Professional Photographer December 2009

© James Baigrie DECEMBER 2009 | $4.95 QUALITY. VALUE. VALUE. QUALITY. Who says it has to be one or the other? Lab Co...

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© James Baigrie

DECEMBER 2009 | $4.95

QUALITY. VALUE. VALUE. QUALITY. Who says it has to be one or the other?

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PASTEL

PENCIL SKETCH

COLOR PENCIL

P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

Get a life

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

BUILDING A BUSINESS TO SCALE

LESLIE HUNT [email protected]

It’s more than a touch ironic that the people devoted to

editor-at-large

photographing everyone else’s most precious family moments

JEFF KENT [email protected]

miss many of their own. Few outside this industry would guess that hanging up your shingle as a professional photographer—which from afar seems like a dream career—means adopting a staggering schedule. And with the ho-ho-holidays, December is an especially stressful month for most photographers. Long after the photo session ends, photographers are parked at their workstations, editing, retouching and producing. Then there are presentation picks, sales sessions, running the business, endless networking for new business … the list of responsibilities required of pro photographers is nothing if not daunting. Of course, the more clients you bring in, the more challenging it becomes to balance your personal life with your jammed work life. “My business had taken off like a horse. I was holding onto the reins, but I was being dragged through the dirt,” says Davina Fear in this month’s feature story on creating your most peaceful work/life mix and avoiding burnout. A wedding and portrait photographer in North Carolina, Fear decided it was time to stop the madness. We spoke with Fear and others like her who’ve been trying to demystify the secret of balancing their work lives and their personal lives. Turn to p. 80 to find out how photographers can rescue their lives from the jaws of their business, and vow to make a new beginning in 2010. � Cameron Bishopp [email protected] Director of Publications

KARISA GILMER [email protected] sales/strategic alliances assistant

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

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

northeast region ad manager

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

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

southeast region ad manager

BILL KELLY 404-522-8600, x248; [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 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com member services

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: $19.95 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 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; 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 3606, Northbrook, IL 60065-3606 Copyright 2009, 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.

4 • www.ppmag.com

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CONTENTS PROFESSIONAL PHOTOGRAPHER DECEMBER 2009

Features 96

INTO NEW TERRITORY To battle a slow economy, Gerry O’Leary took action By Stephanie Boozer

104

ON THE BRIGHT SIDE James Baigrie built a successful career through his positive, personal approach By Jeff Kent

74

CHILDREN: BRING ON THE SCAMP

Q&A with interactive child photographer Tamara Lackey By Audrey Woulard

80

WORK & LIFE: BALANCING ACT

Spec i Repo al rt

Have you been able to find peace in the work/life mix? By Lorna Gentry IMAGE BY TAMARA LACKEY

CONTENTS PROFESSIONAL PHOTOGRAPHER | DECEMBER 2009 | WWW.PPMAG.COM

14

FOLIO

59

IMAGING USA

115

PPA TODAY

130 GOOD WORKS

©James Baigrie

Departments C O N TA C T S H E E T 20 Joel Meyerowitz: Urban wild 22 Best photography books of 2009 26 Irving Penn: 1917-2009

by Ellis Vener 28 Stock Artists Alliance joins AVA

PROFIT CENTER 33 What I think: Gerry O’Leary 34 Ask the SMS experts 38 How we did it: Amber McAdoo 40 Find and seek: Craigslist

by Lindsay Adler

THE GOODS 45 What I like: Melaine Mauer 46 Travel bags: Lowepro gear bags

by Cheryl Pearson 52 Travel bags: Tenba Universal Roadie

by Michael J. McNamara 54 Lighting: Elinchrom Ranger

Quadra AS System by Ellis Vener 56 Lenses: Canon TS-E 17mm f/4L

and TS-E 24mm f/3.5L II Lenses by Ellis Vener

104

James Baigrie’s images are simply scrumptious, but that’s not all it takes

to succeed in commercial photography. You have to keep actively going after the work you really want. “The driving force behind [my] business is me,” says Baigrie.

8 • www.ppmag.com

ON THE COVER: Commercial and travel photographer James Baigrie captured this image for the cover of the 2008 book, “Kids in the Holiday Kitchen” (Chronicle). He photographed it in natural light at about f/8 for 1/4 second, as he recalls, using a Phase One medium-format digital camera back. “We tried the gingerbread men in all sorts of ways, but eventually decided that shooting them from above best illustrated their individual personalities,” Baigrie says. Cover image retouched by Jim DiVitale, M.Photog.MEI.Cr., API, F-ASP

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directors SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI [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

2009-2010 PPA board president *RON NICHOLS M.Photog.Cr., API [email protected] vice president *LOUIS TONSMEIRE Cr.Photog., API [email protected] treasurer *DON DICKSON M.Photog.Cr., CPP [email protected] chairman of the board *DENNIS CRAFT M.Photog.Cr.Hon.M.Photog., CPP, API, F-ASP [email protected]

12 • www.ppmag.com

RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected] CAROL ANDREWS M.Photog.Cr., ABI [email protected] SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected] TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] DOUG BOX M.Photog.Cr., CPP, API [email protected] DON MACGREGOR M.Photog.Cr., API [email protected] MICHAEL GAN M.Photog.Cr., CPP [email protected]

industry advisor KEVIN CASEY [email protected]

WILDA OKEN Director of Administration [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected]

BETSY REID Director of Education [email protected]

SCOTT KURKIAN Chief Financial Officer [email protected]

COREY B. SHELTON Director, Web Strategy & Development [email protected]

THERESE ALEMAN Director, Marketing and Communications [email protected]

LENORE TAFFEL Director of Events [email protected]

CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected]

BING ZENG PPA China Managing Director [email protected]

CAMERON BISHOPP Director of Publications [email protected]

SANDRA LANG Executive Assistant [email protected]

SCOTT HERSH Director of Sales & Strategic Alliances [email protected]

*Executive Committee

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.

©Connie Jarzyna

CONNIE JARZYNA Connie Jarzyna, of Timeless Images Photography in Shelby, N.C., created “Garden of Eden” from several images. The main image, a tree in San Antonio, was captured with a Canon EOS 20D camera and a Canon 24-70mm f/2.8 L USM EF lens, exposed for 1/60 second at f/5.6. Each of the embedded images was shot in natural window light for 1/30 second at f/2.8. “The tree reminded me of the Garden of Eden,” says Jarzyna. “It tells a story about the human race … there are times when we all want to take that bite!”


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©Margaret Bryant

MARGARET BRYANT “The Colors of Sophie” is part of a year-long album project by Margaret Bryant, M.Photog., of Margaret Bryant Photography in Carrollton, Texas. Shooting with a Nikon D2X and Nikkor 28-70mm f/2.8 ED AF-S Zoom lens, Bryant captured a series of images of her whippet, Sophie. She used two Dynalite 1000DR flash units, one with a 4x6-foot Larson soft box, the other with an umbrella, and six colored backdrops. “She has a great personality and a beautiful body,” says Bryant. “I love being able to capture the curves of her body.” www.bryantdogphotography.com KIM CRITCHFIELD Kim Critchfield, of Kim Critchfield Photography in Twin Falls, Idaho, was making his annual trip with the Adventurer’s Club, a group of Utah and Idaho photographers, when he found this serene morning vista near Jackson, Wyo. He captured “High Mountain Morning” for 1/100 second, at f/11, ISO 200 with a Nikon D200 fitted with a Tamron 28-75mm f/2.8 SP AF Macro XR Di LD-IF lens. He performed minor enhancements with Nik Color Efex Pro 3.0. www.kimphoto.com

©Kim Critchfield


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Sara Kauss | Sara Kauss Photography 2009 We Are Miller’s Ad Contest Winner!

I am Sara Kauss I Am Vibrant In every photo my goal is to capture dramatic emotions and vivid color – the kind that scream “look at me!” If the image is black and white, the emotion felt is dynamic and powerful enough to be read without color. If the image is color, I want every spectrum of the rainbow to pop in the photograph. I Am Crazy …about weddings! Being a bride is one of the most amazing journeys in a woman’s life. I have been there. From the gown to the fabulous shoes, each bride has poured her heart and soul into this day for over a year. I am honored and excited to share this emotional day with them; then even more excited when they are in awe over their Miller’s fantastically-created Flush Mount Albums and flawless Prints. I Am Driven Success in photography is not just about taking good photos. It is about marketing to the right clients and maintaining relationships with them. With Miller’s press-printed products, I’ve created note cards, thank you cards, and sample albums. I can be confident that with these superior pieces, the first impression anyone has of Sara Kauss Photography will ooze quality. And in short runs, marketing pieces are easily refreshable, keeping my business from ever being boring! I Am A Photographer It’s what I do, it’s what I love, it is me, 120%. My lab is Miller’s because it is evident they are 120% passionate about quality and customer service. Just like me. I am Miller’s My lab is Miller’s Professional Imaging because I Expect More.

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CONTACT SHEET What’s New, Cool Events, Interesting People, Great Ideas, Etc.

Joel Meyerowitz documents the parkland of five boroughs

All images ©Joel Meyerowitz


BY LORNA GENTRY

Urban wild

More than three years ago, Joel Meyerowitz

Meyerowitz began the parkland project in

disembarked from a canoe on the ivy-choked

the city’s cultivated green spaces, but an odd

shore of North Brother Island, the uninhabited

déjà vu made him rethink his approach. “I

island in New York City’s East River. After

had the revelation that this is a wilderness

touring the island, he decided to accept an

project [but] within the boundaries of the

unusual assignment from New York City Parks

city. I had a feeling of being far from the city

Commissioner: Photograph the 29,000

itself. Maybe that’s what city dwellers need to

acres of parkland in the city’s five boroughs,

survive living in urban density. It gave my

the first commissioned since the 1930s.

project shape and meaning,” says Meyerowitz.

Three years later, that project has yielded

Out in the wilds, Meyerowitz shot with a

a book, “Legacy: The Preservation of

large-format 4x5 view camera and a 120mm

Wilderness in New York City Parks” (Aperture),

lens, and a Mamiya 6x7 camera outfitted with

and an exhibition at the Museum of the City

a 90mm lens. Nearly all the images were cap-

of New York through March 7. Throughout

tured on Fujifilm ASA 160 color negative film.

his long career, Meyerowitz has documented

The exhibition prints are large, some as

his hometown of New York, from street life

great as 10x12 feet. “I tried to create an environ-

in Manhattan in the 1960s, to the cleanup

ment that would give visitors a visceral expe-

after 9/11 (“Aftermath: The World Trade

rience,” says Meyerowitz. The magic, he adds,

Center Archive,” Phaidon Press, 2006).

is that the real thing’s just a subway ride away.

“These projects are a way for me to give

To see more of Joel Meyerowitz’s work, visit www.joelmeyerowitz.com.

back to New York,” he says.

December 2009 • Professional Photographer • 21

CONTACT SHEET

Best of 2009 Fine photography books to add to your collection l

LORNA GENTRY

This year’s crop of books is richly varied.

photographic study of this uninhabited

Here’s a look at some of the most inspiring,

region. Steinmetz’s aerial photographs of

witty, resourceful and reflective of them.

sandscapes, sculpted by wind and earth

Looking powerful in superbly executed black and white, Ernest Hemingway stares

shifting over millennia, are otherworldly. Also from the Getty Publishing is “The

“Empty Quarter: A Photographic Journey to the Heart of the Arabian Desert,” by George Steinmetz

from the cover of “Regarding Heroes” (David R. Godine), a new book of portraits by the late legendary portrait photographer Yousuf Karsh. The book, along with an exhibition earlier this year, celebrates 100 of Karsh’s favorite prints from his nonpareil canon of work. One of the most admired portrait photographers of the 20th century, Karsh took many of the world’s now iconic photographs of celebrities and world leaders. Arguably the most notable is of Winston Churchill taken in 1941. Like the Hemingway portrait of 1957, the Churchill portrait illustrates Karsh’s inimitable gift for showing us the humanness of our heroes. Portraits of another legendary 20thcentury photographer, Irving Penn, who died in October at age 92, are beautifully

“Regarding Heroes,” by Yousuf Karsh

“The Digital Print,” by Marin C. Jürgens

“Small Trades,” by Irving Penn

“Horses of Qatar, The Legend of Al Shaqab,” by Vanessa von Zitzewitz

reproduced in “Small Trades” (Getty Publications). These portraits of skilled trade workers were inspired by a 1950 Vogue magazine assignment. Penn spent two years photographing in Paris, London and New York, and decades printing these portraits, which constitute his most extensive body of work. More than 200 prints are reproduced in this finely executed tribute to a master. An exhibition of the portraits is on view at the J. Paul Getty Museum in Los Angeles through January. For “Empty Quarter: A Photographic Journey to the Heart of the Arabian Desert” (Abrams), George Steinmetz took his digital camera to the skies again in his trademark motorized paraglider, this time flying over the largest and hottest sand desert in the world. It’s the first extensive


You spend time photographing other people’s families.

Now spend some time with your own.

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CONTACT SHEET Digital Print,” by Marin C. Jürgens, a specialist

ing eye to isolate shapes and long exposures

in the conservation of historical and

to flatten and smooth, Levin creates a

contemporary photographic materials and

unique visual experience.

digital prints. This reference book takes a

In another tribute to a French gem,

comprehensive look at printing processes of

“Cartier I Love You” (teNeus), Bruce Weber

the past 40 years, including digital print

celebrates the 163-year-old luxury brand’s

technologies. The book helps readers

100th year in America. Weber photographed

identify materials and processes and gives

and art directed this lush paean to the

practical tips on preserving digital prints.

Cartier style. The book combines images

Also from the desert comes “Horses of

from the Cartier archives as well as Weber’s.

Qatar, The Legend of Al Shaqab,” by

The gold-embossed red cover and case are

Vanessa von Zitzewitz (teNeus). Zietzewitz,

designed like a Cartier jewelry box.

an equestrian herself, was given unfettered access to the Arabian horses housed in the

Lorna Gentry is a freelance writer in Atlanta.

“Emmet Gowin: Photographs,” by Emmet Gowin

legendary Al Shaqab stables in Qatar. For two years she photographed these exquisite horses’ daily routines. Included are stunning photographs of horses swimming, running in the desert, and giving birth. East African animals and landscapes are the subject of Nick Brant’s “A Shadow Falls” (Abrams). Brant romantically renders in beautiful tritone photographs a vanishing way of life. Through his animal photography, which is as respectful and tender as any human portraiture, Brant hopes to raise awareness of the plight of African wildlife. Color, of course, dazzles in “William

“A Shadow Falls,” by Nick Brant

“Zebrato,” by Michael Levin

Eggleston: Paris” (Steidl). Eggleston, nicknamed the “Father of Color Photography,” spent three years interpreting one of the most photographed cities on earth. Eggleston’s Paris is shown in every season in vivid detail. In “Emmet Gowin: Photographs” (Steidl), 68 black-and-white images by Gowin, first published in 1976, reveal a sharp and loving look at his wife, family and rural Virginia, where he grew up. Gowin’s early influences —Walker Evans, Robert Frank, Frederick Sommer, Harry Callahan—are evident in photographs that at times resemble family snapshots, but show a critical eye reminiscent of fellow Southern storytellers Carson McCullers and Eudora Welty. Michael Levin’s penchant for geometric design is captivating in his new book, “Zebrato” (Dewi Lewis). Using his discern-


“William Eggleston: Paris,” by William Eggleston

“Cartier I Love You,” by Bruce Weber

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CONTACT SHEET ©Douglas Kirkland/Corbis

sense not only Penn’s full engagement with the subject, but also the power of the subject’s full engagement with Penn. The tension is nearly palpable. You can see it in his portraits of Pablo Picasso taken in 1957, of members of the San Francisco chapter of the Hell’s Angels from the mid-1960s, and in his gentle portrait of two Peruvian children from his “Worlds in a Small Room” portfolio. Even that simple title holds deeper meaning. Camera is Latin for small dark room; what is a camera if not a small dark chamber, lit occasionally by a flash of light entering through a small hole in the wall, then rendering an image from outside onto the opposing wall? And what is our consciousness if not that, too? Sometimes when people describe a photograph they like, they speak of its painterly qualities. You cannot say that of an Irving Penn photograph. His pure photographs resemble no other form of art. Penn understood that the immense power of photography is its ability to describe a thing in fastidious detail, and he exploited and pushed photographic processes and mediums as hard as anyone ever had to achieve this. Exploiting the possibilities of light and shadow, propping and gesture, and through unwavering concentration to experimentation and exploration, Penn re-invented and

Irving Penn photographed by his assistant at the time Douglas Kirkland, 1958, New York.

An appreciation of Irving Penn June 16, 1917 - October 7, 2009

popularized the once-dead art of platinum printing. In these works, you sense how his meticulous devotion to detail transmutes a mere reproduction into an object valuable in its own right, without getting in the way of clearly communicating the essence of the

BY ELLIS VENER

person or thing in the photograph.

Irving Penn, born June 16, 1917, in Plainfield,

rich and unfailingly elegant. His images

N.J., died not far from there at his home in

could crackle with a dry wit that makes it

fresh and startling experience. His insistence

New York City on October 7. He was a

easy for viewers to get the point of the photo-

on using photographic tools and forms as an

photographer and a devoted husband,

graph very quickly, yet also conceals a larger

intensified way of seeing somehow keeps the

father, and grandfather.

idea. Getting an image to that point of outward

subject of the photograph continually alive

Each viewing of a Penn photograph is a

Penn photographed people, famous and

simplicity involved painstaking technique—

and in motion, though it’s frozen in a still

obscure; objects of great value and rubbish

days spent honing an apparently simple still

image. As humans and photographers, we

of no value at all. His photographic style was

life, weeks working toward a final print.

owe an incalculably large debt to Irving

straightforward and spare, yet graphically


So, too, was his way with portraits. You

Penn and his achievements.

CONTACT SHEET

Stock Artists Alliance joins AVA Merger with Alliance of Visual Artists beefs up numbers for advocacy, education and networking

Photographers of America (PPA), Society of Sport and Event Photographers (SEP), Evidence Photographers International Council (EPIC), Student Photographic Society (SPS) and Commercial Photographers International (CPI).

The Stock Artists Alliance (SAA) has merged

45,000 professional photographers world-

with the Alliance of Visual Artists (AVA), an

wide. SAA is the sixth association to join

AVA associations,” says AVA Chief

umbrella organization representing some

the AVA family, joining Professional

Executive David Trust. “By joining

“This is an exciting time for all of our

together, each of our associations is able to

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keep a unique identity, while tapping into operating efficiencies and economies of scale. And that translates into greater benefits for all members.” One of the most significant and immediate benefits of the merger affects the associations’ impact on Capitol Hill. A longtime active proponent for copyright, SAA joins AVA’s more aggressive and wellfunded lobbying campaign, giving all six associations a greater voice. Current advocacy efforts are focused on the national debate on health care and its accessibility to photographers and other small businesses, and spreading the procopyright message. “We are witnessing a revolutionized business model,” says Shannon Fagan, president of SAA. “Stock photography licensing has evolved and methodologies have changed … It is our duty as active professionals to retool, rethink and realign our goals. We are extremely proud of SAA’s success, and we are pleased to align ourselves with AVA to give our members the best opportunities for sustained growth and leadership in this rapidly changing industry.” The merger also opens new educational

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and networking opportunities for SAA members, who now have access to the bundle

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of AVA’s member benefits. Looking ahead,

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be added to Imaging USA 2010. SAA is the only trade association focused on the business of stock photography. Learn more at www.stockartistsalliance.org.

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P R E S E N T S

Business, Marketing and Sales Strategies

What I think Gerry O’Leary rebuilt a career in a new country What do you wish you’d known when you were starting out? The significance of a business plan. If you don’t have a destination, you will never get there. A business plan is your road map. What’s the biggest business risk you’ve ever taken? Well, I gave up a well-paying, secure job in San Francisco, flew half-way round the world [to Ireland] with my wife, eight months pregnant, bought a house, and set up a new business to pursue my favorite hobby, photography. What’s your deal breaker? Copyright. Clients regularly ask for copyright of my images. I always say no. Photographers should stick together and protect their rights. What do you consider your big break—the turning point? When I specialized. A photographer can’t be all things to all people. You will never get recognition or be successful. Pick a niche genre and become an expert in that area. IMAGE BY GERRY O’LEARY WWW.GERRYOLEARY.COM


PROFIT CENTER

ST U D I O M A N AG E M E N T S E RV I C E S

From left to right: Julia Woods, M.Photog.Cr.; Bridget Jackson, manager of PPA Studio Management Services (SMS); Scott Kurkian, PPA chief financial officer and founder of SMS; Ann K. Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI; Carol Andrews, M.Photog.Cr., ABI.

GURUS FROM PPA'S STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS, MARKETING AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.

Ask the experts Brochure on a budget, building a studio, state sales tax Q: I’m a part-time photographer working to become full time, and I love the boutique studio idea. In my small business, I try to create a great experience, in the session, with my simple product line, and my packaging. I’d like to add elements like custom-designed price guides or brochures of my work, but I’m not a graphic designer. I love the Bella Graphica line, but it doesn’t fit my budget. Where can I get help creating such pieces? A: With your maturing business, you’ve got to base your desires on the financial truth. It’s tempting to believe spending more will get you your dream studio quicker, but that’s not reality. It’s healthy to invest five percent of your total gross sales on marketing, no matter the size of your business. You may choose to invest the owner’s compensation in marketing for the first year only, and only if you’re generating income from another job. Develop an annual marketing plan that specifies how you will spend that five percent. There are beautiful, inexpensive alternatives to custom-designed brochures, such as drag-and-drop templates from Marathon Press and other companies. You can print small runs of 350 to 500 brochures for about $1 apiece to use sparingly at special displays or events. To stretch your marketing dollar while maintaining your boutique style, choose a brochure design that allows you to add inhouse printed marketing pieces, such as gift certificates for clients to pass on to friends. Enhance the perceived value of the certificate by making it look and feel special. You could laminate it and round the corners


with a corner cutter (available at craft stores). It takes time and work, but I’ve seen extremely creative, attractive materials made on very small budgets. —Julia Woods Q: I have the opportunity to build a studio behind my house. I’m looking for advice on the dimensions of the building and the features it should include. I’m considering building a 25x40-foot, single-story space to include a studio, reception/sales area, office, storage, changing/bath room, and kitchen. I want a wall with optional natural light, and a 16-foot ceiling. I do all types of photography, and the studio needs to be suitable for whatever jobs I get. Can you point me to the right resources? A: Well, how much is a wedding? Is it for 15 people at home or 500 guests in a ballroom? In other words, it all depends. I hate to sound like a wet blanket, but only the numbers will give you the answer to your questions. You sound clear on what you want, and the function of the space. In estimating the cost and making a budget, add details such as track lighting, display materials, monthly utilities, taxes. Then—and here’s the important message —determine how much business is required to pay for and maintain your dream studio. A whole lot of photographers these days are wishing they’d done the math before they built. In my opinion, you must build conservatively and creatively. Otherwise, your studio construction could bankrupt your business. Take the time to review your plans with your business consultant. Do careful and generous

projections, then perhaps contact one of the SMS accountants to review your business finances before you begin. Once you get the go-ahead, make a plan and stick to it. Good luck! —Carol Andrews Q: I live and registered my business in the state of New York. I have clients living in New York whose wedding will be out of state. Which state’s sales tax do I collect? What state tax do I collect when clients live in and hold their wedding in, say, Connecticut or New Jersey? Does it depend on the clients’ state or the location of my business? A: New York state requires you to collect and remit sales tax on products delivered in New York. If your New York-resident client receives her products by mail at her residence or picks them up at your NYC studio, you should collect and remit the sales tax on those products. If your clients live out of state and your products are delivered to their out-ofstate residence, you do not need to collect or remit sales tax on those products. Do not encourage clients to have products delivered to an out-of-state address as a way to save money, though. New York State sales tax laws require the collecting and remitting of sales tax on services when a tangible property is a result of the service. For instance, a DVD included in a wedding package is considered a product, and therefore the total package price would be taxed for state sales tax purposes. � —Bridget Jackson Got a question? The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

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PROFIT CENTER

BY JEFF KENT BY JEFF KENT

After a reality check, Amber McAdoo cuts costs, works less, and makes more money for herself. What a concept!

In 2004, Amber McAdoo left college with a degree in photography. By May 2005, she’d settled back into her hometown of Benton, Ark., and opened a portrait and wedding studio in a retail space. Business came right away, and her burgeoning workload soon had her shooting seven days a week and working on the computer most evenings. “I was taken off guard by the amount of time the business required,” says McAdoo. “I started to think, how can I make it more efficient so I don’t have to work every night?” In July 2006, McAdoo attended PPA’s Make More Money conference in Phoenix, where she heard Ann Monteith, M.Photog.Cr., Hon.M.Photog., CPP, ABI, API, A-ASP, Hon.ASP, speak about effective business management. When Monteith told the audience there was a formula for pricing photography, McAdoo listened closely. “I knew I needed to raise my prices, but I didn’t know how, and I was scared,” she says. “I didn’t understand that I was supposed to pay myself for my time. My studio kept getting busier, but I wasn’t seeing the profits. I thought the answer was to just keep shooting more and more.” To keep up with the breakneck pace, she added two full-time employees to the parttime assistant she hired in 2006. Still, by the end of 2007, she was working day and night, and seeing no significant uptick in net profits. Her cost of sales (COS) grew from an already bad 30 percent to 39 percent in 2007, 14 points above the PPA benchmark for retail studios, partly because one of the employees did only production work, so that salary went into the COS. Meanwhile, McAdoo hadn’t raised prices, so the ratio of her COS to gross revenue was getting even more out of balance. She was shooting more sessions, but she was also spending more money on making each sale. So, while her gross revenue went up, her net profit and sales average actually went down. When McAdoo came to SMS in 2007, her consultant, Bridget Jackson, saw a photographer on the brink of a burnout. “She was overworked,


and her employee expenses and cost of sales were killing her business,” says Jackson. “At her existing prices, the more she photographed, the more money went out the door.” Raising prices was the priority in turning things around. As prices increase, COS decreases: COS is determined by dividing the total cost to produce the product by the gross revenue collected for it. McAdoo gradually edged up her prices in 2007, and in 2008 she bumped them up significantly. As new, higherpaying clients began to replace McAdoo’s first, bargain-hunting clients, studio profits jumped while COS plummeted. In one year, McAdoo’s COS dropped from 39 percent to 26, almost achieving the SMS retail benchmark of 25 percent. Next up, McAdoo had to refine her in-house production flow and trim employee costs. She’d hired those three employees because she was busy, but her revenue did not justify the additional expense. Outsourcing certain tasks made better financial sense because McAdoo could scale the costs of production to specific needs, rather than having to pay a salary regardless of slow times when the employee was idle. McAdoo saw as well that in charging more, she could make the desired gross revenue with fewer sessions—fewer sessions, less production required, lower COS, higher net profits! And with a less crowded schedule, McAdoo would have the time to develop a more efficient sales strategy. Her new three-part sales tactic— scheduling a pre-session consultation, a portrait session and a projection sales session—brings in significantly higher sales averages for McAdoo. In 2007, she grossed about $840 per session; that jumped to just over $1,300 in 2008, and then hopped up to $1,600 in 2009. The increases have helped McAdoo cut total session bookings and boost gross revenue. In ’07, she photographed 211 sessions. In ’08, she photographed only 120 sessions yet grossed about $7,000 more. Projections for 2009 show

Amber McAdoo

slightly fewer sessions than the previous year, with a consistent gross revenue. Prior to renovating the workflow, McAdoo buried herself in Photoshop work, retouching every image. Now she selects 40 images from each session and retouches her favorite 10. Presenting those 10 favorites as artist’s selections, she guides her clients through the sales session, showing only images they’re likely to buy. “It only confuses the consumer to show so many images,” says Jackson. “They don’t know about the 60 images from the session that you didn’t show. They want you to streamline the process for them. They are paying you for your artist’s picks, those select images that you prepared just for them.” Midway through 2009, McAdoo had a baby and needed a set schedule more than ever. She now does afternoon sessions on Mondays and Tuesdays, morning sessions on Thursdays. Wednesdays are for consultations and order fulfillment, weekends free unless she does a wedding. Workdays end at 6 p.m. McAdoo continues to decrease costs and increase her bottom-line profits (owner’s compensation + net profit). Labor is down to one part-time employee. From 2006 to 2007, her bottom-line profit hovered around 30 percent, five points lower than the SMS benchmark, but in 2008, McAdoo took home 45 percent of her gross revenues, and it looks like 2009 will be even better. �

Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Amber McAdoo online at www.mcadoophoto.com.

©Amber McAdoo

How we did it

PROFIT CENTER

B Y L I N D S AY A D L E R

How photographers can capitalize on Craigslist

Gigs > Event: I had two days of grand opening events for my new studio location.

Find and seek

One day coincided with our town’s annual Strawberry Festival taking place all around the studio. I urged people to come in and

On Craigslist.org, an online classified listing, you can find just about any goods, services,

Craigslist in my business: Community > Artists: When I took a trip

take a look at my work. I was able to explain packages, sell prints, and also do a promo,

jobs or personnel. Get creative, and you can

to California, I asked fellow artists in the

photographing children with those baby

use it to help your photography business grow.

city I was visiting to recommend interesting

ducklings. The studio is run by my mother

It’s a much more practical tool than most

things to photograph in the area. I got

and me, and there was no way we could

people realize; for some of us, it’s a lifesaver.

several helpful responses. I’ve also found

handle all this. Craigslist solved our problem.

postings from galleries looking for artists to

I put out an ad in the Event section calling

city to help narrow your search to the areas near

feature, and subsequently had my work

for promoters for my event to give tours of

you. If you need a particular something outside

displayed. Go to Community > Classes if

the studio, walk around the festival and bring

your environs, simply navigate to the nearest

you’d like to find a part-time gig teaching

people into the studio, hand out promotional

city, or even access listings in other countries.

photography, or list classes of your own.

materials to families, and help wrangle the kids

The material on Craigslist is grouped by

Craigslist further divides the city’s listings

For Sale > Wanted: Various photo shoots

and the ducklings for the shoot. In exchange

into categories: Community, Personals, Forums,

have required unusual props. I’ve asked for

for seven hours of help, I gave the assistants

Housing, For Sale, Services, Gigs, Jobs and

and found an antique chair, a large framed

a photo shoot of their choice—a model

Resumes. Users can post and browse classifieds

mirror, military memorabilia, even

portfolio image, family portrait, even a pet

in any section. You can post most items free

ducklings. Other users will use the e-mail

portrait. They got five retouched images on

of charge, although there’s now a fee for full-

link to inform you they have what you’re

a CD. The response was overwhelming. I

time job ads (but not gigs).

looking for. Feel free to negotiate.

hired five people, and they brought in tons

There’s virtually no word limit for classifieds,

Jobs > Art/Media/Design: I periodically

of folks from the festival, and helped the day

and you can post them anonymously. When

scan this section to see what creative jobs

run smoothly. Notice that it cost me no

people reply to your post, it’s done through

are available. Aspiring photographers might

money to hire them, and I got to select from

an automated, spam-proof e-mail created

find opportunities to work at a studio or in

a varied pool of candidates.

for that posting.

photo-related jobs. This section is intended

At one time or another, I’ve used nearly all of the classified sections in my business, finding

for ongoing employment. Services > Creative: List your photographic

Gigs > Creative: This is the place to find short-term jobs, like photographing a sports event, award ceremony, or product shoot.

both photography work and helpers. I suggest

services here. Many photographers do, so

For my model portfolios and fashion shoots,

browsing the various sections of Craigslist to

make your post stand out. Include your

I might post a gig for a hair and makeup

get ideas on how it could be of use to you.

unique selling point in the title of the

artist here. The Talent section is a good

classified, and list your specialties.

place to find models to practice your

Here’s some particulars on how I’ve used

portraiture techniques on. These are the sections I use most often. I

YOUR FIRST POST ON CRAIGSLIST.ORG

can think of dozens of reasons photog-

Go to Post to Classifieds and choose the section that best fits your classified; e.g., for a onetime assistant, go to Gig Offered; for a prop you need, go to Item Wanted; for a studio employee, go to Job Offered (one of the few listings with a fee). You’ll be prompted to write a title for your post—think of something attention-getting—plus a location and a description. Then you’ll be prompted to list it as Pay or No Pay, and to choose whether to post your own e-mail address or use a Craigslist-generated anonymous address.

For Sale > Photo + Video and Services >


raphers might use other sections, including Lessons. Make it work for you! � Lindsay Adler is a professional fashion and portrait photographer in New York and London. See her work at www.lindsayadlerphotography.com.

“When you’re photographing kids, you’ve got one shot at it. You have to be ready for the serendipity that kids do. It’s terrible to try to get great shots with a camera in front of your face. That’s why I use the PocketWizards all the time. They free me-10… not just from tripping over wires, which you have to be very careful about with kids… they let me have the interaction that gets the natural poses I want. I have a PocketWizard built into my strobes. I have a Plus II on my camera. And I can fire both from the PocketWizard in my hand.” Jack Reznicki on the PocketWizard Plus II Transceiver

© Jack Reznicki

See Jack Reznicki’s photo shoot > PocketWizard.com

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Ideas to help your business grow

1

Be a storyteller Go beyond taking a portrait and create a series of images that tell a story. Creating a variety of images that portray the different relationships in a family gives you the opportunity to sell the wall grouping that tells that story. Go into a client’s home using Bay Photo’s Studio Success Kit to show how small an 11x14 will be over the fireplace and how much more dynamic a 30x40 could be. With Bay’s Studio Success Kit you can choose among four options that can be popped into frames and displayed in your client’s home to help them choose what size wall portrait or what size prints will best show their family in a wall grouping. Visit bayphoto.com

3

2

Generate new

Create a press-printed book for each session and present it at the ordering appointment. Use press-printed book templates from Focused by WHCC to design beautiful books quickly and effectively. Your clients will love the immediate gratification of a custom finished product of their images. When your client comes to pick up her order, surprise her with a set of art wallets or fine-art cards. The wallets can feature a favorite image from the session along with your website or studio logo. The cards display a fine-art image on the front and are blank on the inside. The backs of the cards contain information about the image, the artist and your studio. Visit whcc.com

Let’s face it, creating a comprehensive marketing campaign can sometimes be intimidating, but it’s more important than ever to market your studio in today’s economy. At Miller’s, we’ve taken steps to make the elusive marketing process as painless as possible with a solution called MarketNow. With MarketNow, you can: Research a segment; purchase a mailing list based on your prospects’ life stages and income; use one of our professionally designed marketing pieces, including postcards, e-mails, and referral inserts, customize the free templates with your own images, and send the finished pieces to Miller’s for discounted printing. In just four easy steps, you are well on your way to implementing a campaign for your studio and generating more business. Visit learnmarketnow.com

Surprise your clients!

5

Master your craft It’s very important to know your camera gear as if it were an extension of your body. When you’re working with clients, you want to be attentive to them, not distracted by your cameras. That’s why it’s vital to keep learing, taking classes for the technical, marketing, business and creative sides of photography. To improve your craft, use the Canon Digital Learning Center, an online educational website available to you 24-7. Visit usa.canon.com/dlc

4

business

6

Protect your quality Make sure your images are printed at a pro lab, even when the client makes prints. When photographers sell packages that include certain usage rights, often the main concern is that the customer will have prints made at a discount chain or on a personal printer. A poor print reflects poorly on your great images. Many MpixPro customers license their images with the recommendation that the photos be printed at Mpix, where you will be assured the customer is receiving the highest quality prints available from a professional lab. The coolest thing? Customers will be paying prices that are competitive with discount chains. Mpix will make you and your images look great! Visit mpixpro.com

Stage your studio Turn your studio into a sales tool. Display your products on walls and in printed products throughout. Update your studio setting with the seasons. Seniors will feel more comfortable in a setting designed with teens in mind. Families will look for gallery wraps, memory books and holiday cards as they anticipate their holiday photos. The best sales tool for a restaurant is a dessert tray. A photobook featuring templates from Graphic Authority’s “Rockstar” series may be just the right appetizer to earn your studio the job. Visit graphicauthority.com

7

Outsource tasks Take a look at your life and business and ask the sometimes hard question: Can someone else do this for me in less time than it takes me to do it? Outsourcing parts of your business (album design, post-production work, order fulfillment) and your personal life (house cleaning, landscaping, food shopping) frees up your time to do what you do best — shoot and market your business. Collages.net offers album and book design for $1 an image. Visit collages.net

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What I like Melanie Mauer knows it’s the brain that makes the image What makes your workflow flow? First, Lightroom. I’m excited about Version 3. If you aren’t using Lightroom extensively, check out D-65.com for a great workshop. Second, running batches in Photoshop during the time I’m away from my computer. Third, having production help from my terrific production manager. What’s the best equipment investment you’ve ever made? Good lenses. They’re an investment that holds its value from year to year. What hot new product are you going out of your way to use? I want to check out the bags that Kelly Moore and Maile Wilson have been working on. (www.kellymoorephotography.com; www.dailyrelish.squarespace.com) Has a piece of equipment ever changed your approach to photography? I’m firmly planted in the “it’s the brain behind the camera that makes the image” camp. I love how Canon’s newest cameras allow more free expression of that mentality with sensors that soak up all the available light. I love my two Canon EOS 5D Mark II bodies! I wouldn’t have been able to survive as a professional photographer without my … Dansko shoes. They won’t win any style awards, but they keep my feet—with crazy high arches—happy through a long day of shooting. IMAGE BY MELANIE MAUER WWW.MELANIEMAUER.COM


THE GOODS: TRAVEL BAGS

We take samples from three new lines of Lowepro travel bags—the Versapack, Outback Series, and Magnum Series—for an international test run.

body, 24-70mm and 70–200mm lenses, as well as my flash. I could have easily fit another medium size lens in the bag. The top section has a lightly padded

BY CHERYL PEARSON

zipper compartment and exterior storage

Load bearing objects

areas for small accessories. The inside has a

LOWEPRO BAGS

smaller storage area that can easily fit a camera manual, additional batteries, or media cards. There’s also a hook near the top right side of this pocket that adds convenience for securing keys or a media card holder. The lower area of the bag has a sturdy cushioned frame for camera body and lenses. The divider that separates the upper and

Lowepro has three new lines of camera bags

VERSAPACK 200 AW

lower compartments features two media

suited for varying photographers’ needs: the

Although each bag could be intended for a

card holders, which are practical, but as

Lowepro Outback Series modular DSLR

different purpose, the Versapack 200 AW

with other bags I’ve tested, I wish there were

beltpacks, the Lowepro Versapack 200 AW

was my favorite of the three. This lightweight

more of them to make organizing my

dual-compartment DSLR backpack, and the

backpack was able to hold all my gear, and

additional media cards easier. There is

Magnum AW Series pro photographer

proved functional for long days of sightseeing.

ample space here for more, but since the

shoulder bags. I traveled with these bags on

The design is based on a traditional backpack

card holders are on the removable divider,

a recent international vacation, testing each

rather than a camera bag, which I

you lose this feature if you convert the bag to

bag in a variety of ways by plane, car, bus

appreciated, as it did not look like I was

a single compartment. I’d prefer to have the

and on foot, and also took them along to

carrying around expensive equipment.

card holders in the top portion of the bag.

photograph two weddings. Lowepro Versapack AW

The Versapack has a dual compartment configuration that can be converted into a

especially valuable in my travels. Removing

single storage section by removing the

the padded dividers allows the backpack to

padded divider. This is designed for you to

collapse and fold for easy packing inside

be able to swing the bag around to the front

other luggage. This was useful when I was

of your body with one harness strap still on

flying to a new location and needed to carry

your shoulder, and access the bag from its

a larger shoulder bag packed with more

side, which allows you to reach your camera

equipment. I was able to use the backpack

more quickly. This design is more versatile

for day excursions, packing only the gear I

than a single-compartment backpack, but

needed to bring along for that day. Another

taking the camera out while wearing the bag

beneficial feature was the all-weather (AW)

was a little cumbersome for me. With an upper interior compartment of 11 x 6.3 x 7.5 inches and a lower interior compartment of 9.8 x 4.7 x


Some of the customizable options were

cover, tucked away in a hidden compartment at the bottom of the backpack. On two occasions it rained throughout the day, but I was able to utilize the cover for added protection, and continue to sightsee without

8.3 inches, the

any problems. Also at the bottom of the bag

Versapack easily

is a built-in tripod or monopod holder that

held my Canon

can be tucked away in a small compartment

EOS 5D camera

if it’s not needed.

REVIEW: LOWEPRO OUTBACK 300 AW BELTPACK l The Lowepro Outback 300 AW is a very large (the interior compartment alone measures 10.6 x 6.7 x 11.8 inches) semi-rigid soft sided bag designed to be worn around your waist. It can hold a full-size pro DSLR camera with a 70-200mm f/2.8 lens attached, plus several smaller lenses and a speedlight and/or other accessories. And that is before you start using the two removable exterior pouches. The flat pocket on the front is useful for smaller accessories. The bag is designed so that when you are wearing it around your waist with the bag in front, the top flap opens facing you, and on the inside of the flap are four Velcro-sealed media card pockets. A rainproof cover is also included.

It is a fine bag to work out of once it is on the ground—you can get to everything quickly and keep your gear organized logically. It is even a fine bag to work out of when you’ve got it strapped on, but here’s the rub: you look plain silly when wearing it. It’s the sheer size of the thing. I’m a big guy (6’5” and 260 lbs), and the whole rig is as wide as my hips. Unless I was working outside in extremely cold weather and wearing heavy weather gear, there is just no way I’d walk out of my house wearing it the way the designers intended. Well, maybe I’d wear it that way if I was working in a really grimy industrial site, but that’s it. The permanently attached waist belt is heavily

BY ELLIS VENER

padded, and there are large D rings on both ends to attach the shoulder strap if desired. Given its name, I suspect city-dwelling photographers are really not the target market for the bag, which is kind of a shame because if the waist belt was removable this would be a great all-round working bag for photographers and multi-media pros on the go.

Fisheye joins the Lensbaby Optic Swap System. And another door opens.

photo by chris hornbecker



The Versapack proved to be especially practical whether I was sightseeing or

formal event. The Versapack 200 AW sells

and petite, I tested the Outback 100, the

for $119.00.

smallest option. The beltpack has a main

traveling from place to place. Even when

compartment with two modular side lens/

packed to capacity it fit under an airplane

OUTBACK BELTPACK SERIES

accessory cases attached by SlipLock loops.

seat. Though I did take this bag to photo-

Although the Versapack 200 AW was

This allows you to simply detach one or both

graph a wedding, I feel it’s too casual for a

appropriate for much of the outdoor

of the cases if you decide not to use them.

sightseeing I did on my trip, the Outback

With a main compartment of 6.7 x 4.5 x 9.3

Lowepro Outback 100 AW

beltpack allowed greater mobility.

inches, the bag had ample space for a camera

Securing the pack to your waist

body with a medium-size lens attached.

gives you more freedom to

The zippered flip-top lid contains two

comfortably carry your

media card holders on the inside—very

camera on long excursions,

convenient. Again, I do wish there were

hikes or bike rides. I used

more media card holders, but there isn’t

this pack on a day when I

room on the lid for additional card slots in

knew we would be

the 100 model. The side cases secured tightly,

sightseeing for several

yet they were easy to detach by expanding

hours in an area with many steps and hills. There are three Outback beltpack sizes, and since I am 5 feet 1 inch tall

the compression straps and pulling the pouches up and out of the holders. I found that with my small frame it felt more secure to carry the beltpack without the lens/ accessory compartments. In the small model, the side compartments also have limited space. My standard zoom lens fit in the pouch nicely, but my Speedlite 580 flash did not. This would not be a problem if you have a larger body frame and are able to use a larger bag. The Outback 200 and 300 AW have a few features that the 100 does not. The Outback 200 has a front pocket, mesh back pad and the option of converting the beltpack to a shoulder bag. The extra carrying option is one I would like to have on even the smallest bag. It would come in handy when I don’t have to carry it for long periods of time or need the extra support. The larger bags are converted by simply attaching the shoulder strap, allowing you to keep the belt strap connected for additional weight support. The Outback 300 AW contains the all-weather cover offered with the Versapack, as well as a thicker waist belt with a mesh back pad, and a larger front pocket for accessories.


My favorite element of this bag was the

suited to getting through airports and photo-

easy access. When I’m sightseeing I prefer to

graphing weddings. I was able to carry around

have my camera packed away when I’m not

additional equipment in a secure manner with

using it, so the top access lid allowed me

the Magnum 200 AW. This bag also has a

that security while letting me pull out the

professional look and is extremely durable.

camera quickly and start shooting. The size

The Magnum AW Series consists of

of the bag was useful in crowded areas and

three shoulders bags. The Magnum

when I wanted to move around more

200 AW is the smallest shoulder

quickly without having a larger backpack or

bag in the series, intended to fit a

shoulder bag in the way.

DSLR with a standard zoom lens

Overall, the Outback is a great mobile

attached, three or four lenses,

camera bag. It is a comfortable option for sight-

and accessories. With an interior

seeing or other outdoor activities where you

that’s 12.4W x 6.5D x 10.4H

require a specific set of gear. The design of

inches, it could hold Canon EOS

the bag is simple, durable and functional.

5D camera bodies, two standard

The Outback Series prices range from

zoom lenses and a Canon Speedlite

$59.99 to $129.99.

580 flash. Although it was a tighter fit, there was still room for other acces-

MAGNUM AW SERIES

sories. The bag has many movable padded

The Magnum 200 AW I tested was the best

dividers for custom configuration. In

Magnum 200 AW

Soft Focus for the Lensbaby Optic Swap System. The classic portrait lens reborn at 50mm.

photo by john panian



addition to the main storage compartment,

I found myself spending an extensive

most airline carry-on size requirements,

there are three zippered compartments:

amount of time carrying this bag around in

but the smaller bag with gear inside

two on either side of the bag and one in the

various airports. As someone with a small

wouldn’t always fit under the airplane seat.

front. The front pocket offers multiple

frame, there were a few features that were

The Magnum Series is well crafted

smaller storage spaces plus two hooks for

important to me. In other shoulder bags I

with attention to detail. The materials

keys and such.

have tested, the shoulder strap is not

are durable and robust, yet the bag doesn’t

There are a few other elements that

always comfortable. This strap, however,

feel too heavy—great for extensive travel.

make it an essential gear holder for a pro

was quite comfortable; it was able to

Lowepro calls this bag “the pro photog-

photographer. The bag includes two

conform to and bend around my shoulder

rapher’s toolbox,” and it proved to be just

smaller storage holders that are independent

yet still felt sturdy. The bag’s lid has clips to

that. Its features were quite useful, making

of the bag, one that was useful for addi-

lock the bag closed for added protection.

this bag the most all-inclusive package.

tional accessories and another for media

The clips opened easily and secured tightly.

cards. The media card holder has four slots

The back of the bag also has a trolley panel

for travel or use during a photo shoot or

on the outside with a zippered interior for

or sleeve that attaches to your luggage.

photographing an event. The Versapack

additional cards or materials. The draw-

This panel was thicker than those on other

and Outback are better suited and more

back for me remained the number of media

bags I have seen and proved to be more

versatile for outdoor activities and day-to-

card holders. Four card holders on each

secure—the bag did not shift, even when

day traveling. The Magnum was a good fit

side of this storage case would have been

the suitcase was tipped from side to side.

for what it is designed to do. The Magnum

valuable. The bag also contains a detach-

The small and medium bags in the

Series ranges from $199.99 to $329.99.

able lens cloth and the all-weather cover.

Magnum collection are designed to meet

www.lowepro.com �

Overall, the Magnum 200 AW is ideal

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The PPA “Special Risk” Photography Equipment Insurance Program is sponsored for the benefit of the members of the: 43887/42072/43891 I11025 (10/09) ©Seabury & Smith, Inc. 2009



When you’re heading to the other side of the globe, you need a bag that can get your gear there intact. BY MICHAEL J. MCNAMARA

Carry-on maximus TENBA UNIVERSAL ROADIE

Traveling with your photo gear can be a real

In size, the Universal model falls between

hassle these days, especially with airlines

the small and large Tenba Roadie rolling cases,

charging ridiculous fees for checking

priced $275 and $318 respectively. They’re

luggage and limiting the size of carry-on

made with similar materials and hardware,

bags to, for most airlines, 45 inches total, in

including relatively smooth-rolling, silent

height, width and length. You can’t expect to

wheels and durable extendable handle. All

safety and shock protection for gear in a

fit a medium-format camera system into a

feature removable padded dividers that can

lightweight, durable case. The outer pocket

regulation-size carry-on bag.

be adjusted with Velcro tabs, and the entire

will hold a 17-inch laptop computer, although

padded compartment in all three can be

for travel, a smaller laptop would be far easier

digital SLR body, flash system, several long

removed to turn them into conventional

to wiggle out of the pocket for an airline

or wide lenses, backup storage, even batteries

carry-ons for personal items.

security check. All three models include a

But, there is a case that will hold a pro

and chargers, and it will fit into the overhead

Tenba doesn’t cut corners on the hardware.

metal name plate, engraving optional.

storage space: the Tenba Universal Roadie

The padded dividers, handles, zippers, corners,

Rolling Photo/Laptop case, $392 MSRP

and air-channeled polymer internal frame

for international travel, and worth the extra

(www.tenba.com).

are all designed for professional use, providing

dollars. It’s designed to meet all major

The Universal model is the best suited

airline carry-on limitations for domestic and All images ©Michael J. McNamara

international travel—an important feature as size regulations on international airlines are more stringent than their domestic counterparts. For international flights, you’re typically limited to two carry-on bags, one large (up to 45-inches, H + L + W) and one smaller personal bag. Domestic airlines let you get by with a bit more. So, while you can squeeze more gear into the Large Rolling Roadie (at 46-inches total), and store it in the overhead compartment on most domestic

Nearly every item in this photo, including the underwater housing and lighting system, extra lenses, backup storage, and laptop, fit into the Tenba Universal Roadie bag. Only three items were packed elsewhere (see top photo).


jet flights, you’ll probably be forced to check it when you transfer to your

external hard drives, and other accessories. I also slid a 13-inch Sony VAIO Z series

framing. Despite the length and scope of the trip, the bag is still in next-to-new

international carrier, and pay $150 or more

notebook computer into the outer pouch and

condition, as is the equipment it carried all

on each outbound and inbound flight.

removed the tripod straps on the side to

those miles.

Some airlines, such as Qantas, actually

streamline the case and prevent snagging.

measure carry-on bags with a tape measure

With some business cards and a bottle of

with a bag such as the Universal loaded to

at the check-in counter. They also weigh it,

Excedrin Migraine in the small outer

the hilt, beware: It might meet size require-

which can set off a red flag.

pocket, I was prepared for the 28-hour trip.

ments, but it will certainly tip the weight

The case went from 11.5 pounds empty to

scale. The Universal weighed in at 18kg sans

44 pounds loaded.

laptop and folders—the limit was 7kg, about

I chose the Universal Rolling Roadie for a recent assignment for UNESCO on the Great Barrier Reef and in the Wet Tropics

The Universal case held up remarkably

If you’re planning an overseas excursion

15 pounds. I explained how depressurized

of Queensland, Australia. I was packing a

well as I dragged it between flights, onto

storage would affect the underwater camera

dense array of digital camera and CE

boats and buses, and along some chal-

equipment, and finally found a sympathetic

equipment, including two Panasonic

lenging paths leading to waterfalls and

supervisor, who let me stow the bag in an

DMC-GH1 camera bodies, five lenses, flash

animal habitats. I found the wheel drag to

overhead compartment in first class. When

equipment, a laptop computer, GPS

be more significant than I expected on

asked, he explained that it was for the safety

receivers, and a waterproof custom housing

carpeted floors (perhaps due to the weight

of the passengers, should heavy turbulence

and lighting system for the GH1.

of the equipment), but I was impressed by

send the stowed bags flying. Luckily for the

Fortunately, the Universal Roadie fit all of

the durability of the weather-resistant

guy in the seat below my case, the flight

these, plus several battery chargers,

ballistic nylon exterior, handles and rugged

was smooth. �


THE GOODS: LIGHTING

Here’s a small, lightweight, efficient, high-quality flash suitable for location photography. Quadra brings some new tricks to the crowded party, particularly in the mid-range power category. BY ELLIS VENER

Ideal location ELINCHROM RANGER QUADRA AS SYSTEM

including the stand mount or optional reflector). If you use an umbrella, be aware that Elinchrom still uses 7mm shaft mounts. Elinchrom makes two reflectors and a square soft box (15.75 x 15.75 inches) that fit directly on a Quadra head. Quadra heads are so light-

This has been quite a year for lighting—

single RQ-A on the B channel at 132 watt-

weight that if you do use larger light modifiers,

progress verging on revolution, in fact.

seconds drops the t0.1 duration to 1/2,000

you’ll need the optional Refl. Adapter RQ-EL

When I first saw the Elinchrom Quadra

second. The Quadra heads are the first I’ve

to support the weight. Mount the pivoting

demonstrated, I got excited.

seen with LED modeling lights. They’re not

RQ-EL on a stand or boom, connect a Quadra

To begin with, there’s the head selection,

very bright—the 20-watt LED emits the

head to the backside, lock on the light modifier

the RQ-S and the RQ-A. The RQ-S head is

equivalent light of a 40-watt tungsten

of choice to the front, and you’re good to go.

slightly more efficient than the RQ-A head,

bulb—but if you’re in very low light, these

but with a t0.1 flash duration of 1/433

LEDs can be somewhat useful, and they

to-head cable (there are 1.5- and 3.5-meter

second, while the RQ-A produces a 1/1,000

consume nowhere near the amount of

cables available) disconnects from the head,

second t0.1 flash duration at full power.

energy that a hot modeling light does.

making transportation easy. This design

Using two RQ-A heads at full output yields a slightly shorter t0.1 duration. Using a

Both heads weigh just over a half-pound, and measure just 3.35 x 3.14 x 5.9 inches (not

The standard 2.5-meter (8.2 feet) pack-

makes it possible to combine two cables to give a single head greater reach. Oddly, there are no protective head covers available. If you do not want to use Elinchrom’s very light-

©Ellis Vener

weight case to transport your Quadra system, it’s best to keep the standard 13.5cm Quadra reflector mounted and stow the head in a small padded bag, which you’ll have to supply. The Quadra pack itself has a fairly sophisticated range of controls. Total output energy ranges from a maximum of 400WS down to 8.2WS—a 6.5-stop range—but it’s distributed through two ports in a fixed 1:3 asymmetric ratio. With only a single head

Wrestlers execute the flying double-clothesline. This maneuver was lit with two Elinchrom Ranger Quadra RQ-A heads fitted with standard reflectors, one high and the other at mat level. The image was exposed at f/9, ISO 200.


connected, either channel has a 5-stop

The electrolyte gel type battery recharges

them truly minor: the lack of a good protective

range. The A channel ranges from 400WS

from zero to fully charged in 1.5 hours. The

head cover and the 7mm-diameter umbrella

to 25WS, the B channel from 132WS to 8.2WS.

multi-voltage charger can remain con-

shaft. My last complaint is with the fixed

Unfortunately, there’s no symmetric option.

nected even while you’re using the Quadra

asymmetric power distribution. Maybe there

Around the left and bottom edges of the

to keep the charge topped off. If things get

are engineering or manufacturing factors

large and easily readable LCD panel are seven

too hot, the thermal protection circuit will

standing in the way of it, but I’d like to see a

push-button controls. The uppermost button

shut down the pack. Elinchrom claims the

symmetric option.

to the left of the display accesses various basic

critical temperature is 104˚ Fahrenheit,

functions (depending on the number of times

but the Quadra did shut down during a

shutdown on an extremely hot and humid

you push it), and pressing the button below

shoot in Houston, on a sunny, muggy day

Texas afternoon, the performance of the

takes you to the function sub menus. The

with temperatures in the mid-90s. That

Elinchrom Ranger Quadra was everything

sophisticated “slave” photocell features a pre-

might have been due to transporting the

you’d expect from a high-end electronic

flash anti-red-eye ignore mode for shooting

lights in the trunk of a black car. After 30

flash system. If you don’t regularly need the

with an on-camera flash set for anti-red-eye.

minutes in the shade, everything was back

extra 1.5-stop maximum output of the 1,200

The Quadra counts the pre-flashes and stores

to normal. We shot all day, some 400

Elinchrom Ranger, Hensel Porty, Broncolor

the value. There are two even more intelligent

frames, mostly with the pack at about half

Mobil, or Profoto 7B, then the lower price of

triggering modes for working with smart TTL

power, By day’s end, the battery retained at

the Quadra kit makes it an attractive buy for

control flash. You also control the Elinchrom

least half of its capacity.

location photography.

Skyport functions, the ready beep (on/off), fast or slow recycling (slow yields about one-

I have just a couple of negative comments about the Elinchrom Ranger Quadra, two of

With the exception of that one unexpected

A Heads sell for about $2,330, S Heads about $2,200. �

third more flashes per battery), auto-off, output energy (displayed in either wattseconds or joules), LED modeling light burn duration, and flash power adjustment increments per up/down button push. The Quadra light quality is terrific, at least as neutral as the light from any flash I’ve used. Even with the silver versions of the Paul C. Buff PLM modifiers, virtually no white balance correction was need during raw processing in Adobe Photoshop Lightroom 2.5. I used the Quadra with a Paul C. Buff 42-inch silver PLM umbrella, and whether

For filters as good as the finest lenses, use only B+W. Even the highest-resolution CCDs and sharpest lenses are only as good as the filters you use. German-made B+W filters are diamond-cut from clear optical glass, precision ground, polished and tested to perfection. Our two-sided Standard Coating or optional Multi Resistant Coating (MRC) suppresses lens flare and increases light transmission. B+W filters offer image control solutions with the optical quality that helps capture absolutely stunning images in camera, eliminating the drudgery of computer retouching.

For richer, more saturated colors and reflection control, B+W polarizers are unsurpassed…and for protecting your lens without compromising the image, our UV filters are clearly superior. Our front-threaded XS-Pro Digital and our Slim Line filters eliminate wide-angle vignetting. Achieve exceptional in-camera images by using the world’s best filters.

shooting outdoors in a mix of flash and sunlight, or indoors with flash alone, the color match between flash and indirect sunlight was nearly perfect. At full power, the short flash duration of the RQ-A heads

It Starts with the Glass™

NY: +1 800 645-7239 CA: +1 800 228-1254 [email protected] www.schneideroptics.com

crisply delineated the edge detail of the flying warriors of Platinum Championship Wrestling in mid-jump and falls. This bodes well for the possibility of catching bouquet tosses at weddings, freezing squirmy kids, and any kind of action shot you want.


THE GOODS: LENSES

Two new tilt-shift lenses from Canon open up wide-angle possibilities for creative exploration. BY ELLIS VENER

Clarity, precision and versatility CANON TS-E 17MM F/4L AND TS-E 24MM F/3.5L II LENSES

While Nikon was the first out of the gate with a perspective control (shift) lens in 1963, it was Canon that brought the first lens with both shift and tilt to SLRs in 1973. In the early 1990s, Canon was also the first to expand the lens range beyond moderately wide-angle into normal and short telephoto. Now Canon pushes into super-wide territory with the Canon TS-E 17mm f/4L lens, and has also significantly revised the venerable TS-E 24mm. The TS-E 17mm f/4L takes lens performance to new highs. Physically, it resembles a full-frame fisheye, with a protruding bubblelike front element set. Without shifting or tilting, on a full-frame Canon like the EOS 5D Mark II and EOS-1Ds Mark III, the diagonal angle of view is 104 degrees. The shift movement moves the lens by as much as 12mm in any direction; the tilt movement has a 13-degree range. That doesn’t sound like a lot, but the visual effect is greater than the stats suggest. Earlier TS-E lenses locked the tilt angle at a right angle to the direction of shift, but with both the TS-E 17mm and 24mm f/3.5L II, it’s possible to rotate the tilt movement over a 90-degree range, so

Composite photograph created with 13 photographs shot with a Canon TS-E 17mm f/4L lens and Canon EOS-1Ds Mark III body. The rectangle in the center marks the area covered by a single frame (no shift). The lens was then shifted 10mm and rotated in 30-degree increments. This composite was created with the Photomerge script in Adobe Photoshop CS4. The finished photograph measures 6,843x8,697 pixels (59.4 megapixels). ©Ellis Vener


THE GOODS: LENSES

you can now shift and tilt in the same direction.

model weighs just over 7 ounces more; the

At the minimum focusing distance of 8.28

filter size has grown to 82mm.

inches, the subject magnification factor is

performer, but the version II is one of Canon’s

are always potential problems, but Canon

best performing lenses. Fine detail resolution

did an admirable job of dealing with that

just blows away prior results and, as with the

with the Canon Sub Wavelength structure

TS-E 17mm, the flare suppression is

Coating (SWC) and ultra-low dispersion glass.

immediately evident, the view through the

The all-metal lens body is robust, with a

lens blissfully clear.

nicely damped, relatively long focusing helical

Shift is most commonly used to photo-

for precise adjustment. Shooting with a camera

graph buildings without the keystone effect,

with a live view function, you can evaluate

but it’s also a powerful tool for portraits,

the focus before you shoot. The magnification

allowing you to more carefully compose the

option in live view is especially useful when

image in-camera, so you don’t have to add

you use the tilt movement, which makes it

cropping to the image processing workflow.

difficult to precisely judge focus through the

This has two benefits: it minimizes the loss

viewfinder, and even more so when you use

of native camera resolution, and it shortens

shift and tilt at the same time, which blurs

the post-processing time. With the newest

and darkens portions of the viewfinder.

panoramic stitching tools like Photomerge

Given that the TS-E 17mm f/4L is a

in Photoshop CS4 and third-party applica-

wide-angle lens to begin with, and that even

tions such as PTGui from www.kekus.de,

at f/4 its depth of focus extends from 4 feet

you can use the shift function to create images

to infinity when you focus at just over 8 feet,

with higher resolution and wider angles

the effectiveness of tilt to extend the depth

than you could with a wider-angle lens on

of field at normal distances will seem like

the same camera. That technique wouldn’t

overkill. But wait until you start working at

be recommended for shots of moving people.

close range to a subject. Like its wider-angle cousin, the TS-E

Even if you’re in the market for only a high–quality, wide-angle lens for Canon

24mm f/3.5L II features a 67.2mm image

cameras, you need to try the TS-E 17mm

circle and allows you to freely combine its

f/4. The lack of autofocus at this focal length

+/- 8.5-degree tilt angle over a 90-degree

is a negligible factor, and the ability to shift

arc, with as much as 12mm shift movement

and tilt will open new areas of creative

in any direction. Used as a standard 24mm

exploration. If your work has you photo-

lens—no movement—the diagonal angle of

graphing structures, large objects, groups of

view is 84 degrees. Optically, the new TS-E

people, or any combination of the three, the

24mm f/3.5L II is far superior to the older

TS-E 24mm f/3.5L II definitely deserves a

design. Having 16 elements in 11 groups (vs.

home in your bag. These are not cheap

11 elements in nine groups), increases the

lenses, but the versatility, sound build and

lens’s ability to resolve small details, as well

image quality justify the price tag.

as to reduce internal flare and ghosting. As a


The older TS-E 24mm was an average

0.34X. In complex lenses, flare and ghosting

Note: When working in the field and using

bonus, you also get a larger image circle

live view, it helps to shield the LCD screen

(67.2mm vs. 58.6mm), which allows the

and magnify on-screen view as well. The

additional 5mm of shift travel in both

Hoodman Hoodloupe 3.0 I’m using for this

directions. Larger in all dimensions, the new

is the best $80 investment I’ve made lately. �

Get up close and personal with the industry’s latest products, tools, and technology Discover how to make more money doing what you love Share the limelight with some of the biggest names in photography is brought to you by:

SEE WHERE LEARNING SOMETHING NEW CAN TAKE YOU. That’s why we’re spotlighting a very different panel: Photographers in the White House!

© Paul Mor

se

Join White House Custom Colour as we welcome photojournalists who have chronicled days in the lives of American presidents. These pros must use their skills behind the scenes in the most unobtrusive ways possible. Present at everyday and lifechanging events, they must be ready to record the quintessential moments. And that’s really what all photographers do, whether you work with brides, families, sports, or celebrities like presidents.

© Paul Mor se

GET THE INSIDE SCOOP ON RECORDING HISTORY FROM THESE DIFFERENT PERSPECTIVES: PAUL MORSE – Bush administration’s official photos ROBERT MCNEELY – Clinton administration’s official photos J. SCOTT APPLEWHITE – Obama administration’s Associated Press photos

WWW.IMAGINGUSA.ORG

Find true rockstar treatment all under one roof, from your sleeping room to all your classes, the Imaging EXPO, parties, restaurants, bars, shopping, and more—there’s even an indoor river and Delta flatboat! Want to rock out in Nashville? Plan a night or spend an extra day… » DANCE THE NIGHT AWAY at the famous Wild Horse Saloon. » Experience the next-door OPRY MILLS (over 200 retailers). » PHOTOGRAPH NASHVILLE EYE CANDY, including a full-scale replica of the Parthenon. » Ask FELLOW PHOTOGRAPHERS about their favorite city spots on the OURPPA FORUMS.

BOOK YOUR NOOK! Special room rates end December 7, but rooms are still available!

READY TO ROCK THIS WAY? Register and book your rooms now—get the details at www.ImagingUSA.org

Sharpen your professional edge with some world-class education. Here is a spotlight on some can’t-miss classes—look at WWW.IMAGINGUSA.ORG for the full line-up! FAMILY PORTRAITURE, ETCETERA Jan. 11, 4:00pm

Drake will share his tips for building that seven-figure business, including his family portrait posing, “un-posing” and lighting. Drake Busath, M.Photog.Cr.

© Drake Busath, M.Photog.Cr.

BOUDOIR IS THE NEW BLACK: GLAMOROUS, LUCRATIVE, & RIDICULOUSLY FUN Jan. 11, 9:00am

Kimberlee West & Marissa Boucher

images © Kimberlee West & Marissa Boucher

Sponsored by Showit The Boudoir Divas will show you how to generate additional income by marketing to the trendy & spendy ladies who like to pamper themselves. (And they’ll share favorite poses with a demo.)

WWW.IMAGINGUSA.ORG Mark Garber, M.Photog.Cr. & Jennifer Gilman, M.Photog.Cr., CPP

CREATING THE RED-HOT WEDDING STUDIO Jan. 12, 1:00pm Sponsored by Fujifilm Mark & Jennifer are a powerhouse wedding team, continually increasing sales, client retention, and market share. They’ll help you elevate your business and change your marketing forever.

© Gayletta Tompkins, M.Photog.Cr., CPP

images © Mark Garber, M.Photog.Cr. & Jennifer Gilman, M.Photog.Cr., CPP

TIME FLIES WHEN YOU’RE PHOTOGRAPHING FUN Jan. 12, 7:30am

Sponsored by H&H Color Lab Gayletta shares her experiences “serving people” as she runs a successful studio. Gather up tips and ideas, from marketing that really works to becoming even stronger after devastation. Gayletta Tompkins, M.Photog.Cr., CPP

Take advantage of this first chance in the U.S. to get up close & personal with the industry’s latest products, tools, & technology: » Browse the LARGEST PHOTOGRAPHY EXPO in North America. » Grab special deals in 196 PRODUCT CATEGORIES – the most diverse professional photography expo. » Watch experts give LIVE, IN-BOOTH DEMOS on the tradeshow floor.

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WWW.IMAGINGUSA.ORG

CATCH MORE OF THE EXCITEMENT AND INSPIRATION

the longer you walk the Imaging EXPO floor, thanks to special exhibits like these: © Anthony Hopman, M.Photog.Cr., CPP, API

INTERNATIONAL PRINT EXHIBIT Free and open to the public

Visit one of the largest annual photography exhibits, filled with the exclusive PPA Loan and General Collections and other special exhibits. Walking through the almost 2,300 images—the best of the best—is a sure-fire way to gather new ideas to try in your own photography.

GRAPHISTUDIO THEATER

Get your daily dose of insight and ideas right on the Imaging EXPO floor, as these industry leaders share their expertise and demonstrate how you can use the latest GraphiStudio products: » Yervant » Joe Buissink » Jim Garner » Garrett Nudd

9:00am - 5:00pm 9:00am - 5:00pm 9:00am - 5:00pm 9:00am - 5:00pm

3-DAY CERTIFICATION PREPARATION CLASS (January 7-9) Gary Meek, M.Photog.Cr., CPP, API, EA-ASP Planning on taking the Certified Professional Photographer exam? Take this 3-day prep class that will not only teach you needed information for the written exam, it will also give you a more thorough working knowledge of photography. This in-depth, intense study of photography’s technical side is the equivalent to a semester of college. The focal reference of the class is the book Photography, by London and Upton, the recognized reference for certification. Topics include the following: The Inverse Square Law, Filter Factors, Bellows Factor, Lenses and Filters, Color Theory and H&D Curves, Lighting Ratios, Corrective Lighting & Posing, Depth of Field, Angle of View, The Zone System (and how it helps you understand the digital histogram), Difference between a Bit and a Byte and Bit Depth, and much more. $299 (for all 3 days) 2 merits for attending JUDGES WORKSHOP (January 7-9) Want to learn more about the competition judging process (or want to take the next step towards becoming a PPA-Approved Affiliate Juror)? Come attend the required class at Imaging USA! This three-day workshop is an intense learning experience—you’ll work hard to acquire the protocol and understand the methods that have given PPA photographic competitions the finest judging process in PPA history. » Explore the ins and outs of what makes a print “merit worthy.” » Observe the competition process and protocol. » Feel confident in your ability to identify merit images. » Earn merits for attending (and PEC credit) – details online. » Fulfill one of the requirements for becoming a PPA-Approved Affiliate Juror. $ 595 for all 3 days 2 merits for completing the class PHOTOGRAPHIC ESSENTIALS WHEN TURNING PRO (January 7-8) Steve Kozak, M.Photog.Cr., CPP Learn how to establish a solid foundation on which to build a successful career as a professional photographer, focusing on both the fundamentals and the art. From the tools of the trade to creating images at a professional level of quality, you’ll turn your passion for photography into a profession. Sponsored by H&H Color Lab $199 (for both days) 2 merits for attending

THE BUSINESS OF PHOTOGRAPHY: 2-DAY WORKSHOP FROM PPA’S STUDIO MANAGEMENT SERVICES (SMS) (January 7-8) Ann Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI, API, A-ASP & Carol Andrews, M.Photog.Cr., ABI (Thurs. Only) Dive in to absorb marketing and management fundamentals central to operating a financially successful business. $199 (for both days) 2 merits for attending

© Mark Levesque, CPP

Save money by ordering your banquet ticket early—details are on the Event Highlights page at www.ImagingUSA.org

9:00am -5:00pm 9:00am -5:00pm 9:00am -5:00pm

9:00am -5:00pm

DON’T FORGET YOUR ASP BANQUET TICKET!

ALL-STAR CHARITABLE MARKETING Help PPA Charities as you help your business by learning to make charitable marketing work for you. Learn successful photographers’ best ideas for doing just that, including how they incorporate this marketing into their overall strategies. $129: Benefiting PPA Charities

9:00am -12:00pm

And remember: anyone can sign up for those individual pre-convention classes (without the consultations) for $129 each—by registering online at www.ImagingUSA.org.

SENIOR SUCCESS: SUCCESS THROUGH PHOTOGRAPHY Colleen Gonsar, Cr.Photog. & Darty Hines, Cr. Photog. Learn the importance of variety in senior photography, including quick posing and lighting tips and fun and organized post-production techniques. $150 (for all 3 sessions) or $ 69 per session 1 merit for attending all 3 sessions

SPEED SHOOTING WITH THE PROS Bry Cox, M.Photog.Cr, CPP; Dennis Craft, M.Photog.Cr.Hon.M.Photog., CPP, API, F-ASP; Jamie Hayes, M.Photog.Cr., CPP, ABI, API; Don Chick, M.Photog.Cr., CPP ; Andrew Jenkins, M.Photog.Cr., CPP & Jackie Palmer, Cr.Photog. & Lori Nordstrom, M.Photog.Cr., CPP; moderated by Louis Tonsmeire, Cr.Photog., API Go from one professional to another to see how they shoot bridal, children, family, individual, senior, and newborn photography. $ 99 1 merit for attending

SENIOR SUCCESS: SUCCESS THROUGH SALES Colleen Gonsar, Cr.Photog. & Darty Hines, Cr. Photog. With their successful sales and pricing philosophies, learn how to price and sell to the person who makes the money decisions: the senior’s mom. $150 (for all 3 sessions) or $ 69 per session 1 merit for attending all 3 sessions

1:00pm - 5:00pm

Take part in PPA’s Studio Management Services (SMS) 3-Day Business Workshop. Get the full workshop experience by attending one-on-one consultations PLUS all three of the following pre-convention classes: » Business & Financial Management: Part 1 » Sales & Customer Service: Part 2 » Marketing & Promotions: Part 3 Spaces are limited and are exclusively for PPA members (2 merits for attending). Contact SMS directly to register and learn more! 888-851-0405 | [email protected]

SENIOR SUCCESS: SUCCESS THROUGH MARKETING Colleen Gonsar, Cr.Photog. & Darty Hines, Cr. Photog. Gather ideas from Darty’s discussions about direct mail, viral campaigns, and studio experience as he showcases their high school senior marketing campaign from design to delivery. $150 (for all 3 sessions) or $ 69 per session 1 merit for attending all 3 sessions

MARKETING & PROMOTIONS: SMS 3-DAY WORKSHOP PART 3 Allison Rodgers & Carol Andrews, M.Photog.Cr., ABI Gather creative solutions for making your presence and business image known to existing and potential clients, from online marketing to your studio space. $129 (full SMS workshop experience is $ 949) 1 merit for attending

ASSOCIATION SURVIVAL: WHAT AFFILIATE LEADERS SHOULD KNOW ABOUT STAYING AFLOAT David Trust, Scott Kurkian, Christel Aprigliano, & Bill Ingwersen Learn advanced leadership principles, financial management, membership recruitment, and tradeshow management from the leaders of one of America’s most successful associations. Complimentary to all full registrants (registration required)

1:30pm - 5:00pm

NEW AT IMAGING USA!

SALES & CUSTOMER SERVICE: SMS 3-DAY WORKSHOP PART 2 Edward Zemba & Julia Woods, M.Photog.Cr. Get insight to make more money and make customers happier, including pre-sales and sales presentations, consumer buying motives, wedding and portrait consultations, etc. $129 (full SMS workshop experience is $ 949) 1 merit for attending

9:00am - 12:00pm

BUSINESS & FINANCIAL MANAGEMENT: SMS 3-DAY WORKSHOP PART 1 Scott Kurkian & Julia Woods, M.Photog.Cr You need to effectively set up and manage your finances to be successful in photography. Now’s your chance to learn these critical skills from top educators on studio management. $129 (full SMS workshop experience is $ 949) 1 merit for attending

1:30pm - 5:00pm

9:00am -5:00pm

WWW.IMAGINGUSA.ORG

TOTS 2 TEENS Sandy Puc’, M.Photog.Cr., CPP, ABI Learn all aspects of executing and marketing a successful program for children from 18 months to young teens, producing a steady flow of repeat customers. $79 *One dollar of every registration will be donated to Now I Lay Me Down to Sleep

PORTRAIT

BUSINESS BEAT

ADOBE PHOTOGRAPHY SOLUTIONS

STANDING OUT FROM THE CROWD…GUARANTEED Dane Sanders To build a recession- and competition-proof photo business, don’t mimic—design your business around your most powerful resource: you.

BE A BLACK SHEEP: UNIQUE HAS NEVER BEEN SO CHIC JB Sallee, M.Photog.Cr. & DeEtte Sallee, M.Photog.Cr. Don’t be content with just blending in with the flock. Learn the secrets of their portrait photography success from the images to distinctive packaging, pricing, and much more. Sponsored by Miller’s Professional Imaging

DIAPERS TO DOLLARS: MARKETING FOR BABY PORTRAITS Frank Donnino, Cr.Photog. Photographing babies hasn’t changed, but the way Frank gets his clients has. Learn how he adapted to this high-tech world with high-tech moms. Sponsored by H&H Color Lab

DYNAMIC CAMERA RAW PROCESSING Katrin Eismann Learn how shooting and processing camera raw files will provide increased image quality, greater control, and creative flexibility while being completely nondestructive (Adobe Photoshop Lightroom 2 & Adobe Photoshop). Sponsored by Adobe

ACHIEVE AMAZING RESULTS AGAINST THE ODDS Jerry Ghionis, M.Photog. Make your clients shine brighter by bringing out their best…despite poor locations, plus-sized brides, odd-height couples, limited lighting, limited time, shy couples, etc. Sponsored by PickPic

TAKE YOUR STUDIO TO THE NEXT LEVEL Gregory Daniel, M.Photog.Cr. & Lesa Daniel, Cr.Photog. Learn the anatomy of their highly successful studio and gather ideas for your own as you learn how to create client desire, build relationships, give emotional presentations, etc.

FACEBOOK WAS MADE FOR PHOTOGRAPHERS Rod Evans, Cr.Photog. Learn how he used Facebook and under $200 to book seniors, couples, and children—grossing over six figures! You can do a lot with a small investment.

WHAT’S NEW IN LIGHTROOM Tom Hogarty Get the deluxe tour through the latest updates of Adobe Photoshop Lightroom, including new tools, powerful updated features, and product enhancements. Sponsored by Adobe

9:00am - 10:30am

7:00am - 8:30am

WEDDING

IMAGING EXPO

6:00pm - 7:30pm

4:00pm - 5:30pm

11:00am - 4:30pm

STANDING IN THE SHALLOW END OF THE POOL & LOOKING GOOD Parker J. Pfister From shooting style to unique products and sales techniques, you’ll learn many ways to separate yourself from the crowds. Sponsored by Canon

THE POWER OF LIGHT “LIVE” Tony Corbell, Cr.Photog., API Take a fresh approach to portrait lighting as Tony demos available lighting control options, helping you better understand light itself. Sponsored by NIK Software

WHAT IT TAKES TO MAKE THE SALARY YOU NEED: NEW FINANCIAL BENCHMARK SURVEY Ann Monteith, M.Photog.Cr. Hon.M.Photog., CPP, ABI, API, A-ASP & Scott Kurkian Go beyond the numbers and learn what it takes to satisfy your personal financial requirements, how you measure up, and where you can focus improvements. Sponsored by Fujifilm

STREAMLINED PORTRAIT & WEDDING POST-PROCESSING WITH LIGHTROOM Nathan Holritz Learn a workflow that will enable you to process a portrait shoot in under an hour, substantially accelerating large wedding processing (Adobe Photoshop Lightroom 2). Sponsored by Adobe

SUBSTANCE & STYLE Jeffrey Woods, M.Photog.Cr. & Julia Woods, M.Photog.Cr. Simplify your weddings and make more money at the same time, thanks to their style of shooting, selling, and marketing. Sponsored by Burrell Colour Imaging

WHERE HAVE ALL THE ARTISTS GONE? Joseph Simone, M.Photog. Cr., API, F-ASP & Louise Simone, M.Photog.Cr., API Discover how essential rules of art, the culture of the image, and the newest digital tools combine to restore the allure of professional imaging and improve your career. Sponsored by Kodak

THE POWER OF PROJECTION: TAKE SALES TO THE NEXT LEVEL Elizabeth Homan, M.Photog.Cr., CPP, API & Trey Homan, Cr.Photog., CPP Learn how they create emotional presentations for clients and take control of their sales with several proven steps. Sponsored by Miller’s Professional Imaging

LIGHTROOM TIPS & TRICKS Julieanne Kost Save time, increase creativity, and deliver superior images in Adobe Photoshop Lightroom 2 with tricks you had no idea existed (Adobe Photoshop & Lightroom). Sponsored by Adobe

ROCKIN’ NASHVILLE! Imaging USA Welcome Party | 8:00pm - 10:00pm

sponsored by

Canon

WWW.IMAGINGUSA.ORG

9:00am - 10:30am

7:00am - 8:30am

WEDDING

PORTRAIT

BUSINESS BEAT

SPOTLIGHT

CREATIVITY & TECHNOLOGY Stephen & Jennifer Bebb From finding inspiration and challenges to the use of technology, Stephen and Jennifer give you the tools to fall in love with wedding photography again and stand out in the market. Sponsored by PickPic

THE ULTIMATE PHOTOGRAPHER’S BALANCING ACT Michele Celentano, Cr.Photog. Join Michele as she shares her secrets for balancing art and business, from posing and lighting children to turning those images into big sales.

PRODUCT DESIGN: PLAIN SIMPLE & PROFITABLE Allison Rodgers & Jeff Rodgers Earn higher sales by helping clients decide what to do with their images. You’ll learn how to listen to clients and present them with product designs that work. Sponsored by White House Custom Colour

THE PORTRAIT AS AN ART FORM JuliAnne Jonker, M.Photog.Cr., CPP Even in this economy, you can be both true to your artistic spirit and profitable. See how she creates unique, artistic portraits for discriminating clientele. Sponsored by Burrell Colour Imaging

YERVANT SIGNATURES: POSED...NATURALLY! FINISHED...PERFECTLY! Yervant, M.Photog., IV, F-AIPP Learn easy and fun posing methods for glamorous—yet fun and REAL—wedding expressions, along with the finishing techniques that turn images into art. Sponsored by GraphiStudio

JUST DO IT Rose Coleman & Nancy Emmerich, M.Photog.Cr., API Come see how this legendary team is shaping the way they do business with high school seniors and focusing on client experience. Sponsored by American Color Imaging (ACI)

TOOLS OF THE TRADE FOR TOMORROW Jeff Hawkins, M.Photog.Cr., CPP & Kathleen Hawkins, Cr.Photog. Create a niche market and connect with clients via these tools, from social media and viral promotions to the software and technologies that help optimize productivity. Sponsored by Buckeye Color Lab

BOUDOIR IS THE NEW BLACK: GLAMOROUS, LUCRATIVE, & RIDICULOUSLY FUN Kimberlee West & Marissa Boucher Learn from the Boudoir Divas as they demo a boudoir shoot, show favorite poses (perfect for all body types) and discuss “divalicious” marketing techniques. Sponsored by Showit

IMAGING EXPO

6:00pm - 7:30pm

4:00pm - 5:30pm

11:00am - 4:30pm

WHO YOU ARE IS THE MOST IMPORTANT THING ABOUT PHOTOGRAPHY Joe Buissink Learn to see and feel everything differently at a wedding and run a more profitable business, from increasing client purchases to booking more high-end weddings. Sponsored by Canon

FAMILY PORTRAITURE, ETCETERA Drake Busath, M.Photog.Cr. Find posing, “un-posing,” lighting, and other tips to help you build a cool, seven-figure business.

STOP WASTING YOUR TIME: MANAGE YOUR WORKFLOW Robert Lloyd, Cr.Photog. Hon.M.Photog., CPP, API Learn an efficient workflow that equals no lost images, speedy processing, consistency, and images focused on the subject, not distractions from the camera.

PHOTOGRAPHING THE WEST David Stoecklein Share in his images and anecdotal knowledge gained from documenting the West and shooting commercial advertising work for over 40 years. Sponsored by Canon

WITNESS TO A WEDDING Denis Reggie Gather up ready-to-use ideas as you see and hear the stories behind Denis Reggie’s iconic images and new images never shown before. Sponsored by Canon & Microsoft Icons of Imaging

BEAUTY, JOY & SPIRIT: PHOTOGRAPHING CHILDREN Tamara Lackey Learn how Tamara brings her images to life, including interaction with children, organic directive posing techniques, creative composition, and post-processing tips. Sponsored by Simply Canvas & Buckeye Color Labs

MAKING IT HAPPEN: THE DIFFERENCE BETWEEN KNOWING & DOING Jed Taufer, Cr.Photog. & Vicki Taufer, M.Photog.Cr., CPP Find out how they have implemented various ideas and innovations over the years (and what did or didn’t work), from marketing strategies to workflow. Sponsored by Kodak

A CUT ABOVE Julie Klaasmeyer, M.Photog. From designing to photographing and pricing, learn to take your ordinary product and create one-of-a-kind portrait art pieces for upscale clients. Sponsored by White House Custom Colour

PHOTOGRAPHERS IN THE WHITE HOUSE 9:30pm-11:00pm » PAUL MORSE – Bush administration’s official photos » ROBERT MCNEELY – Clinton administration’s official photos » J. SCOTT APPLEWHITE – Obama administration’s Associated Press photos

sponsored by

White House Custom Colour

7:30am - 9:00am

WEDDING POSING IS BACK FOR HOT, HIGH-FASHION HIGHGLAMOUR WEDDINGS Doug Gordon, Cr.Photog., CPP Learn how to shoot like two photographers for a distinctive wedding style that allows you (at times) to direct a client… yet capture the emotion and feel of photojournalism. Sponsored by AsukaBook

PORTRAIT TIME FLIES WHEN YOU’RE PHOTOGRAPHING FUN Gayletta Tompkins, M.Photog.Cr., CPP From newsletter and e-mail marketing ideas that really work to her use of theme specials, set designs, and lighting, learn tips and ideas to help in your own studio. Sponsored by H&H Color Lab

SPOTLIGHT SOCIAL MEDIA WILL EXPAND YOUR BUSINESS Scott Bourne Learn how Scott markets his work in today’s fast-paced, Internetdriven marketplace with Twitter, podcasts, blogs, etc. You, too, can increase the demand for your work.

ADOBE PHOTOGRAPHY SOLUTIONS THE ART OF FACIAL RETOUCHING Jane Conner-Ziser, Cr.Photog., API No more “plastic” skin! Learn how lighting affects the way people look in portraits, faster and better-looking retouching for each facial feature, and so much more (Adobe Photoshop CS4). Sponsored by Adobe

IMAGING EXPO

5:00pm - 6:30pm

3:00pm - 4:30pm

1:00pm - 2:30pm

9:30am - 1:30pm

CREATING THE RED-HOT WEDDING STUDIO Mark Garber, M.Photog.Cr. & Jennifer Gilman, M.Photog.Cr., CPP Learn how their studio continually increases sales, client retention, and market share (the biggest bang for the smallest buck) despite today’s challenges. Sponsored by Fujifilm

GROWING A GREAT SENIOR BUSINESS Kent Smith, M.Photog.MEI.Cr. & Sarah Smith, M.Photog.Cr. Learn how they keep a flourishing, healthy business with positioning, creative marketing, photographing with a purpose, client incentives, and more. Sponsored by ProSelect

REVOLUTIONIZE & ENERGIZE YOUR STUDIO: THE ART OF STORY SHOOTING Jim Garner See how to shoot for the story (not single images) and use motion posing to create a gorgeous album and maximize profitability. Sponsored by GraphiStudio

DELIVERING OUTSTANDING FAMILY PORTRAITS Jack Reznicki, Cr.Photog. Hon.M.Photog., API See how to make wiggling kids, surly teens, and family members spanning generations all look their best, with shortcuts from tablet usage to head swapping (Adobe Photoshop CS4). Sponsored by Adobe

FINE ART WEDDINGS Jose Villa Listen and learn as he shares his successes with photographing in film, getting published, and shooting around the world. Sponsored by Fujifilm

BELLA BABY Alycia Alvarez See the details of this successful program, including ways to light and pose the babies, tricks for interacting with them, and her proven marketing/networking tips. Sponsored by White House Custom Colour

THE ONE-TWO PUNCH: ROCKIN’ IMAGES + SOCIAL NETWORKING = BUSINESS EXPLOSION Scott & Adina Hayne See how they used online media and amazing images to explode their business in their first full year. Sponsored by H&H Color Lab

SHAPING MASTER PRINTS IN DOCUMENTARY WEDDING PHOTOGRAPHY Greg Gibson Two-time Pulitzer Prize winner Gibson shares his simple techniques to bring documentary wedding images to life with Adobe Photoshop CS4 and Adobe Photoshop Lightroom 2. Sponsored by Adobe

THE POWER OF FREE Garrett Nudd Learn the approach Garrett’s studio used to flourish even when they moved 550 miles away from their primary wedding market, including taking advantage of “free” opportunities like social media, charitable partnerships, and publishing. Sponsored by GraphiStudio

LIVING THE DREAM: MAKE MORE PROFITS DOING WHAT YOU LOVE Laura Novak & Kimberly Wylie Learn their top 10 tips for selling wall portraits (and lots of them), from solutions for common objections in a sale to the ideal product offering and many more ways to increase profits. Sponsored by White House Custom Colour

MAKING THE MOST OF YOUR TALENTS Michael Timmons, M.Photog.Cr. & Tina Timmons, M.Photog.Cr. With their shared, easy-touse techniques, learn how to photograph, manipulate, market, and sell customizable portraits as Fine Art Interior Décor. Sponsored by Miller’s Professional Imaging

PHOTOSHOP CS4 TIPS & TRICKS Julieanne Kost Think you have a reasonable mastery of Adobe Photoshop CS4? Think again. Learn shortcuts and timesavers that you’d never find on your own, moving your Photoshop skills to a new level. Sponsored by Adobe

PPA AWARDS & DEGREE CEREMONY 7:00pm - 8:00pm

IMAGING OLe

Imaging USA Closing Night Party | 8:00pm - 11:00pm

sponsored by

Kodak

TARGETING CLIENTS THROUGH CREATIVE MARKETING Pete Wright, Cr.Photog. Learn how Pete targets customers with a combination of branding and creative marketing…without spending lots of money.

QUALITY & SPEED: YOU CAN DO BOTH! Dave Stock Learn how to quickly produce studio-quality volume sports portraits and group photos on location, indoors or out. Sponsored by Richmond Professional Lab

IMAGING EXPO 4:00pm - 5:30pm

HOW TO SHOOT THE BIG FOUR SPORTS Ben Chen Get the information you need to shoot the “Big Four” sports in the U.S. Walk away with the fundamentals for shooting each sport (basketball, football, baseball, and soccer), including equipment and the “where,” “what,” “when,” and “how.”

6:00pm - 7:30pm

9:00am - 5:00pm

11:00am - 4:30pm

PPA CHARITIES CELEBRATION 8:00PM

SPORTS MARKETING: SALES IS EVERYTHING Jeff Gump Discover important sales details, from how Jeff books 85% of all leagues he bids to how he pays his salesperson and what is required of that person. Sponsored by Desktop Digital Lab

FROM HOBBY TO SUCCESSFUL PHOTOGRAPHY BUSINESS Stephen Walker Learn the basic to advanced business skills needed to turn your dream into a profitable team sports T&I and event photography business.

ROCKIN’ NASHVILLE

IMAGING USA WELCOME PARTY | 8:00pm - 10:00pm sponsored by

Canon

USING PHOTOSHOP FOR TEAM & INDIVIDUAL SPORTS Frank Harrison Learn how to correct the 10 most common problems in team and individual photos with Adobe Photoshop tools and techniques. Sponsored by Desktop Digital Lab

PHOTOGRAPHERS IN THE

WHITE HOUSE 9:30pm-11:00pm

» PAUL MORSE – Bush administration’s official photos » ROBERT MCNEELY – Clinton administration’s official photos » J. SCOTT APPLEWHITE – Obama administration’s Associated Press photos sponsored by

White House Custom Colour

7:30am - 9:00am

FOCUS ON VALUE: TEAM & INDIVIDUAL SHOOTING Dave Stock Be the go-to photographer by producing better images, hiring better people, running organized photo shoots, and offering superior customer service. Sponsored by Richmond Professional Lab

MANAGING A DIVERSE PORTFOLIO OF BUSINESS Terrell Lloyd, Cr.Photog. Get ideas for expanding profits by going after new business, keeping that business with management skills, and creating new client bases. Sponsored by Canon

IMAGING EXPO 9:30am - 1:30pm

1:00pm - 2:30pm

BEATING OUT THE COMPETITION Patrick Cahill, Cr.Photog. Thousands of dollars could walk out of your town with the larger chain school/sports photographers. See how Pat Cahill plugged the drain in his community and reaps the benefits. Sponsored by American Color Imaging (ACI)

3:00pm - 4:30pm

7:00am - 8:30am

ROMATHERAPY: REJUVENATE SPORTS, SCHOOLS, SENIORS & YOUR WALLET Roch Eshleman & Ryan Romaguera, Cr.Photog. Join Roch and Ryan to learn everything from finding the perfect school to selling to them, from shooting the images to processing. You’ll learn posing and lighting tips for variable outdoor conditions and how to easily handle multiple large groups at one time.

9:00am - 10:30am

9:00am - 5:00pm

WWW.IMAGINGUSA.ORG

ACTION SHOTS AND EVENT PHOTOGRAPHY: FINALLY MAKING MONEY! Kyle & Rita Harvey Learn a different approach to events that lowers your labor costs, increases your profits, and puts the fun back into it.

MOJO YOUR WAY INTO THE SPORTS BUSINESS Jim & April Alsup Discover effective, time-tested ways of providing the best service, getting clients to see the value in you, and knowing what to say to make a sale.

PPA AWARDS & DEGREE CEREMONY 7:00pm - 8:00pm

IMAGING OLe Imaging USA Closing Night Party 8:00pm - 11:00pm sponsored by

Kodak

WWW.IMAGINGUSA.ORG

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Tamara Lackey doesn’t wait for the action to begin. She’s ready to get into the silly with her little subjects, and subtly guide them into parent-pleasing poses. That doesn’t mean it’s not orchestrated. CHILDREN

A

By Audrey Woulard

All images ©Tamara Lackey

udrey Woulard of Chicago, known for her formal portrait style, talks with Tamara Lackey, whose techniques lie at the other side of the spectrum.

Audrey Woulard: Tamara, I’ve got to ask, what is your method of getting kids to respond to you? Those lying down poses with the fast toddlers—I prefer parking myself and waiting for them to come to me. Tamara Lackey: My style of shooting is easily described as interactive. I definitely play around with the kids, but I’m constantly aware of how my subject looks through the lens. I love getting lost in my shoots—not lost in the playing, but absorbed in the challenge. If a child is racing off somewhere, I usually don’t wait for him to return. I go after him. Sometimes they can be captured perfectly just as I see them. In other cases, it helps to step in and basically push the reset button. Most of my images are the result of starting out with some semblance of traditional posing. How do you go from the traditional aspect of posing to your style? I see nothing traditional about your images. I call my style organic directive posing, basically combining the formal posing techniques of traditional portraiture with the

Bring on the scamp Q&A with an interactive child photographer 74 • www.ppmag.com

free-form feel of contemporary photography. As much as I’m drawn to capturing natural, emotional expressions, I also have admiration for the classic look of traditional

‘‘

I definitely

play around

with the kids, but I’m constantly

aware of

how my subject looks through the

lens.

I love getting lost in my

shoots—not lost in the playing, but absorbed in the challenge.

’’ December 2009 • Professional Photographer • 75

CHILDREN

portrait photography. I like the attention

Then I let the organic part take over by

But I work it all into the playful interaction,

paid to the angle of the face and the

capturing images while the subjects adjust

so they don’t realize the point of that

positioning of the body, with the emphasis

the pose into what’s more comfortably them.

silliness, and we don’t lose the spontaneity

on attractive composition and the awareness of background specifics. When working with children, I usually

When I’m being silly with a little one,

of the experience.

I’m not just haphazardly shooting. I’m readjusting—playfully tucking in an elbow

So if you’re on the beach, and your 5-year-

start with a pose that looks good—the

a bit or wiping a chin or crossing one leg

old subject wants to run into the water, do

shoulder tucked this way, the chin like that,

over the other at the ankle, whatever I

you kick off your shoes and run with her?

the flyaway hairs relatively under control.

think will improve the look of the image.

I will absolutely run into the water with them,

Tamara Lackey presents "Beauty, Joy & Spirit: Photographing Children" at Imaging USA 2010 in Nashville, Jan. 10-12.

CHILDREN

yes. Actually, I often go in first. When it

Do you always follow that pose-first formula?

attention once they’re all grouped together.

comes to things like getting soaked in the

I’ve seen you shoot, and I would never have

The result is a clean family portrait that

waves or having sand dumped on my hair,

guessed all that was going on in your head.

looks natural, but is actually shot from a

well, I can always take a shower, but it’s not

Sometimes it’s the complete opposite; the

flattering angle with an attractive compo-

so easy to capture an amazing moment.

spontaneous action bleeds into traditional

sition. It winds up having a more traditional

I believe you go to the action, and, often,

grouping. If, for example, I’m photo-

pose, but with a contemporary feel.

aid in creating it.

graphing a family, and I know mom wants an image of everyone looking directly at

That technique of having a plan for the

What comes first in your mind, location

the camera—I care that they look natural

images you capture, while letting your

or lighting?

and comfortable—I might start by orches-

subjects’ natural personality shine through,

Probably the very first thing when it comes

trating some silly game. Maybe I’ll encour-

is what makes your images stand out.

to kids is mood. I absolutely want to schedule

age the kids to run around a tree three

Thanks. That’s what I’m hoping for. �

the shoot around when they are in their best

times and then race back to their parents.

place emotionally so that I can have more

By the time the kids dash back, the parents

options with expression. After that, I would

are smiling at the kids’ game. Then I’ll do

go with lighting, and location last.

something equally silly to get everyone’s

“When it comes to things like getting soaked in the waves or having sand dumped on my hair, well, I can always take a shower, but it’s not so easy to capture an amazing moment.”

Learn more about Tamara Lackey Photography at www.tamaralackeyblog.com. To read more about Audrey Woulard, go to www.alwphotography.com

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Photographers spend their days capturing families’ most precious moments, but miss prime time with their own. This section will help you equalize the scales and start living a happier, more balanced life. WO R K & L I F E

By Lorna Gentry

Balancing act

O

Have you been able to find peace in the work/life mix?

they’re in their 20s and 30s, just at the time they’re getting married and having children. According to a survey published by Time magazine in the October 26th cover story, “The State of the American Woman,” just under 70 percent of the women surveyed

n the first day of school,

admits. “My business had taken off like a

said they carry the primary responsibility for

hope and nostalgia in

horse. I was holding onto the reins, but I

taking care of the kids, and 43 percent of

the autumn air, Davina

was being dragged through the dirt.”

the men agreed that the ladies do the heavy

Fear, a wedding and

portrait photographer in

Davina Fear had hit an emotional wall— exhausted, frustrated, guilty and angry, a

lifting when it comes to child-rearing. Running a business and household can

Charlotte, N.C., should have

casualty of unbridled success that had thrown

be stressful. When women skimp on spend-

been happy. Instead she was in

her off balance. This experience isn’t unique.

ing time with their children to focus on busi-

tears. “I realized I’d missed the summer with

Many women and men suffer burnout, and

ness, they feel guilty. If they don’t focus on

my kids,” she recalls. “I missed my kids’ lives.”

photographers, like all artists, are especially

business because they’re involved in family

How ironic. Fear’s photographs of

vulnerable. And women photographers tend

time, they feel guilty, too. Guilt wears you out.

smiling, united families had become so

to arrive at burnout faster and more often than

Fear’s heard this catch-22 from other

popular that she had no time for her own

their male counterparts because they generally

female photographers, too. “They feel guilty

family, much less herself. “I hated

have more to juggle. Like men, most women

about saying ‘just a minute’ to their kids all

photography and wanted to quit,” she

establish their photography businesses when

the time,” she says. “I tell them to stop saying

©Davina Fear


©Laura Cottril

‘just a minute’ to the people you love and say

demoralized. That’s why having a good pro-

it to the people who don’t matter as much. Let

fessional and personal network is critical, says

go of the guilt and make of your business what

Yarbrough. “Women tend to isolate themselves,

advice of others and follow your heart.

you want it to be. No rules are set in stone.”

and when they do, they tend to think it’s just

Davina Fear decided to take a year’s hiatus

But setting limits can be another catch-

their problem. It’s not. Try brainstorming cre-

from her business to spend time with her

ative problem solving with friends and col-

children, especially her pre-school youngest.

‘‘

22. “Women grow up with a ‘script’ that says they should try to please everyone,” says Elaine Yarbrough, Ph.D., president of the Yarbrough Group, a communication and human relations consulting agency in Boulder, Colo. “As we add more to our plates—family, work, social obligations, keeping communities together—we don’t subtract anything. So it becomes a matter of how much energy we have to do it all. But whom do you decide to not please by taking them off your plate? It’s easy to say, ‘Just stop doing XYZ,’ but when you think about the impact that saying no will have on relationships, which are very important to women, it becomes a huge interior barrier.” Piling on business and personal commitments means constantly juggling logistics, schedules and relationships, often leaving women feeling conflicted, exhausted and

leagues, rather than think in either/or terms.” Yet sometimes you have to disregard the

I used to believe the way to manage family, work, and life was to squish it all together. I’d work from home so I could “spend time” with my children, trying to photo edit and run the business while looking after the kids. Then I finally decided to separate my work from my home life. When I was at work in my retail studio space, I’d simply focus on work, and when I came home, I’d set aside work (as best I could) and really be with my family. I created a calendar to log what time was spent where, and scheduled work and family appointments around that, with scant exceptions. The transition didn’t happen overnight, but after awhile, I noticed I was getting twice as much done. Before long I was able to not work every night. I think the concept of the perfect work/life balance is a myth. Events will always rear up and knock us out of that perfect middle. The sooner we recognize that, the more peaceful we’ll be about working toward the balance we are capable of achieving. Zen: stay mostly there.” —Tamara Lackey • tamaralackey.com December 2009 • Professional Photographer • 81

WO R K & L I F E “It was not a popular decision among others

Cottril, CPP, of Laura Cottril Photography in

pleading for her time and attention. Cottril

in the industry,” she says. But she knew it was

Walnut Creek, Calif., was feeling burned out

felt guilty, torn and overwhelmed. But the

right for her. “I wouldn’t have given up the

and unhappy after six years in business, but it

interruption of her work helped her reap-

year with my daughter for having my business

took a confluence of stressful events to make

praise her goals and revise her business

booming right now. The year off also gave

her step away. Her 4-year-old niece with

model to be more manageable and healthy.

me the opportunity to re-evaluate my goals

leukemia was struggling through chemother-

and check in with what’s important to me.”

apy, her father found out he had stage IV

Mauer in Lexington, Ky., ran a successful por-

lung cancer, and her own 4-year-old son was

trait and wedding photography studio for

Like Fear, portrait photographer Laura

POWER OF TWO Feeling overworked and unmotivated? Joining forces could be a solution BY STEPHANIE BOOZER

In 2005, Tammy Wolfe, Cr.Photog., CPP, met Tamar London, Cr.Photog., CPP, while chatting in an online photography forum. Both were running successful yet small home-based photography studios. Both were looking for something more, and ©Scott Bourne

uncertain about how to get it. Their studios were just an hour’s drive from each other in

mon ground in their attitude toward business and art. London had yet to attend any

western Pennsylvania, and they agreed to meet for lunch. “When I received Tammy’s e-mail, I was a little suspicious,” admits London. “I remember worrying she’d try to steal my marketing ideas. I thought we’d have little to talk about and that the lunch would be awkward. Boy, was I wrong!” The pair instantly hit it off, finding com-

PPA events, while Wolfe was active in several photography organizations, and she encouraged London to get involved. “I’d never considered entering a print competition, and had no interest in becoming a certified professional photographer,” says London. “Tammy was excited about her upcoming CPP exam, and her enthusiasm was contagious.” Wolfe felt her business was doing just fine for the moment, while London had ambitions of growing hers. They began to refer wedding clients to each other, and the referrals were turning into bookings. Before

©Tamar London


Melanie Mauer of Photography by Melanie

long, London and Wolfe were sharing ideas on marketing, business plans and longterm goals. “Not long after our first lunch, Tamar was invited to speak by a photography guild, and she asked me to join her in the presentation,” says Wolfe. They talked about the marketing techniques that had helped them get established in their respective small towns. As they traded management techniques, Wolfe and London realized their businesses were practically identical, and both growing dramatically. About a year into their collaboration, “It occurred to us that a partnership might be a good way to reach the next level in our business,” says Wolfe.

many years before starting a family. Having

of Claudia Kronenberg Photography, a

hired an office manager and an assistant. In

a baby changed everything. “I had this vision

wedding and portrait studio on Nantucket

addition to running the studio, they assist

of my daughter being easy, like she’d be in the

Island, Mass. She’s a single mother with

with shooting and production.”

seat beside me while I worked on my

three children, a kindergartner, a first-grader

computer. She was not that kind of baby. She

and a high school senior. “I have a nanny

wisdom to find ways to balance their active

was colicky and high-spirited. I needed help.

who also does the laundry and housework,

lifestyle with a successful business. In their

In a push for balance, I began to outsource.”

and her husband takes care of my yard,” says

Outsourcing also saved Claudia Kronenberg

In February 2008, they met with an attorney to make it official, and became London Wolfe Photography, LLC. “From that point, everything happened extremely fast,” says Wolfe. They combined the studios in a single space advantageously located in downtown Altoona, Pa., then began merging clientele and streamlining the workflow. “We were explicit in our division of labor,” says London. Wolfe handled employees and photography education, while London was in charge of finances and marketing. Both agreed to participate to some extent in every aspect of the business. “There are so many benefits to having a business partner,” says Wolfe. “Besides the obvious sharing of expenses, we motivate each other. Before we merged, I’d come up with great ideas only to see my excitement fizzle out before following through. Now I have someone who relies on me and to whom I’m accountable.” London is just as exuberant in her praise. “Tammy has made me a better photographer and business woman,” says London, who’s since become a CPP. “I started entering print competitions because she thought it would improve my photography. Tammy makes me move forward, even when I’m scared.” The pair splits expenses and revenue

All four women used their wits and

search for answers, some crossed paths through

Kronenberg. “To help with my business, I

(continued on p. 86)

right down the middle. Each continues to work with the clients they had before the merger, and take turns accepting new clients. Wolfe is better with seniors, while London enjoys babies and children. They do about the same number of weddings per year, and they do destination weddings as a duo. “We get to do more of what we love and what we’re good at,” says London. “I am absolutely terrible at sales, but Tammy could sell ice to an Eskimo.” Individually, London and Wolfe were averaging about $600 to $700 per portrait session, and now, working as a team, the average sale has doubled. The same goes for bookings. In 2007, they handled about 15 weddings each; in 2008, they booked a total of 47. By dividing the workflow and agreeing on procedures, London and Wolfe find tremendous peace of mind in working together. “Any relationship that does not have balance is likely to fail,” says Wolfe. “Balance of talent and personality are the makings of a great team. A partnership isn’t always easy, but we see ourselves stronger together than separately. Our business has grown, our photography has improved, and our lives have become richer.” To see more of this team in action, visit www.londonwolfe.com. ©Tammy Wolfe


WO R K & L I F E

THE OTHER SIDE OF BURNOUT Yes, there’s light at the end of the tunnel l

BY LAURIE KLEIN ©Laurie Klein

“I attacked my burnout like it was war. I was going to battle to win back me.” One day my youngest son asked me, “Mom are you happy?” I felt a stab of pain in my stomach. Then he asked “Do you like what you’re doing?” Did he know I wasn’t looking forward to going in to work? Then the crusher, “Is there anything besides us you feel passionate about?” No, no and no. Ouch. I’d wanted to reinvent myself for some time. I felt I wasn’t growing as an artist. I’d been doing the same thing for over 20 years and I needed a change. I forgot how to nourish my soul, because I was so busy taking care of everyone else and supporting my family with my photography. I was suffering from burnout and it took a month of mulling it over to see that I had choices, that I could do something about it. I attacked my burnout like it was war. I was going to battle to win back me. Any changes


had to happen inside myself—working from the outside had been disastrous. I started listening to the advice I had been giving others, and resolved to retake control of my life. If you think you’re in the same boat, read on. Start by making a commitment to carve out time for yourself. One of the first things I did was to commit to taking at least one photograph a day just for myself, not to make money. I wouldn’t show it to anyone unless I wanted to. Just the act of using the right side of your brain will feel so good. It will reconnect you to your creativity. After that baby step, I started feeling better inside. It dawned on me that in nurturing my personal artistic work, I would become a stronger commercial photographer. Exercise more than your creativity; go out into nature for a walk, even if it’s only 5 minutes a day. I also do a breathing mediation for 5 minutes before I get out of bed in

the morning. It brings calmness and a feeling of connection to my source. Quiet moments of meditation or doing yoga help you hear the voice of the muse inside you. It took me a few years to get quiet enough to hear her, but she’s coming in loud and clear now! I believed I couldn’t take time for myself because I had major responsibilities. But the truth is, I discovered, that when I take time for me, I’m more effective and happier. So are my kids and my business. I was also convinced I had to change everything and start over to be happy. Well, I changed my mind about that, at least, and asked myself what had worked in the past. What it was it about my business that I loved, that excited me? What impassioned me about photography when I started out, so passionate I couldn’t wait to start the day? What inspired me in the past? I started a list of what was working for me. Try doing the same thing, only add things that aren’t working and things you truly don’t like about your business or photography. Jettison what doesn’t work to make room for what does. You might consider finding or starting a group that will support one another, and hold one another accountable for the goals you commit to. Perhaps the most uplifting bridge to the other side of burnout was mentoring high school kids. It’s like a shot of adrenaline. They’re excited about everything. Mentoring rejuvenated my passion, and it may do the same for yours, too. Creative people need creative tactics to get off the burnout track. It takes years to get to burnout, so give yourself time to work through it. There’s life after burnout— fantastic, fulfilling life! However bizarre it sounds, my burnout was a gift in disguise. Laurie Klein Gallery is in Brookfield, Conn. (www.laurieklein.com).

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‘‘

WO R K & L I F E ©Claudia Kronenberg

I learned a few years ago my staff should schedule my appointments. The doctor doesn’t tell sick patients he can’t see them for a week, his staff does. I don’t have to tell my good clients they have to wait for a session, and I don’t have to fight the temptation to squeeze them in. I’m good at leaving work at the studio when I’m on vacation. I have a simple rule: If it burns down while I’m gone, it will be burned down when I get home. If it’s something that will ruin my vacation, I don’t need to know. —Angela Carson • angelacarson.com

(continued from p. 83)

compare their lives and work to other

networking and workshops. They discovered

people. Holding yourself to some standard

common ground with other women, what

or bar as to how you should be or how your

Elaine Yarbrough calls “the collective journey.”

work should look doesn’t help. Standards,

“Knowing the collective journey shows

like PPA’s Masters program, are good. Just

you you’re not alone,” says Yarbrough. “It

don’t put yourself in some kind of box.

helps you quit blaming yourself for

EY: In a workshop I once took, the group

everything. Once you know the collective

leader gave each of us a piece of rope and

story and apply it to your life, you can sort

asked us to make a figure out of it on the

out what to keep and what to actively let go.”

floor. Then she asked us stand in front of

“I tend to crash and burn,” says Laura

each other’s rope figures and say, “I like

Cottril. “I don’t want to do it that way anymore.

this and I really like mine better.” Be

I’m driven to figure this out, and I want to

inspired and learn from others, then figure

share what I’ve learned with others so they

out how to make it your own.

don’t have to go through it. There is much more to this business than meeting your

2. VALUE YOUR TIME.

goals or making money.”

DF: When I say yes to a client, in reality I’m

Balance, she says, is the Holy Grail.

saying no to something else. Saying yes to a

Here, Laura Cottril, Davina Fear, Melanie

Saturday session also says no to spending time

Maueur, Claudia Kronenberg and Elaine

with my family. Is that client paying you

Yarbrough share tips for living a happier,

enough to make that worthwhile? Consider

more balanced life.

what you’re giving up when you create your price list.

1. FEEL INSPIRED, NOT DEFEATED.

LC: Make yourself hard-to-get. For

DF: I think it’s important that women don’t

example, I do custom Christmas cards, but


My single most effective trick to balance work and life is to have passions and hobbies outside photography. I road race motorcycles, scuba dive, ballroom dance, and I try to keep life exciting and active. —Dave Huntsman • huntsmanphotography.com

Our best method of maintaining balance is to remain close with our friends outside the photography industry. Our closest group of friends, whom we’ve known more than 15 years, keep us grounded. If you’re in a couple, it’s important to set aside time for your friends and for yourselves. If you’re busy shooting weddings on the weekends, plan occasional evenings together during the week. Running your own business can take a toll on your personal life, so it’s important to remember we weren’t always photographers. There was— we were—something before this. —Garrett Nudd • garrettnudd.com

THINKING OF JOINING PPA, the world’s largest trade association for professional photographers?

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Take your art and your business to the next level in 2010.

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WO R K & L I F E I got kind of burned out on it because it’s so

everyone and kept regular hours. My new

time consuming; so I raised the minimum

studio is in my house again, but that

order to $1,000. I was nervous about it.

experience enabled me to mentally separate

One client gave me a hard time and didn’t

my business from my family life. I try not to

order, but another client didn’t blink. I

work at night. If you are a mom, you have to

raised my prices on smaller prints, too.

have down time; otherwise you’ll lose

Now I always weigh my business decisions

patience and creativity. You have to cultivate

against family time, which I’m really

both sides of yourself.

protective about—that’s a good feeling.

MM: I always had boundaries, so that’s

LC & CK: Write everyone’s schedule on one

not a problem for me. I know the ancient

calendar. Use a different color marker for

law of a day of rest, and I carried it into my

every category, such as family, work and

business. I work on so many Saturdays that

social. One glance will tell you if your life is

I need a day to focus spiritually and serve

in balance.

others. Every Sunday should feel like a mini vacation.

3. SET BOUNDARIES. DF: I decided to move from my home

4. OUTSOURCE TO EASE STRESS.

studio to a retail space. When I did, I started

MM: After having my child, I outsourced

taking myself seriously as a businesswoman.

my lab work and hired an office manager. I

I stopped bending over backward for

used to spend a good part of my day on e-mail

©Melanie Mauer


‘‘

I gave up a studio space in midtown Manhattan and combined my studio with my home in Tribeca. It’s pretty common for artists in downtown Manhattan to have live/work loft spaces. My staff works here, we do shoots here, and meet our clients here, but when my two boys come home from school, I’m here to see them, too. Of course, I’m fighting a continuous battle with errant Legos before client meetings, but it’s a small price to pay. Besides, I figure if brides invite me into their rooms while they dress on their wedding day, the least I can do is have them over to my home for a drink. —Brian Dorsey • briandorseystudios.com

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Flashpoint tripods feature European styling. They open and close with ease and have leg locks that really lock solid. Legs are multi-positionable and with the low center column, the Height tripods can be used 55-1/4” for low, ground- Tripod F-1128 level photography. Tripod F-1228 60-1/4” Leg ends are rub- Tripod F-1328 63-3/4” ber tipped and have Tripod F-1428 72” retractable spikes. Monopod 55.11” BALL HEADS: Made of magnesium alloy. stronger and less weight than standard aluminum ball heads.

Ball Head F-1 Ball Head F-2 Ball Head F-3 Ball Head F-4 Ball Head F-9 Glimbal Head 1 Jiffy Ball Head

3.46 3.66 3.86 4.92 3.0 8.26 8.3

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9.9 lbs 17.6 lbs 24.2 lbs 26.4 lbs 11 lbs 8.8 lbs 11 lbs 17.6 lbs 40 lbs 33 lbs 15.4 lbs 5.6 lbs

2.64 lbs 3.30 lbs 3.96 lbs 5.72 lbs 10 oz. 11.6 oz. 14.4 oz. 16.1 oz. 30 oz. 5 oz. 2.2 oz. 1.8 oz.

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WO R K & L I F E

SMART OUTSOURCING Good help isn’t so hard to find l

BY BETSY FINN, CPP

We spend our work hours capturing the relationships of others. Yet all too often, we find ourselves catching up at the studio after hours, slogging through post-capture tasks instead of being home with our own family. Maybe you’d like to hire a retouch artist, but can’t spare the money. What if you could outsource some of your post-processing workflow to a qualified company that would respect your style and your vision? Here are a few resources you may not have heard of: ART BY CHERI. Cheri MacCallum, M.Artist.MEI.Cr., CPP, specializes in hand and digital painting and portrait enhancement, fine-art printing on canvas and art papers, and custom framing. www.artbycheri.net COLORATI. Raw processing, album design, and retouching. All tasks can be customized to your studio’s stylistic preference. www.colorati.com EDITTEAM. Post-production solutions, including customized editing and retouching. Every client photographer is assisted by a specified liaison and a senior editor, who can analyze your needs and tailor every job to fulfill them. www.editteam.com DARLENE FOSTER IMAGE ENHANCEMENT. Provides a range of services, including retouching, restoration, collage and digital painting, her specialty. www.darlenefoster.com HAPPYFISH DESIGN. Personalized album design and editing services performed by husband and wife team, Chad and Karen Dahlquist—she does the

designing, he does the image editing. Raw processing, color correction, photoshop retouching, and custom graphic design services as well. www.happyfish.com DIGITAL EXPRESSIONS. Photoshop solutions by Jeffrey McIntyre, an experienced retouch artist. Other services include custom album design and layout, as well as making custom Photoshop actions and templates. www.digital-expressions.net RED BOOT DESIGN. Specializes in custom album design—any type—to the specifications of any album company you like. Layouts are individually designed in Photoshop to showcase your images. To simplify your workflow, Red Boot has partnered with AsukaBook and Silverback Imaging + Design. www.redbootdesign.com REVOLUTION IMAGING & DESIGN. Standard services include image processing, album design, actionbased artistic edits, and full retouching. Through partnered services, Revolution offers slideshow development, online design presentation, printing and binding. Editors will work with you to develop a customized workflow and edit profile. www.revolutionimagingdesign.com SILVERBACK IMAGING + DESIGN. Replicate your studio’s style or develop an all-new look. Services include postproduction management, retouching and design. Its business partnerships include Kubota Image Tools, AsukaBook, Red Boot Design, Bay Photo Lab and Emotion Media. www.silverbackimaging.com

correspondence with clients, and now the office manager does it. That’s a huge boon to my family time. My husband is a great help—he does the laundry—and once a month I pay a neighborhood teen to help with the housework. CK: I collaborate as much as I can. The only way to get on and off Nantucket is by plane or boat. I have a car parked at Hyannis Port, so I don’t have to rent a car, which saves a lot of time. This year I teamed up with an aerial photographer with a plane of his own. I hire him to fly me to weddings all over New England, and to help with the shoots as well. Not relying on commercial flights means I don’t have to spend a night away from my kids. LC: Raise your prices to accommodate outsourcing. Work smarter rather than harder. To pay for outsourcing production, I raised my rates $50. Ask yourself: What’s worth more, working on the computer for another hour or spending the time with my family? 5. PUT YOURSELF ON THE CALENDAR. CK: I take along my dog when I drive my kids to school, and we stop at the park on the way home to exercise together. I have an elliptical machine in my office. In season, I get a weekly massage, usually on Mondays. When I work more than eight hours at a weekend wedding, I take Monday off completely. LC: If I hadn’t exercised, I couldn’t have gotten through the stress of last year. Why don’t we prioritize exercise? Fitness has become a survival tactic for me. I’m as guilty as the next person about thinking I don’t have enough time, but it’s really important. DF: I am a journaler. I really encourage other women to do it. We have the answers inside, and we need to take the time to tap into them. Every morning I read something inspiring, write and walk. If you want to feel


‘‘

WO R K & L I F E

I have a routine. I wake up, then meditate or work out for an hour every day. Before I open up that e-mail box, I make time for me first. Mostly, I learned to be selfish. I learned to say no. I can’t be everything to everyone, and only taking on what I can helps me be the best I can be. I know we’re all brought up to give and help others, but there’s a time and place for that. We spend our days and nights giving so much that we forget to have a life. Friends drift away, you become single, and you forget who you were before photography. —Gene Higa • genehiga.com

more creative, make your business more personal and be inspired, write a journal. My best ideas come to me when I put pen to paper. Once I committed to journaling and exercising, things really changed for me. 6. REGULARLY ASSESS YOUR GOALS AND CHANGE YOUR BUSINESS IF NEED BE. DF: Weddings are not conducive to family life because they take up weekends and the summer when your children are home. I

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switched my specialty to family lifestyle portraits and now do only a few weddings. To discourage weekend bookings, I raised my weekend rates. Some people pay the higher rate. The price is right, so that’s ok. 7. PACE YOURSELF. CK: Because my work is seasonal—New England’s high wedding season is June

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shooting. In summer the emphasis shifts to shooting. My kids know I’m out of commission most weekends, but I try to take Sundays off. Weekdays, we spend time together in the mornings and evenings. 8. LIVE FEARLESSLY. DF: Fear takes over without our realizing it. We’re afraid of what others think, that we’re not up to standards, and we fear being ourselves. It’s liberating to let go of fear. It was liberating for me to take a year off, even as I was soaring to my peak. I get to say how I live my life! � See more at lauracphotography.com, davinafear.com, melaniemauer.com and claudiak.com. Lorna Gentry is a freelance writer in Atlanta.

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8” Thermal Dye Sublimation Digital Photo Printer with 300 x 600 dpi, USB 2.0 Interface

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64

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14MegaPixels

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O’Leary looked for growing economies in the international market, and lit upon Dubai.

All images ©Gerry O’Leary

Into new territory To battle a slow economy, Gerry O’Leary took action

BY STEPHANIE BOOZER

‘‘ ’’ It was made for me. Amazing architecture, fabulous weather and just one direct flight from Ireland. I would fly to Dubai for suitable

assignments and slowly build up my satellite office, spending just one week per month away from my family and my Irish business.” Gerry O’Leary, CPP, believes keeping a

business alive these days takes a combat

once successful business is all but shredded.” Taking evasive action, O’Leary sliced his

away from home, now he’s away for three.

“It’s like I’m at war,” he says. “But with a

mentality. Fierce determination, a belief in

costs to the bone, decreasing his full-time

family to support, school fees, two

your own ability, sound business practices

staff of five to two part-timers, and shaving

mortgages to service and a well-trained loyal

and adaptability are the key to long-term

his profit margins. “This was paramount for

staff to hang onto, I must do this.”

survival. Dividing his time between his

survival,” he says. “I can only ride this storm

studios in Dublin, Ireland, and Dubai,

by being mean and lean.”

United Arab Emirates, O’Leary was at the

Dubai soon felt the effects of the downturn,

O’Leary started out as a construction site

engineer, having studied to become a surveyor in college. Since childhood,

top of his game when the bottom dropped out.

leading O’Leary to broaden his network in

photography had been a hobby and a

“Nobody saw what was coming,” says

the U.A.E. and extend it into Kuwait. He’s

fascination, beginning with his mother’s

O’Leary. “And nowhere experienced the

developing business in Saudi Arabia, Qatar

Kodak Brownie. At age 19, O’Leary

brunt more than Ireland. In two short years,

and Oman, and farther afield, in America.

purchased his first “real” camera. He was

recession became depression. And now, my

Where he once spent a week out every month

working a summer job in New York City,

and with his first week’s pay in hand, he headed to Times Square and bought a 35mm Exacta. Eager with anticipation, he picked up his first roll of film from the lab. “The processing revealed a blank roll, and with it, my first hard lesson—you must load the film onto the sprockets correctly,” says O’Leary. “My error was never repeated, ever.” After college, a recession in his homeland prompted O’Leary to find work in London. “My affair with photography grew deeper and I took night classes,” he says. He set up a simple darkroom in his apartment and would experiment late into the night. The photos he snapped on job sites began making their way into the company magazine. His job gave him the flexibility and the means to travel, and O’Leary followed his wanderlust through the United Kingdom, Europe, Russia, Africa and America. It was in Africa that O’Leary lost his beloved Exacta in the deep, dark waters of a jungle river, “which almost swallowed me, too,” he says. The catalyst for change often comes

At first, he took all jobs offered, until his interest in architecture gave him direction.

unsought. O’Leary’s sister Margaret left a job

Ignoring the naysayers who opined that

in mechanical engineering in Silicon Valley

Ireland is too small to support niche

to design and market her own line of knitwear.

photography, O’Leary tightened his focus.

O’Leary and his bride headed to San Francisco to help with the fledgling business. “Margaret was an inspiration to me,

“I specialized in the built environment, which is broad when you think about it— architecture, interiors, hotels, construction,

moving from the mechanical to the creative

construction products and materials, real

and making a successful business of it to

estate, retail, sport and leisure facilities,

boot,” he says. Back in Ireland, O’Leary, now

education, and so on,” he says. “And, of

expecting the couple’s first child, embarked

course, I don’t turn down shooting the CEO

on a new career.

or staff of a company I work for when the

“They say the three most stressful things in life are having a first baby, moving home,

need arises.” O’Leary likes to joke that he became an

and changing career,” says O’Leary. “In

overnight success in just 16 years. But he did

September 1993, we did all three in one move.”

rack up European awards for his work, and

Experiencing “stress in spadefuls,” O’Leary joined the Irish Professional Photographers Association to help tackle the

in 2008, published his book, “Contemporary Irish Architecture.” “But all of my eggs were in one basket,”

steep learning curve. Many years later, he

says O’Leary. “As an architectural photog-

would serve as president of the association.

rapher, I knew the Irish Celtic Tiger


construction boom would some day end.” O’Leary looked for growing economies in the international market, and lit upon Dubai. “It was made for me,” he says. “Amazing

service. I guarantee my work. I continue to win awards and reap the rewards.” Those awards include the recent Best International Architectural Photographer

what are you paying for? Creativity.’” It’s this passion and determination to succeed that keeps O’Leary in the game. “The turnaround has begun for me—by

architecture, fabulous weather and just one

award from the British Institute of

sticking to my core values,” he says. “There

direct flight from Ireland. I would fly to

Professional Photography, which brought

are still difficult years ahead, and those

Dubai for suitable assignments and slowly

him beneficial media attention in Europe

without perseverance, stamina, and a strong

build up my satellite office, spending just

and the Middle East. The biggest obstacle

will to survive might find this recession a

one week per month away from my family

he faces these days is price.

bridge too far.

and my Irish business.” For awhile, everything was golden. The

“There is always another guy who is half

“I fall out of bed every Monday morning

my price,” he says. “My reply is this: ‘You

and love where I’m going,” he says. “I get

once-satellite office is now O’Leary’s primary

know, if you look hard enough you will find

to shoot the coolest buildings and stay in

focus. Adapting to a broader Middle East

a photographer who will do it for nothing.’

the coolest hotels. The fabulous thing

market, he says, is what’s keeping his

Then I say, with passionate enthusiasm,

about my photography is that every day

business alive. It feels like starting all over.

‘Every poet has access to the same words as

there is a new scene, a new location—

the next, every composer has access to the

everything is new.” �

pointedly. “I have a sound business plan, a

same music notes, and literally everyone has

great product and even better customer

access to the same camera gear as me. So

See more of Gerry O’Leary’s portfolio at www.gerryoleary.com.

“This time, I’m better equipped,” he says

All images ©James Baigrie

bright side On the

James Baigrie built a successful career through his positive, personal approach

BY JEFF KENT

ook on the bright side is more than a cliché. For James Baigrie, it’s the mantra behind his success. Baigrie came to America from his native South Africa in 1994. Fresh out of college, he accepted a job as an assistant at his uncle’s New York fashion photo studio. At the time, Baigrie’s primary interest was in international travel, but a job in photography sounded intriguing. A few months was all it took to ignite his artistic passion, and Baigrie began to see professional photography as the ticket to a career that could include traveling to exciting places. He worked for his uncle for about 18 months, learning the particulars of fashion photography and running a commercial studio. Branching out, he assisted other photographers in a variety of specialties, including rock ’n’ roll, still life, food and travel. He studied lighting and shooting techniques and, not inconsequentially, he learned to behave like a professional photographer. “That’s something that a lot of young photographers don’t understand,” he says. “You may know your cameras or your lights or your gear, but there’s a protocol for how to interact with clients and manage a photo shoot. Your clients have invested their time and money in you, and there’s a sense of trust. It’s vital that you act like a professional and show them that you are up to the challenge.” With three years of assisting on his resume, Baigrie began to build a portfolio of his own. Combining his love of travel and photography, he embarked on an 18month trans-Africa backpacking adventure

‘‘ ’’ You may know your cameras or your lights or your gear, but there’s a protocol for how to interact with clients and manage a photo shoot. from Cairo to Cape Town. Baigrie pro-

duced the trip as a fundraising effort for the Red Cross War Memorial Children’s

Hospital in Cape Town. People interested

in his adventure made donations to a fund for the hospital. He walked, took public

transport and subsisted on $5 a day. At the end of the journey, Baigrie had collected

$20,000 for the hospital. He’d also created a striking photo journal of his travels.

Back in New York, he sent the images to

the contacts he’d made as an assistant. The

genre of the work didn’t appeal to every audience, but editors and art directors loved the

story, and began handing him assignments. “That’s where it really began for me,”

says Baigrie. “I started getting little assignments for some of the smaller weeklies—

where to get a good bagel in Queens, shots of hot nighttime eateries, things like that. Then I started to get a few bigger jobs. I

called on editors at Martha Stewart Living,

New York Magazine, Food & Wine. I con-

tacted people I’d met while assisting and showed them my book. Before too long, I was busy with a range of assignments.” The editorial work led to a break in the commercial field. W Hotel and Resorts hired Baigrie to do a two-year ad campaign. That project led to work for Crate & Barrel, then Pottery Barn, then Garnet Hill, then Nestlé. “I’ve found that commercial photography is very much about timing,” says Baigrie. “You encounter someone at the right time, and they need someone with your skills. That’s the way it happened for me. I landed a few commercial jobs that set me up for

the others. The key is to demonstrate to

from personal connections. His greatest

potential clients that your work in one area

marketing asset has always been his con-

can translate into another. Otherwise you

fidence. Clients want a photographer who

get stuck in that old catch 22: You can’t get

knows he can do the job well, no matter

the job without the images, but you can’t

what, and who shows enthusiasm about

get the images without the job. That’s not

the project. “A photo editor once told me

just starting out; it affects you when try to

that I have an intuitive approach to

reinvent yourself or move to the next level.

making images. I think that’s true. I wasn’t

You have to keep pushing your boundaries,

formally trained. I feel my way through the

actively going after the work you really want.”

work. I do things with lights and shooting

Baigrie, who recently relocated to San Francisco, feels self-promotion emerges

that aren’t standard practice. That’s the way I’ve approached the business side as

© 2009 Vincent Versace

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well. The driving force behind the business

work is straightforward, yet never mundane.

whether it’s a photo shoot or a client meeting.

is me. Most clients love to know you. They

The images are colorful and positive, bringing

That attitude is really what’s gotten me where

want to put a face and voice with the

out the best in the subject, whether it’s a per-

I am today, and I hope it will continue to

name. Without that, you’re just another

son or an ethnic dish. Optimism is very much

serve me well in the future,” he says. �

photographer in a sea of candidates.”

Baigrie’s identity as an artist and a business-

To see more from James Baigrie, visit www.jamesbaigrie.com.

Baigrie tackles projects head on. His

person. “I try to make the best of every situation,

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PERSEVERANCE AND PASSION, THAT’S WHAT INSPIRES ME. Since the age of 18, I’ve worked as a photographer at a newspaper, an art and entertainment magazine, and an antique auction house; photographed 50 weddings a year; printed my own black-and-white images; and waited tables...all at once. It wasn’t until age 35 that I opened a studio on Newbury Street in Boston, and I knew I had to make it work. I wasn’t sure how to run a studio, and I have to thank PPA—every week I did something to learn, from taking workshops and reading articles, to meeting photographers and shooting. AND WHEN I REMEMBER TO TURN OFF THE PHONE AND LOOK AROUND, I’M REMINDED WHY AGAIN... I LOVE SEEING AND CAPTURING THE ART IN LIFE.

PPA today DECEMBER 2009 President’s Message P e Ron Nichols, M.Photog.Cr., API :: 2009-2010 R 9 2010 PPA President Pr

Knowing where you stand has always been a pretty big part of our culture. In school, grades and GPAs told us where we fell and how we were doing. You always hear about things like median home prices, consumer price index, the Dow Jones Industrial Average and inflation factors. Yes, although we might consider ourselves artists, our world revolves around numbers. These numbers guide government and businesses in making the right decisions to be successful. On any given day, I can open The Wall Street Journal, jump online or even open an iPhone app to find numerical and financial information. But what I can’t find is the average price of an 8x10 or what most studios spend on rent. Let’s face it, President Obama probably doesn’t care how much more a studio sells if it uses projection versus one that does not…but you and I sure do. And while photography is a whole lot of fun, that fun goes away quickly if you cannot make your house payment or pay your credit card bill. PPA has just completed its second Studio Financial Benchmark Survey Analysis, giving our members insight into key factors that could help them be more successful. With these numbers, studio owners can see how they stack up against other studios. They can analyze their cost-of-sales and compare it against those of top-performing studios around the country. I remember several years ago when Ann Monteith brought this idea to the board of directors. It promised to be a costly and time-consuming effort, but she insisted that this data would be invaluable to studios serious about making a living in photography. She was right.

PPA Mem

ber E xclusi

That first Benchmark Survey gave us all great insight into the major financial principles that help make studios successful and profitable. Armed with that information, studios were able to adjust, modify and create ways of doing business to make more money (so they could stay in business). The new and updated analysis will be unveiled in January, and an easy-to-read PPA Business Handbook highlighting the survey’s findings (along with expert advice and business building ideas) will be included in that issue of members’ magazines. This information is one of a kind, and I urge you to pull out the insert, read it carefully, make notes and maybe even bring it with you to Imaging USA to discuss the findings with PPA’s Education and Studio Management Services (SMS) staffs. There are lots of photography associations in the country, but only PPA is willing to spend the time and resources to obtain this data. That’s because when photographers utilize the benchmarks, PPA knows they improve their bottom-line profits and make more money! I encourage you to look for and take advantage of the survey analysis and the PPA Business Handbook in January. Use it to understand how business works and what it really costs. Leverage it to become more financially secure. This information, coupled with webinars, member discounts and tons of online resources, will help you to set the path to business success…and start the year right! Keep following Ron’s travels: http://blog.ronnichols.com.

Ron Nichols, M.Photog.Cr., API 2009-2010 PPA President

ve

STARVING ARTIST, NO MORE!

Don’t miss your free copy of the new PPA Business Handbook, your guide to a healthy, profitable business. It’s inserted into the middle of every PPA member’s January magazine issue.

news from Professional Photographers of America — the world’s largest non-profit association for professional photographers | www.ppa.com

PPAtoday | December 2009 | news from Professional Photographers of America © Matt Houska

WHY ARE PROFESSIONAL PHOTOGRAPHERS SO EXPENSIVE? By Shawn Richter, Caught on Film Photography, www.cofphoto.com

Originally written in 2007 as a way to communicate to customers just how much work goes into a photo shoot, this article was slightly refocused on the photographer audience. Photographers around the world have reposted the original online countless times. If you would like permission to use it on your site, please contact Shawn Richter (www.cofphoto.com). In this digital age where everyone has cameras, scanners, and home “photo printers,” we hear this all the time: How do professional (or personal) photographers charge $X for an 8x10 when they cost just $1.50 at the drugstore? Simply put, the customer is not just paying for the actual photograph; they’re paying for time and expertise. THE AVERAGE ONE-HOUR PORTRAIT SESSION First, let’s look at the actual work involved: » Travel to the session » Setup, preparation, talking to the client, etc. » Shoot the photos

Travel from the session Load images onto a computer Back up the files on an external drive 2 - 4 hours of Adobe® Photoshop® time, including cropping, contrast, color, sharpening, and backing up edited photographs. Proof photos are also ordered. » 2 - 3 hours to talk to the client, answer questions, receive order and payment, order their prints, receive and verify prints, package prints, schedule shipment, and ship. » Possibly meet clients at the studio to review photos and place order. Meeting and travel time average 2 hours. » » » »

Print Competition = Green Merits, Too! By Sarah L. Johnston, M.Photog.Cr., CPP, F-PPANI

Looking for ways to improve your business? I suggest something that has worked well for photographers around the country, including myself: print competition. Guild, State, Regional, and Professional Photographers of America’s International Print Competition…enter print competition at all levels! The real education takes place when you sit in the room as the prints are judged. Listen to what the judges say when they challenge a score—you hear what they see in an image. Listen as they point things out, whether it is something

that needs improvement, or something that the maker has done so well that a judge wants to score the image higher. After the competition, consider asking a judge for a critique. It can help immensely. Such one-on-one conversations have given me more detailed insights for further improving my everyday images. Print competition is also a fabulous marketing tool. With every ribbon comes a chance for a press release to your local newspaper, getting your name in print even if the image didn’t score an 80 or higher. When your image merits, or

“goes loan,” it’s even better. In fact, one of the reasons I use images from my daily studio work for competition is the marketing value. (And I believe I should always be capable of creating merit-worthy images for my clients.) We make sure to put every award, with the image, into our studio newsletter. We want everyone to know how happy we are that an image created of little Billy, for his second birthday, did so well in print competition. Judges Choice ribbons, Best of Show ribbons, and more are displayed in the studio. If a client’s image is accepted into the PPA Showcase

or PPA Loan Collection book, I purchase a copy for the client. They are so excited that they make sure everyone knows how well “their” image has done. Keep in mind that this is also great information to add to your website, blog, Facebook, Myspace, and Twitter accounts. Post those awards anywhere your clients are! (Viral marketing is the current “thing” to do and is much cheaper than direct mail newsletters, but that’s another article.) When I ask the judges for ways I can improve my images, it’s not just so I might do better in competition and earn


You can see how a one-hour session easily turns into an eight-hour day or more from start to finish. So if you see a personal photographer charging a $200 session fee for a one-hour photo shoot, the client is NOT paying them $200 per hour. THE EIGHT-HOUR WEDDING A wedding photographer typically meets with the bride and groom several times before and after the wedding. And it’s not uncommon to end up with 1,000 - 2,000 photos, much more than a portrait session. Many photographers spend 40-60 hours working on one eight-hour wedding if you look at the time that is truly involved. Again, if a wedding photographer charges $4,000 for eight hours of coverage, clients are NOT paying them $500 an hour! (Don’t forget that the photographer runs the wedding day to some extent. A comfortable, confident wedding photographer can make a wedding day go more smoothly.) THE EXPERTISE AND COST OF DOING BUSINESS Shooting professional photography is a skill acquired through years of experience. Even though a DSLR now costs under $1,000, taking professional portraits involves much more than a nice camera. Most personal photographers take years to go from buying their first camera to making money with photography. In addition to learning how to use the camera, there is a mountain of other equipment and software programs used to edit and print photographs, run a website, etc. And don’t forget backdrops, props, rent, utilities and insurance. In addition to the financial investment, photographers actually have to have people skills to make subjects comfortable in front of the camera. Posing people to look their best is a skill by itself. You could argue that posing is a more important

skill than actually knowing how to use the camera. A poorly exposed photo can be saved, but a badly posed photo cannot. THE CHAIN STORE PHOTO STUDIO Chain stores do have their place. For a very cheap price you can run in, shoot some quick photos, and be done with it. But you get what you pay for. Consider the time and effort that a personal photographer puts into photographs, compared to a chain store. Store sessions last just a few minutes, while a personal photographer takes the time to get to know the people, makes them comfortable, makes them laugh. If a baby is crying at a chain store, they often don’t have the time (or the patience) to wait because everyone is in a hurry. The truth is that many chain store studios lose money. What the chain stores bank on is a client coming in for quick, cheap photos…and while there, spending $200 on other items. They are there to get you in the door. THE REAL DEAL Professional, personal photographers are just that— professionals. No different than a mechanic, dentist, doctor, or electrician. But a personal photographer often becomes a friend, someone who documents a family for generations with professional, personal photographs of cherished memories. Maybe we need to help clients look at it this way: A pair of scissors costs $1.50 at the drugstore. Still, most people will gladly pay a lot more to hire a professional hair dresser to cut their hair. The added attention and quality that a personal photographer gives is worth every penny.

© Sarah L. Johnston, M.Photog.Cr., CPP, F-PPANI

awards. Rather, I want to create better images for my clients and improve my business. And that is why it is worth the expense to enter images in print competition. The education I have received and the constant improvement in the images I create has been priceless. Get ready for the 2010 International Competition – deadline May 3, 2010 (more information will be available soon at PPA.com’s Competitions page). Check with your affiliate association for upcoming print competition entry deadlines and rules. Send questions about regional or international competitions to Jim Dingwell ([email protected]).


WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

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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 2010 Ad Rates Ad size: 21⁄4” x 43⁄4 • 12x rate: $600.00 per month • 6x rate: $650.00 per month For more information, contact your advertising representative: BART ENGELS, Western Region Manager, 847-854-8182; [email protected] SHELLIE JOHNSON, Northeast Region Manager, 404-522-8600, x279; [email protected] BILL KELLY, Southeast Region Manager, 404-522-8600, x248; [email protected]


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.

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P RO F E S S I O NA L

Adorama (www.adorama.com) . . . .73, 89, 91, 93

Marathon Press (www.marathonpress.com) . .113

Advanced Photographic Solutions

Marsh Affinity Group Services

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(www.ppainsurance.com) . . . . . . . . . . . . .50

Alien Skin Software (www.alienskin.com) . . . . .3

McKenna Pro (www.mckennapro.com) . . . . . .119

American Color Imaging (www.acilab.com) .6, 122

Meridian Professional Imaging

American Photo Resources (www.aprprops.com)129

(www.meridianpro.com) . . . . . . . . . . .Cover II

Animoto (www.animoto.com/go/kevin) . . . . . .13

Miller Professional Imaging (www.millerslab.com)18-19

ARK-LA-TEX Color Lab (www.altcolorlab.com)121

Morris Group (www.themorriscompany.com) .124

B & H Photo-Video (www.bhphotovideo.com) 94-95

Nik Software (www.niksoftware.com/prophoto)111

Bay Photo Lab (www.bayphoto.com) . . . .27, 119

North American Photo (www.naphoto.com) . .121

Benro (www.benro.com) . . . . . . . . . . . . . . . . . .9

NILMDTS (www.nilmdts.org) . . . . . . . . . . . . .48

Bogen Imaging Inc. (www.bogenimaging.com) .25

OmegaSatter (www.omegasatter.com) . . . . . .53

Boulder Pro Photo (www.lifetimeinfocus.com)

Onlinephotofix.com

(www.boulderprophoto.com) . . . . . . . . . . .123

(www.onlinephotofix.com/magpp) . . . . . .129

Bron Imaging (www.bronimaging.com) . . . . . .25

OnOne Software (www.ononesoftware.com/pp) . .29

Buckeye Color (www.buckeyecolor.com) . . . . .120

PPA Loan & Showcase Collections

Paul Buff Inc. (www.white-lightning.com) . . . .77 Burrell Colour Imaging (www.burrellcolourimaging.com) . . . . . . . .122

PPA Membership (www.ppa.com) . . . . . . . . .114

BWC (www.bwc.net) . . . . . . . . . . . . . . . . . . .120

Pacific Mount (www.pacificmount.com) . . . . .125

CPQ (www.cpq.net) . . . . . . . . . . . . . .51, 121, 122

PhotoTech Inc. (www.phototechinc.com) . . . .129

Candid Color Systems Inc. (www.candid.com) . . .123

Photogenic (www.photogenic.com) . . . . . . . . .12

Color Incorporated (www.colorincprolab.com) 120

Photoship User

Corporate Color/Prolab Express

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2010 ad specs & rates: • AD SIZE: 31⁄2 X 21⁄2 • 12X RATE: $450 PER MONTH • 6X RATE: $560 PER MONTH Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge.

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(www.photoshopuser.com/special-offer) . .44

(www.prolabexpress.com) . . . . . . . . . . . . .119 Contemporary Photography/J. Hartman

PickPic (www.pickpic.com) . . . . . . . . . . . . .15, 17 Pictobooks (www.pictobooks.com) . . . . . . . .124

(www.jhartman.com) . . . . . . . . . . . . . . . . .127

PocketWizard (www.pocketwizard.com) . . . . . .41

Creative Light (www.creativelight.com) .Cover IV

Portrait City Lab (www.customcolor.com) . . . .121

Custom Brackets (www.custombrackets.com) 124

Portrait Professional Studio

Dalmatian Lab (www.dalmatianlab.com) . . . .123

(www.portraitprofessionalstudio.com) . . . . . . .39

Denny Manufacturing (www.dennymfg.com) .125

Posh Prints & Design (www.poshprintsonline.com)124

Diversified Lab (www.diversifiedlab.com) . . . .121

Pro Photo (www.prophotoimaging.com) . . . . .123

DriverSavers (www.srivesavers.com) . . . . . . . .92

Reedy Photo (www.reedyphoto.com) . . . . . . .123

ESS Data Recovery (www.datarecovery.com) .126

Renaissance Albums

Epson (www.proimaging.epson.com) . . . . . . . . .5 GTI Graphic Technology, Inc.

BART ENGELS, Western Region Manager, 847-854-8182; [email protected] SHELLIE JOHNSON, Northeast Region Manager, 404-522-8600, x279; [email protected]

Hollywood Fotofix Digital Studios

(www.renaissancealbums.com) . . . . . . . . . . . . .125 RightHook Media (www.bigblackbag.com) . . . . . . .35

(www.gtilite.com) . . . . . . . . . . . . . . . . . . .124 Group Photographers Association

BILL KELLY, Southeast Region Manager, 404-522-8600, x248; [email protected]

(www.marathonpress.com/prepublication) .32 PPA Make-It-Big (www.imagingusa.org) . . . . .87

Sandy Puc’ 2010 Family Tour (www.sandypuctours.com) . . . . . . . . . . . . . . .118

(www.groupphotographers.com) . . . . . . . . . .119 H&H Color Lab (www.hhcolorlab.com) . .Cover III Herff Jones (www.hjpro.com) . . . . . . . . . . . . .122

Schneider Optics (www.schneideroptics.com) . . . .55 Simply Canvas (www.simplycanvas.com/TheBest) . . . . . . .30-31 Speedotron (www.speedotron.com) . . . . . . . .28

(www.retouchup.com) . . . . . . . . . . . . . . . . . .57 Interfit Photographic Ltd.

Studio Logic (www.studiologic.com) . . . . . . .103 Successware (www.successware.net) . . . . . . .85

(www.interfitphotographic.com) . . . . . . . .125

Tyndell (www.tyndellphotographic.com) . . . . .126

JD Photo Imaging (www.jdphotoimaging.com)122

United Promotions Inc. (www.upilab.com) . . .119

Kelby Training (www.kelbytraining.com) . . . . . . . . .79

White House Custom Color

Lensbaby (www.lensbaby.com) . . . . . . . . .47, 49

(www.whcc.com) . . . . . . . . . . . . . . . . . .10-11, 36-37

Lustre Color (www.lustrecolor.com) . . . . . . . .120

White Glove (www.wgbooks.com) . . . . . . . . .126

MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . .23

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.

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ARTISTIC ENHANCEMENT A WORK OF ART - DIGITAL PORTRAIT PAINTING. Offer your clients the look of hand-painted oils on canvas and watch your print sales soar. Fast turnaround, work guaranteed. We have 5 years’ experience in Corel Painter, working exclusively with professional studios. Featured in PPA Magazine, August 2007. Starting at $125. 724-5189069; www.bobnolin.com

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BLANK MEDIA $64 FOR 100 FULL COLOR PRINTED BLANK DISCS, Vivid waterproof colors, UV cured, Quick 48 hour turnaround, NO SETUP FEES! www.onediscmore.com

CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 33 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

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CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509248-6700. WWW.CANVASMOUNT.COM

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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 800-593-3767 or visit our Web site www.SuccessWare.net.

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.

EDUCATION/WORKSHOPS “The Art of Digital Photo Painting: Using Popular Software to Create Masterpieces” book is now available on Amazon. Join Corel Painter Master Marilyn Sholin in Asheville, NC and other locations at a workshop. Free tutorials and registration at the Digital Paint Shop. www.digitalpaintingforum.com/shop Visit WWW.PROPHOTOBUSINESSFORUM.COM—A private online community of business conscious wedding and portrait photographers just like you. YOU’LL NEVER BE THE SAME. YOU’LL BE BETTER!

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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]. INDEPENDENT SALES REP WANTED who is currently calling on photographers to sell our Personal Art. Using the photographer’s images, we provide a hand painted oil, done on canvas that looks amazing like the photo. Visit www.genesisfinearts.com, call 901-380-2997, fax 901380-3619 Lou or Joan O’Reilly. NEED HELP?? Let Professional Photographer’s classified ad section help you find just the right indivdiual for your buisness. FAX your classified ad to 404-614-6405, Attention: Classified Ads.

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STUDIOS FOR SALE AWESOME DALLAS AREA PHOTOGRAPHY STUDIO: A well established, newly remodeled, state of the art studio for sale. In business over 20 years with a great reputation and large client base. Big, spacious studio, with lots of equipment, backgrounds, props, specialty scenes, and big screen protection room. Owner wants to slow down. Will assist with the transition. Call 214-837-5823.

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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, SPACIOUS-EQUIPPED 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 904-399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST. LOS ANGELES PHOTOGRAPHY/Production Studio, located in the Artists District. Bldg. is 19,000 sq ft free standing on 22.000 sq ft of land. It is concrete tilt-up with dock high loading, built specifically for a photography and production studio in 1978. Exacta Photographers, Inc has been a successful business since 1970, grossing an average 1 million per year. Fully equipped w/hot lights for TV commercials and strobe equipment for fashion, etc. 7 air conditioned sets (10,000 sq.ft.) a fully equipped color lab/ computer stations/executive offices, huge inventory of backgrounds for sets, cameras, lens, etc. Owner retired. A great opportunity for the right person. For info call 626-445-7459.

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 800-3257664. 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.

©Peggy Farren of Avant-Garde Images in Naples, Fl.

Since September, more than 275 professional photographers across the United States have opened their studios to offer complimentary portrait sessions to military families with a soldier deployed overseas. Military families were able to find participating photographers in their area through the Portraits of Love website, www.pmdaportraitsoflove.com, which was developed by program sponsor Fujifilm. The Soldiers’ Angels tapped into its network of 200,000 volunteers to help promote the campaign. After conducting the sessions, the photographers simply uploaded the digital images to the Angels website, and the project organizers handled the printing and shipping. Fujifilm provided the free prints through its online resource, www.seehere.com, and paid the shipping costs. By the end of the campaign on the 4th of this month, Portraits of Love will have sent 10,000 family portraits to U.S. troops overseas.

Portraits of love

A

10,000 FAMILY PORTRAITS DONATED TO SOLDIERS

At a PMDA dinner earlier this year, 1st Sgt. Toby Nunn, a veteran of two tours in Iraq who has worked on several Soldiers’ Angels projects, expressed the importance of bringing a piece of home, of family, to our foreign-deployed men and women in uniform

s America’s military commitments over -

Soldiers’ Angels to launch Portraits of Love, a

this holiday season. “It’s incredible how moti-

sees continue, thousands of those serv-

campaign to make family portraits stateside and

vating a simple family photograph can be to

ing in the armed forces must spend

deliver them to thousands of soldiers around

a soldier who is far from home,” he said. “This

the globe, free of charge, this holiday season.

volunteer effort is one more way that we can

the holiday season in distant lands, far from friends and family. Many of these men and women have been deployed in harsh con-

“This project is the photo industry’s way of giving back to our soldiers and thanking them for the sacrifices they have made for

ditions for extended periods, and that takes

our country,” said Jerry Grossman, president

its toll on their anxious loved ones back home.

of PMDA. “Our industry is uniquely quali-

To help bridge the gap, the PhotoImaging

fied to bring an important piece of home to

Manufacturers and Distributors Association

our soldiers, and we’re pleased to be able to

(PMDA) has teamed with the nonprofit group

organize this effort.”


help our soldiers cope with their situation.” � To learn more about Portraits of Love, visit www.pmdaportraitsoflove.com; Soldiers’ Angels at www.soldiersangels.org; and PMDA at www.pmda.com.

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

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