Hills, CA 90211 310-274-3445 • www.goldencolor.com ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com SCHOOL/WEDDING PHOTOGRAPHERS. 8x10 professional prints start at only 99¢. Low packages prices begin with 19 images. Album 10x10s, you design we print from $1.99. Visit the Customer Service store front at: www.PhotoPrintPros.com PLATINUM GICLEETM FINE ART B&W from your digital file or negative up to 40 x 60. New DuraFiberTM Media provides deep blacks and waterproof, non-scuff surface, great for hand-coloring. Also available in sepia, color, split-tone. Call for free sample. Jonathan Penney, Inc., Master Printmakers. 631-874-3409. www.jonathanpenney.com SCHOOL & SPORTS PACKAGES “Green Screen”—With Hundreds of Different Backgrounds Galeone Photo Lab 2161 Greenspring Drive Timonium, MD 21093 410-252-5355 • [email protected] Call for pricing. HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com

MARKETING NEED BODIES IN YOUR DOOR NOW? Inexpensive MARKETING SOLUTIONS that produce a HUGE RESPONSE for seniors children, family, weddings. FRANK DONNINO; WWW.FRANKSBABYPLAN.COM

PHOTO RESTORATION 1st PHOTO RESTORATION FREE! Try us, you’ll like us! Point & click easy. No sign up cost. 100% guarantee. Online leader since 1993. Wholesale only to professionals. www.hollywoodfotofix.com or call 888-700-3686.

ProductMall

SOMETHING HERE YOU NEED...

PRESENTATION BOXES BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-4401149 (fax); 888-440-1146 (toll free). www.aufengerbox.com PRESENTATION BOXES available for immediate shipment; 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800-861-4528. BUY DIRECT AND SAVE. NPD Box Company, 3000 Quigley Road, Cleveland, OH 44113. www.NPDBox.com H-B Photo E-Store Box Manufacturer, buy direct and save. Complete Line of presentation boxes, better quality at lower prices. Bags, Totes, Tissue, Ribbons, customize with your logo. WWW.H-BPHOTO.COM H-B PACKAGING GROUP CENTRAL FALLS, RI. Call 401-725-3646 for free samples.

RETOUCHING WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fast service, a retouch that looks like the photo was never altered and the lowest prices in the industry. If you demand the best log onto www.retouchup.com and your first 10 retouches are free just to prove our claims—the best—the fastest and the least expensive or call 888-700-3686.

SALES AIDS BOXES—FROM THE ORIGINAL BLACK BOX MANUFACTURE—FREE SAMPLE—Fast delivery, Finest quality 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”. AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com CREATIVE FRAMES…Designed frames for the professional wedding, portrait and school photographers. Our frames are manufactured here in the USA. Visit us at WWW.CREATIVEFRAME.COM to see our full line. 5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com • $10 off /with ad

STUDIO FOR SALE A WELL-ESTABLISHED, SUCCESSFUL TURNKEY PHOTOGRAPHIC BUSINESS IN A HIGH VISIBILITY, FASHIONABLE AREA OF NORTH FLORIDA. OPEN FIFTEEN YEARS, NOW WITH FULL FILM AND DIGITAL PROCESSING, WIDE FORMAT PRINTING, LUCIDIOM AND FUJI KIOSKS, SPACIOUSEQUIPPED STUDIO, LIGHTING, CAMERAS, BACKGROUNDS AND MUCH MORE. READY TO HAND OVER TO CONTINUE MAKING A PROFIT RIGHT AWAY. THE BUILDING, OVER 4000 SQ.FT., WITH LARGE PARKING LOT, IS AVAILABLE FOR LEASE OR PURCHASE. OWNERS ACCOMMODATION AVAILABLE ON SITE. THE BUILDING WILL BE WORTH $1,000,000. NOW OFFERING BUILDING AND BUSINESS TOGETHER FOR 900K. OWNER AVAILABLE DURING TRANSITION. [email protected] OR CALL MON-FRI 904399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST. Well respected, full service studio for sale in BEAUMONT, TEXAS. Originally established in 1946. Strong name identification with little advertising, repeat customers into the 3rd generation. This studio has exclusivity over 2 premier programs for high school senior girls, presenting repeat opportunities from senior portraits to weddings to babies. Owners are anxious to relocate. This is a once in a lifetime opportunity for the right person. FOR SALE AT A FRACTION OF THE VALUE WITH OR WITHOUT EXCELLENT REAL ESTATE. Serious inquiries only. 409-553-6434. FULL SERVICE Studio with Great Reputation in Charming Mid-South Town with Major University and Large Trade Area. 30-Year-Old Business—Only Studio in Town. Great Opportunity—Owners Retiring and Will Assist in Transition. $125,000 Studio Real Estate Available. To obtain further information, please reply to :[email protected] and refer to ad #107.

STUDIOS WANTED COLUMBUS CAMERA GROUP, INC. buys whole studios or any part including cameras, film, darkroom, long roll, lighting, and misc. No quantities too small. Call 800-325-7664. Ask for Eric.


good works |

Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work. ©Frances Marron

Denver’s Space Gallery. Titled “Flow,” the exhibition featured photographs of various liquids. Local vendors Marron had worked with donated catering, liquor, music and printed invitations. Other interested parties donated such items as gift baskets and bottles of wine for the silent auction. Dozens of people from Denver’s professional photographic community came out in support, including several Professional Photographers of America (PPA) members. Fellow wedding photographer Travis Broxton photographed the event pro bono. All told, nearly 200 people attended the event, which raised more than $12,000 for the foundation with silent and live auctions. “It was all about giving my art and creativity

Art fights violence FRANCES MARRON TURNS HER ART INTO AID FOR THE ABUSED

F

and not expecting anything in return,” says Marron. “When you put that kind of energy out there in the world, good things happen.” To other photographers interested in staging a similar event, Marron says persistence is critical, as is having a clear vision about what

rances Marron has always been an

Rachelle had been trapped in a cycle of daily

you want to accomplish. “The key for me

artist at heart. For years, the

abuse, and she was trying to make a change

throughout the whole process was visualization,”

Denver-based wedding photographer

in her life. Though she was ultimately unable

she says. “I visualized every detail of the event

built a body of work that she kept for

to escape her abuser, her efforts to stand on

down to how many people would be there

herself or gave away to family and

her own inspired her father. He vowed to help

and how the art would be hung on the walls.

women in similar situations find safe havens.

It required a lot of planning and forethought.”

friends. Art was a personal calling, yet she felt it could have a greater purpose. This spring Marron turned her artwork

Watkins says he built Trelexa on the

The experience inspired Marron to pro-

principal that “there is no excuse for abuse.”

duce more fine-art work for future shows. “I’d

into something more than Christmas and

If a woman is in an abusive relationship, and

like to make this an annual event,” she says.

birthday gifts. She decided to do an art show

wants to remove herself from the situation,

“I hope other photographers are inspired to

and auction, and to donate the proceeds to

she should have assistance to do so. Trelexa

do something similar, because with a little

charity. One of Marron’s friends told her

seeks out other nonprofit organizations that

effort, you really can make a difference.” I

about the Trelexa Foundation, an organiza-

offer a safe environment and other kinds of

tion that supports women who are trying to

support to victims of domestic violence, with

get out of abusive domestic situations.

the ultimate goal of making long-term tran-

Founded in 2007 by Ken Watkins, Trelexa is a tribute to his daughter, Rachelle, who was brutally murdered by her estranged husband.


To learn more about the Trelexa Foundation, visit www.trelexa.org. To see more from Frances Marron, go to www.francesphotography.com.

sitional housing available to more women in more places throughout the nation. On May 3, Marron opened her show at

Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]

Copyright © Dennis D. Craft

Dennis D. Craft & Profoto ComPact “ If you’re going to do this for a living, you need the best equipment. Because when you press the shutter it may be a once-in-a-lifetime shot. In this photo, for example, when the baby star ted to drool, I didn’t hesitate. And neither did my Profoto strobes. The mother, however, didn’t like the idea at first. But when she saw the image her hear t melted. It’s at times like that when you are grateful for consistent, durable and dependable Profoto strobes. It’s what I do for a living, so I buy only the best.

”

ComPact Kits include

ComPact and new ComPact R

a FREE custom case, two umbrellas and two light stands. F O R M O R E D E TA I L S V I S I T W W W. P R O F O T O - U S A . C O M

914-347-3300 Pr ofoto-USA.com

Professional Photographer August 2008

Professional Photographer August 2009

Professional Photographer July 2008

Professional Photographer December 2008

Professional Photographer June 2008

Professional Photographer September 2008

Professional Photographer May 2008

Professional Photographer November 2008

Professional Photographer UK April 2008

Professional Photographer UK February 2008

Professional Photographer UK March 2008

Professional Photographer UK January 2008

Professional Photographer March 2009

Professional Photographer February 2010

Professional photographer March 2010

Professional Photographer January 2009

Professional Photographer December 2009

Professional Photographer June 2009

Professional Photographer October 2009

Professional Photographer September 2009

Professional Photographer April 2009

Professional Photographer February 2009

Professional Photographer July 2009

Professional Photographer November 2009

Professional Photographer April 2010

Professional photographer June 2010

Professional Photographer May 2010

Professional Photographer May 2009

Professional Photographer January 2010

Professional Visual Basic 2008

Professional Visual Studio 2008

Professional Photographer August 2008

Professional Photographer August 2009

Professional Photographer July 2008

Professional Photographer December 2008

Professional Photographer June 2008

Professional Photographer September 2008

Professional Photographer May 2008

Professional Photographer November 2008

Professional Photographer UK April 2008

Professional Photographer UK February 2008

Professional Photographer UK March 2008

Professional Photographer UK January 2008

Professional Photographer March 2009

Professional Photographer February 2010

Professional photographer March 2010

Professional Photographer January 2009

Professional Photographer December 2009

Professional Photographer June 2009

Professional Photographer October 2009

Professional Photographer September 2009

Professional Photographer April 2009

Professional Photographer February 2009

Professional Photographer July 2009

Professional Photographer November 2009

Professional Photographer April 2010

Professional photographer June 2010

Professional Photographer May 2010

Professional Photographer May 2009

Professional Photographer January 2010

Professional Visual Basic 2008

Professional Visual Studio 2008

Recommend Documents