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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

The power of focus

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

A STEP TOWARD ACHIEVING YOUR LIFE’S AMBITIONS

LESLIE HUNT [email protected]

I was on the phone with Kimberly Wylie when her words triggered

editor-at-large

a déjà vu. “It was my personal goal to be featured in your magazine

JEFF KENT [email protected]

and to be on the cover,” said an utterly gracious Wylie, the Dallasbased photographer who’s the subject of the feature beginning on p. 142, and whose work is indeed on the cover of this issue. A number of talented photographers whose work has graced our magazine over the years have told us that being featured in a magazine—ours or any industry publication—was one of their personal and professional objectives. Wylie’s comment reminded me of an oft-repeated story actor Jim Carrey tells of a night in 1987 when he was twenty-something, long before he became a crazy-rich movie star. On that night, he wrote a post-dated check to himself in the amount of $10 million, vowing that one day he’d be able to cash it “for acting services rendered.” A cursory Google search reveals he now makes more than $20 million per film.

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

Every year, two good friends of mine, happily married for almost 20 years, sit down together, pen and paper in hand, to articulate and list the things they want to accomplish in the next 12 months. This annual ritual has helped them carve a rich and rewarding life. Being a professional photographer can be one of the most fulfilling jobs in the world. But if you don’t have a plan, in a turbulent economy and a changing marketplace, and with a host of new technologies seemingly conspiring against your best efforts at career building, it can break your heart. So this January, give yourself a few hours to grab your journal (or blackberry or laptop), settle into a quiet corner or a tranquil spot outdoors, and write a list of what you’re going to achieve this year. Making the time to focus on and record your life’s ambitions is an amazingly powerful start to seeing those dreams realized. � Cameron Bishopp [email protected] Director of Publications

4 • www.ppmag.com

KARISA GILMER [email protected]

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 2010, 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.

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CONTENTS PROFESSIONAL PHOTOGRAPHER JANUARY 2010

Features 122

DUAL PERSONALITIES Garret and Joy Nudd split their business into two distinct and profitable brands By Jeff Kent

132

AFTER THE WHITE HOUSE Where do you go after working at the most famous address in the world? For Paul Morse, the answer is anywhere and everywhere By Stephanie Boozer

142

WOMAN IN LOVE Kimberly Wylie’s passion for photography By Stephanie Boozer

84

PORTRAITURE: LOCAL HEROES

Ralph Romaguera knows good deeds can be good for business By Lorna Gentry

92

COMMERCIAL: BEGUILING TASTE

Brazilian Beatriz Da Costa’s mouthwatering photography By Lorna Gentry

98

STARTUP: SINK OR SWIM

Scott and Adina Hayne move from survival mode to success By Jeff Kent

106

CHILDREN: SPOONFUL OF SUGAR

Michele Celentano’s remedy for one of those days By Stephanie Boozer

112

COMMERCIAL: HOME ON THE RANGE

David Stoecklein’s mission to preserve the American West By Jeff Kent IMAGE BY SCOTT HAYNE PHOTOGRAPHY

CONTENTS PROFESSIONAL PHOTOGRAPHER | JANUARY 2010 | WWW.PPMAG.COM

14

FOLIO

152

SCHOOL CALENDAR

155

PPA TODAY

170

GOOD WORKS

©Garrett Nudd

Departments C O N TA C T S H E E T 18 Angelika Rinnhofer: Athletes in art 20 London Wolfe Photography

warms up to new clients with coffee 22 The one-stop wedding shop 23 Copyright Office imposes

new fees, rule changes 26 Studio revamp spurs sales

PROFIT CENTER 29 What I think: Scott and Adina Hayne 30 Ask the SMS experts 32 How we did it: Molly Purvines 36 5 red-hot winter promotions

by Lisa Crayford 44 Invest your time, extend your reach by Lindsay Adler

THE GOODS 49 What I like: David Stoecklein 52 Inventing 101

by Alice B. Miller 60 Software: Relationship status

by Andrew Rodney 68 Tutorial: Nik Viveza 2 by Tony L. Corbell 74 Pro review: Epson Stylus Pro R3880 by Mark Levesque 76 Tutorial: Dodge and Burn by Jared Platt

112

Hearth, home and jet stream? Garrett and Joy Nudd wowed the wedding market

in Central Florida, yet missed the comforts of their hometown in Tennessee. Unlikely as it seems, they’ve married their new local portrait business with their jet-setting destination wedding business.

ON THE COVER: Kimberly Wylie of Dallas made this portrait of 13-year-old Harris, son of a Hollywood talent manager, in the client’s home. “Harris was so fun to work with—a natural in front of the camera,” says Wylie. “The house had beautiful, large artworks, one of which I used as my background for this shot. I used only natural window light. The walls and the rug were white, so there was a ton of gorgeous light bouncing around, creating a perfect environment to shoot in.” Wylie captured the image with a Canon EOS 5D Mark II with a 70-200mm f/4 lens, shooting at f/4.5 for 1/250 second, ISO 640. She performed minor retouching in Adobe Photoshop. Cover image retouched by Jim DiVitale, M.Photog.MEI.Cr., API, F-ASP

8 • www.ppmag.com

2009 Product Additions White House Custom Colour, Your Professional Photographic and Press Printing Partner

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Float Wraps Float wraps are unique in that they appear to be floating on the wall with the main focus on the image! Float Wraps are available in Lustre or Metallic Photographic paper, and Fine Art or Metallic Canvas in 14 popular sizes.

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White House Custom Colour is a full service, professional photographic lab and press printer. In addition to the showcased products on these pages, we offer a full line of products and services to make a positive impact on your goals for continued success in building your photographic business. For more information visit our website, www.whcc.com

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Imaging USA Booth #333 Premium Packaging Premium Packaging allows your beautifully packaged order to be drop shipped directly to you client or shipped back to your studio. Available for photographic prints, press cards, and press printed books.

Visit us at Imaging USA 2010 Be sure to stop by our booth at Imaging USA to see our full line of products! And watch for even more new product announcements in the following months. We have a great line up of new products and product enhancements for 2010.

White House Custom Colour - www.whcc.com - 800-252-5234 - [email protected]

MICHAEL GAN M.Photog.Cr., CPP [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] directors SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI [email protected] RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected] SCOTT KURKIAN Chief Financial Officer [email protected] THERESE ALEMAN Director, Marketing and Communications [email protected] CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected] CAMERON BISHOPP Director of Publications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] WILDA OKEN Director of Administration [email protected] BETSY REID Director of Education [email protected]

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

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

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

LENORE TAFFEL Director of Events [email protected]

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

BING ZENG PPA China Managing Director [email protected]

DOUG BOX M.Photog.Cr., CPP, API [email protected] DON MACGREGOR M.Photog.Cr., API [email protected]

12 • www.ppmag.com

industry advisor KEVIN CASEY [email protected]

SANDRA LANG Executive Assistant [email protected] *Executive Committee of the Board

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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.

©Richard Sturdevant

RICHARD STURDEVANT Richard Sturdevant, M.Photog., of Sturdevant Studio in Garland, Texas, created “Dragon Quest” to showcase his skills as an artist for book covers, movie posters and toy product photography. The model and toy action figures were captured with a Nikon D2X camera, with Nikkor 85mm f/1.8 D AF and 105mm f/2.8 G IF-ED AF-S VR Micro lenses, shot for 1/250 second at f/13, ISO 100. The light of a 300WS AlienBees B800 flash and 4x6-foot Calumet soft box bounced off a 4x6-foot silver Larson Reflectasol for fill. In Adobe Photoshop CS3, Sturdevant combined images to create the final scene. “To combine a real life model and six-inch toy action figures was a wonderful challenge for taking my art to the next level,” he says. The image won a Fujifilm Masterpiece Award. www.sturdevantstudio.com

What the judge thought:

“This image is an amazing example of good

photography, digital expertise and technical ability. The maker has used 12 elements in an incredible composition that tells a complete story, filled with pathos and emotion. All that is enhanced by the strength of the colors. Color, pattern and shape are the fundamentals of good composition; here, they lead us into the image from left to right and keep us there as we become more and more involved in the story.” —Helen Yancy, M.Photog.M.Artist.MEI.Cr., Hon.M.Photog., API and PEC Committee chair

14 • www.ppmag.com

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CINDY TIEFENBRUNN Intrigued by the gray light of a foggy morning falling on a dying eucalyptus branch, Cindy Tiefenbrunn, M.Photog., CPP, of Cindy’s Photo in St. Louis, Mo., captured “Morning Dew” with a Nikon D200 camera and a Nikkor 18-200mm f/3.5-5.6 G IF-ED AF-S DX VR Zoom lens. She used Adobe Photoshop to enhance what color remained in the branch and made other minor adjustments to add depth and interest. www.cindysphoto.com

©Cindy Tiefenbrunn

©Tammy Jolley

16 • www.ppmag.com

TAMMY JOLLEY “Senior Strings” (below) was created during a senior portrait session by Tammy Jolley, M.Photog., CPP of Jolley Photography in South Jordan, Utah. With a Nikon D2X camera and a Nikkor 70-200mm f/2.8 lens, Jolley exposed the frame for 1/30 second at f/11, ISO 100. A 4x6-foot Larson silver reflector bounced light from a Norman ML600 and 4x6-foot Larson soft box for the main light. The background is from Maheu. Jolley performed only minor retouching in Adobe Photoshop. www.jolleyphotography.com

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

Angelika Rinnhofer’s moody portraits of young

culture. “It shows what teenage girls have

lighting, which Rinnhofer uses in all her

female athletes sit at an unexpected inter-

in common. These are not necessarily por-

portraiture, she used one light source, a

section of classical and contemporary portrai-

traits of the person as they are pictures of

reflector and no ambient light whatsoever.

ture. Stylistically the photos evoke Rembrandt,

American teens.”

The girls sat on a stool placed one to two

yet the subjects are dressed as who they are, 21st-century

American teenagers. Blending

the two makes provocative portraits so

The girls posed after practice, unshowered

feet away from a strobe set at a low-light

and sweaty, in a small black box studio

intensity. Using a Hasselblad 6x6 camera,

Rinnhofer set up in the back of the locker

she exposed Fujicolor NPS 160 film,

Athletes

unusual they command a double take.

room. To achieve the Rembrandt-like

in art

The idea for the portraits came to

typically at an aperture of f/8.

Angelika Rinnhofer’s cross-century portraiture BY LORNA GENTRY

The portraits are printed on Kodak Supra

Rinnhofer in 2008 when she was asked to

Endura paper in three sizes, 11x14, 20x24

assist in coaching the girls varsity softball

and 30x40. Rinnhofer does all her own

team at The Harvey School, the private

printing, either in rented darkroom space

boarding school in Westchester, N.Y., where

in New York or at Florida International

she teaches art. The school’s well-rounded

University in Miami, where a friend teaches.

curriculum has students “playing football

“The FIU photo department has one of the

one afternoon and acting Shakespeare the

last color processors,” says Rinnhofer, who

next,” she says. “So I thought, ‘Why not

steadfastly works only in color film for her

show that in photographs?’”

fine art work, even though she teaches

She was also curious about how the girls would respond to wearing their athletic

digital photography at The Harvey School. “I don’t mind digital,” she explains, “but

clothes while posing in such an antiquated

the large-format equipment I use for my

way. That proved no problem, she reports.

fine art, usually 4x5, is very expensive in

“The girls transformed themselves easily. I

digital. I guess if film runs out, I’ll figure

think the portraits gave them a way to see

something out. Maybe I’ll make my own

themselves in a new way.”

glass plates.”

In the process, the German-born photographer, who became an American citizen

To see more of Angelika Rinnhofer’s work, visit her web site, www.angelikarinnhofer.com.

two years ago, gained insight on American

Lorna Gentry is a freelance writer in Atlanta.

18 • www.ppmag.com

All images ©Angelika Rinnhofer

All images ©London Wolfe Photography

CONTACT SHEET

Cool beans London Wolfe Photography warms up to new clients with coffee BY LORNA GENTRY

Last October Tammy Wolfe, Cr.Photog., CPP and Tamar London, Cr.Photog., CPP of London Wolfe Photography in Altoona, Pa., opened a coffee shop in their downtown studio. A nearby office worker is a regular now, and every time he comes in he gazes at the pictures on the walls, particularly at the maternity portraits. They catch his eye, you see, because his wife is expecting their first child. Another man recently ducked in for coffee while his fiancée was down the street checking out a possible venue for their wedding reception. While sipping a latte, he kept examining London Wolfe’s wedding photos. He left with a business card and a promise that he would be back with his fiancée to discuss wedding photography. “That’s exactly what we were hoping for,” says Tammy Wolfe, who partnered nearly two years ago with Tamar London to open their 8,500-square-foot wedding and portrait studio. “The best part is that when people come in for coffee they want to chat and get to know us. Building that rapport is

called “House Blend,” seniors are “Unleaded,”

like laying bricks in a foundation. We believe

weddings are “Double,” and maternity are

that is what creates a strong reputation and,

“Slow Brew”). Topped off with the studio’s

eventually, a strong business.”

tag line—“Savor the Moment”—and all that

The idea for the coffee shop came about when the photographers were brainstorming

Fresh roasted, organic, free-trade coffees are

about how to attract more people to their

on sale in the shop, along with coffee drinks

studio, especially during the slow winter

made to order, pastries and artwork, including

months. When downtown’s only coffee shop

the studio’s own photo novelties. The mix of

closed, coffee lover Tammy Wolfe was sad,

coffee and art is attracting Penn State Altoona

but she saw opportunity.

students along with downtown professionals.

Clearly the idea of coffee swirled in their heads when they brewed up their branding

20 • www.ppmag.com

was needed was actual coffee.

“It’s subtle marketing,” says Wolfe.

strategy: rich, dark color scheme and java-

To learn more about London Wolfe Photography, visit www.londonwolfe.com.

inspired services menu (family portraits are

Lorna Gentry is a freelance writer in Atlanta.

You spend time photographing other people’s families.

Now spend some time with your own.

mpixpro Where discerning photographers belong. mpixpro.com

CONTACT SHEET

The one-stop wedding shop Eric Sartoris and Laura Elskan build a bridal co-op When Eric Sartoris and Laura Elskan moved

establishing a strong community presence.

their business from Seattle to Austin, a

To help further these objectives, they wanted

couple of their highest priorities were building

a physical presence in a popular, upscale

partnerships in the wedding industry and

neighborhood. However, as experienced

©Laura Elskan & Eric Sartoris

wedding photographers, they knew they didn’t need a full-time commercial space. They meet with clients only a couple of times a week, and the rest of the time the space would sit vacant. That’s a lot of dark hours that cost a pretty penny in rent. To get the best of all worlds, Sartoris and Elskan decided to form their own wedding industry cooperative. In June 2009, they invited several other wedding vendors to join them in renting a storefront that would serve as communal meeting space. The coop includes Sartoris and Elskan’s Anthology Photography, a wedding coordinator, a catering company, a florist, a cake baker and an iron sculptor who produces special centerpieces and other decorative items. Each vendor signs up for time in the store’s central meeting area, but no one uses the space as a full-time office. The companies keep track of the meeting room availability online with a Google Calendar. The vendors split all the rent and utility bills evenly. They each provide work samples and decorations for a carefully coordinated look that showcases everyone’s talents. What began as a cost-sharing enterprise has turned into an excellent source of referrals. Sartoris estimates that Anthology has received slightly less than 10 percent of

its business during the second half of 2009 from referrals from its office mates, though he expects that number to rise as their relationships grow. The co-op also provides a one-stop-shop for clients who want to

Copyright Office imposes new fees, rule changes

secure all their wedding services in one

If you’ve recently registered your photo-

place. That helps each business drive clients

graphs with the U.S. Copyright Office, you

phers who use the eCO registration system and

to the others.

may have noticed a spike in the registration

elect to upload images directly to the Copyright

fees. This is the first in a series of changes on

Office will note an increase in the allotted

the horizon for the Copyright Office.

upload time. When the system launched in

Significantly, the space has proved an ideal venue for special events planned to help each vendor increase its profile. So far,

A new fee structure was implemented in

In other Copyright Office news, photogra-

July 2008, registrants were given only a 30-

the co-op has hosted five evening social

August and is intended to reflect the complexity

minute window. You now have a full 60 min-

events that are open to prospective clients,

in processing the applications received through

utes to upload the images that accompany your

the community and other wedding vendors.

the three distinct registration methods offered.

application. If that’s still not enough time, you

“Within the industry and the surrounding

Even though you’re paying more to register

initiate as many upload sessions as needed.

area, we’ve been able to generate some good

your work through the Form CO and Form VA

buzz by hosting these events,” says Sartoris.

registration system, it doesn’t mean your appli-

CHANGES TO COME

“We’ve been pleasantly surprised by the

cation will be processed any sooner. In fact, it

In addition to the changes that have been made

excitement of the people who attended. It’s

is just the opposite. There is a significant wait

to the fee structure and eCO registration process,

a great chance to interact with potential

period between submitting one of these applica-

the Copyright Office has proposed a change

clients, members of the community and

tions and receiving a Certificate of Registration

related to the submission of a deposit (example

other wedding professionals in a relaxed,

—your proof that the work has been properly

of the work) when registering works that have

no-sales-pressure environment.”

registered. Compared to the 10-week lag when

been published electronically, with the intent of

To others interested in forming a similar

using the eCO system, a Form VA submission

easing the burden on copyright owners regis-

co-op, Elskan recommends careful selection

is likely to take 18 months or more for processing.

tering works that are made widely available

of partners. “It’s important to choose

Despite the increase in fees, the Copyright

online only. Samples of these works would not

partners that serve the same market as your

Office has implemented a temporary waiver

be required to accompany your application

business,” she explains. “The aesthetic needs

of special handling fees. These fees, typically

unless requested by a copyright specialist.

to be on the same level, and they need to be

paid by copyright owners who need to expe-

targeting the same clientele. Otherwise,

dite their application, can tack on at least $760

apply to photographic works. PPA submitted

there will be a discrepancy that your clients

to your application fee. Due to the extreme

comments in August in response to the publi-

will notice.” Elskan also recommends

delay, the Copyright Office has agreed to

cation of the proposal. On behalf of photog-

establishing an efficient scheduling system,

upgrade applications to Special Handling

raphers, we are urging the office to further

and working together closely with all parties

status in cases where an infringement suit is

scrutinize the exclusion of photographic works.

to produce a visually impressive space that

being filed and the application has been pending

PPA is actively monitoring the Copyright

helps sell everyone’s work. Teamwork is

for more than six months. This waiver will

Office’s final rulemaking on this develop-

important, and everyone needs to work

remain in place until July 1, 2011. For more

ment and looks forward to working closely

toward the common goal of building

information on special handling, please refer

with them to make registration easier and

business at the highest standards, she says.

to Circular 10 on the Copyright Office

more affordable for photographers who

After all, a cooperative only works if

website at www.copyright.gov/circs/.

produce a high volume of copyrighted works.

As drafted, the proposed rule would not

everyone cooperates. The per-application fees have been increased (since August 1, 2009) as follows:

For more on Anthology Photography’s wedding co-op, visit them online at www.weddingphotos.com.

Using the Electronic Copyright Office System (eCO) Using the Bar-coded Form CO Using Form VA or other paper application

Previous

New rate

$35 $45 $45

$35 $50 $65

January 2010 • Professional Photographer • 23

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Show big, sell big

Gayletta attributes a sales increase of 15 to 20 percent to the remodeling. “I always

A total revamp for Gayletta’s Photographic Studio and Gallery

knew I had to show big to sell big, and this

After 10 years in business, Gayletta’s Photo-

Gayletta’s workflow and walked the space with

the design, and so are my clients.”

graphic Studio and Gallery in Nederland, Texas,

her to come up with preliminary drawings. He

had outgrown its rental space. In addition to

helped her establish a budget and stick to it.

enlarging the studio, proprietor Gayletta

LaBiche to help with the details. “Dohn asked

make the client areas more comfortable and

a lot of questions about my workflow, and

give the business a pulled-together look.

explained that any step I saved my

After hearing a presentation by Jerry Bryan convention, Gayletta asked for his advice,

employees saved me money. He was so right about that,” says Gayletta. During the construction, Gayletta met

and he was on her doorstep the very next

with clients and did presentations in a

week. Bryan runs his own studio in

trailer. The camera room remained

Carlsbad, Calif., in addition to providing

accessible through a back entrance.

design services to other photographers. Bryan’s fundamental recommendation is

A 1,000-foot addition on the back of the building became rental space to bring in

to buy a space of your own rather than redoing

extra income. Gayletta replaced the lattice

a rented one. Build equity, he says. Come up

between her sales areas with dividing walls,

with a realistic budget to determine if

redesigned the storefront into a gallery, and

purchasing is an option.

set up presentation areas with projection

Gayletta and Bryan found nothing better

systems. She added an outdoor portrait area,

in the area than the space she was already in,

built a large setting area, and added dressing

and her landlord was willing to sell at a good

rooms. The final touch was adding “gallery”

price. “[Her space] required an extreme make-

to the business name, which now reads

over inside and out,” says Bryan. He analyzed

Gayletta’s Photographic Studio & Gallery.

All images ©Gayletta’s Photographic Studio & Gallery

After remodel

—Stephanie Boozer

Gayletta brought in architect Dohn

Tompkins, M.Photog.Cr., CPP, wanted to

at the 2003 Texas Professional Photographers

has made a huge difference. I’m thrilled with

LESSONS LEARNED • First impressions matter. Gayletta’s redo included the removal of an outdated awning, adding a brick exterior, a splurge on elegant entry doors, and a new electronic sign with a professional look. • Less is more. Gayletta’s walls were so full of dimly-lit portraits that it was impossible for clients to envision how a large portrait would look hanging in their home. She re-hung a select few and focused spot lighting on each for drama. • Sales needs a private space. Solid walls now provide physical separation and noise reduction for private consultations and screenings. • Show big to sell big. The studio’s sales associates’ transition from a 19-inch monitor for presentations to a large projected view has generated much bigger sales. Before remodel

Gayletta presents “Time Flies When You’re Photographing Fun” at Imaging USA 2010 in Nashville, Jan. 10-12. See imagingusa.org for more info.

26 • www.ppmag.com

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Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Scott and Adina Hayne on the value of quality What do you wish you’d known when you were starting out? Superior products make you look professional, which in turn brings more clients. If you try to get by with substandard products to save a buck, it ends up costing you more in the long run. What’s the most important business lesson you’ve learned? It’s not about what we would pay for photography, it’s about what our clients will pay. Having confidence in the value of your work is so important to business success. What’s your secret for building business in a sluggish economy? We can point directly to our online social networking efforts. You must leverage your access to where people hang out, which is in online communities. That and having distinctive images posted. How do you manage your workflow? Using the studio management system ShootQ to manage contracts, contacts and workflow. And you can’t overestimate the workflow improvement that comes with having fast, efficient computers. You can save a little time on each process … multiply that by thousands of files a year, and that equals serious time savings. IMAGE BY SCOTT HAYNE PHOTOGRAPHY WWW.SCOTTHAYNEPHOTOGRAPHY.COM

January 2010 • Professional Photographer • 29

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 Employee considerations, managerial accounting, digital files Q: I really want to hire an employee. What do I need to consider? A: Ask yourself this question: Is the need based on a temporary up-tick in business or a prolonged increase? If the need is temporary, look to outsourcing specific tasks as an alternative to hiring an employee. You have to pay salaried employees regardless of how busy they are, even in your slow periods. Outsourcing work to contractors or other businesses can help you scale your labor costs to your needs. If the need is based on a prolonged increase in business, consider hiring part-time help, and write a clear job description of the specific task(s) the employee will perform, such as data entry, retouching, album design or bookkeeping. Avoid full-time employees unless your studio has the consistent year-round sales to sustain the expense of a full-time employee. —Ann K. Monteith (annmonteith.com)

segment of your business, and how those segments are affecting one another. In this format, it will be easy to compare the information to the PPA-recommended financial benchmarks for photography businesses. Your accountant might not realize your photography studio is not just a retail businesses, but a service provider and a manufacturer of a product. This business model is more complex then a typical retail store. You still need a good tax advisor and preparer, so we’re not going to make your accountant obsolete. If he’s providing regular analysis and strategic feedback on your financial data, you might not need the services of SMS. In our experience, however, photographers seldom get this kind of business consultation from their accountants. That’s the primary reason we developed SMS for our members. —Scott Kurkian

Q: My accountant says the managerial accounting that PPA recommends for photographers is not real-world accounting. He says it’s unnecessary for a small business and cannot be used to prepare taxes. I trust PPA to give me correct and dependable information. How do I answer my accountant? A: I’ve heard similar responses from accountants in the years since we started PPA Studio Management Services (SMS). When your accountant thinks about managerial accounting, he probably sees it as workable in a manufacturing plant or similar business; that’s how it’s taught in school. But we know that managerial accounting is relevant to small businesses. It makes sense of the numbers. It puts financial data into a format you can use to accurately analyze every

Q: I’m an experienced full-service wedding photographer. I don’t want to cheapen my brand by offering shoot-and-burn services. But how can I compete when everyone else does? A: First, be sure that your marketing and product packages make it clear that the artwork, design and finished products are the foundation of what you sell. If you are still faced with the question of the files and rights, urge the prospective clients to articulate what it is they are looking for. If it’s a matter of budget, briefly explain that once the files leave your hands, it’s impossible to guarantee the quality and service that your company is known for. Help clients see that they can afford your services by offering a payment plan, a gift

30 • www.ppmag.com

“Avoid full-time employees unless your studio has the consistent sales to sustain the expense.” registry for your services, or the subtraction of some items from the package that can be added later. Remind them that the images cannot be taken again, but albums and prints can be added as budget allows. If the client wants low-resolution files for digital presentation, you might offer it as a bonus, or for a reasonable price, sell some of the images sized for a specified personaluse license. Some clients would like to have their files for safekeeping. Consider providing a backup disk with the purchase of an album, or charge a fee for it. Be sure to label the disk with specific usage rights. View the situation through the client’s eyes, then explain the options in a manner that conveys your desire to act in their best interests. You can make some concessions without lowering your standards and cheapening your brand. What’s at stake is wedding memories and your reputation, so you and the client are in this together. � —Jen Roggi, SMS mentor and consultant (www.stephencharles.com) 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

Molly Purvines finds balance and confidence through better business management and client interaction.

Molly Purvines of McDonough, Ga., started her home-based portrait business, Purvines Photography, in October 2005. She wanted her child and family portrait studio to be a healthy source of income for her family. Realizing she needed business knowledge, Purvines took classes and read books to educate herself on small business management. By the end of 2006, the fledgling business had yet to click into gear. Clients loved Purvine’s images, but sales didn’t reflect it. As the business sputtered, she worked long hours to keep the enterprise afloat. Then, at Imaging USA 2007 in San Antonio, Purvines spoke with PPA Studio Management Services (SMS) mentor Ann K. Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI, API, A-ASP, Hon.ASP, and asked for advice on business planning. Purvines had already planned to attend Monteith’s Guerilla Management seminar in May, but she helped immediately. Monteith peppered her with questions, and concluded from the answers that Purvine’s sales had to double if the business was going to make it. On Monteith’s recommendation, Purvines revised her sales sessions to include image projection, and made substantial price increases. The impact was immediate. By the time she arrived at Monteith’s workshop in May, her sales were ahead of projections for the period. By year’s end, Purvines had more than doubled her gross sales over the year before. An improvement, but the business was still not generating that healthy income.

That’s when Purvines called SMS. “I’d increased my sales and business was improving, but I didn’t know where to go from there,” she says. “How do I keep growing? How do I manage the next steps? The biggest thing we had to tackle was forecasting my business flow from year to year. Working with SMS helped me understand time management and the realities of session numbers and business volume.” In addition to the SMS accountants, Purvines got consultation from Julia Woods M.Photog.Cr., photographer and SMS mentor. “She taught me to not just sell my pictures but to sell what I do as artwork,” says Purvines. “Sales became a much more in-depth process that begins with the initial phone call and extends through the sales projection session.” With those revisions and the 2007 price increases, Purvines’ per-session sales average is up by 50 percent in the last year. She’s also managed to slightly increase her session bookings in the last two years. The costmanagement techniques she got from SMS helped Purvines keep her cost of sales impressively low: 23 percent in 2007; 26 percent in 2008; 21 percent in 2009. As is typical when a photographer increases prices and manages costs effectively, Purvines saw a happy improvement on the bottom-line profit (net profit + owner’s compensation): 32 percent in 2007; 34 percent in 2008; and a stellar 43 percent in 2009. Making more money and keeping more of what she made encouraged Purvines to build

“I know from the initial consultations with my clients how the process will end. It’s not a surprise anymore.

Molly Purvines

her dream studio in the basement of the new home she and her husband bought last February. With her newfound understanding of the numbers, Purvines knew they could afford it. Her high profit margin helped her fund the total renovation of the house’s 1,800-square-foot walkout basement. Her new studio includes a camera room, an office, a gallery and a lobby—the entire project was paid for without taking on debt. Now, Purvines is feeling a stronger sense of confidence in her business management skills. “I know from the initial consultations with my clients how the process will end,” she says. “It’s not a surprise anymore. I know if the photography is important to them or not. Understanding what I need to do to serve each client from the beginning gives me the confidence and freedom to do what I want artistically.” Purvines can also forecast more accurately and manage her time more effectively. “Before, I was always worried I should be working more,” she says. “Now I know where I stand in my projections, and I can tell how my business is doing at any given time. That allows me to take a day off or schedule myself away from the studio to take a class, and I don’t have to worry about my business falling apart. That balance has been critical. It helps me be a better photographer and a more relaxed person.” �

Understanding what I need to do to serve each client from the beginning gives me the confidence and freedom to do what I want artistically.” 32 • www.ppmag.com

Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Molly Purvines at www.purvinesphotography.com.

©Carol Andrews

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PROFIT CENTER

All images ©Lisa Crayford

O

ur studio, Country Gallery, is located on 10 beautiful acres in central Minnesota. With a staff of four full-time employees and a couple of part-timers, we photograph about 1,000 sessions a year. We stay busy yearround by constantly running promotions. Here are five of our money-making wintertime promos with kids and pets. ANNUAL PET CONTEST. We do this

month-long promo in chilly February. A set entry fee buys the client a 10-pose session and one 8x10 portrait. We post the images on Facebook and solicit online votes. You can also get clients to enter the 8x10s in a contest at your studio or another venue, such as a chamber of commerce meeting, an animal clinic, networking groups, anywhere you can get good exposure and advertise your business. We have five categories: cats, dogs, puppies, most creative and other—any kind of animal that will pose for your camera. We’re prepared for goats, calves, turkeys, chickens, snakes, rats, ferrets, and so on. This is a contest, so we award prizes: First place wins a 16x20 portrait, Second place wins an 11x14 portrait, and Third place wins an 8x10 portrait. All three winners also get prizes donated by a pet store in the area. We solicit the donations by letter in November. In exchange, we use the store’s logo on our marketing material. In September, we promoted a fundraiser called the Ugliest Dog Contest for

Release the hounds

the Humane Society. We photographed the

5 WINTER PROMOS TO BRING CLIENTS IN FROM THE COLD

month, we do Quick Takes, 15-minute sessions

Brand it green

B Y L I S A C R AY F O R D, M . P H O T O G .C R . , C P P, A B I

36 • www.ppmag.com

dogs at the shelter and posted them online. People paid $1 through PayPal for every vote they cast. The event raised a lot of money for the organization. Pet contests are a fun way to build a pet portfolio and get some awesome competition prints! BALLERINA BABIES. One day a with a choice of two or three themed sets that we change every month. By popular

busy and put money in your pocket. It takes

or call Metzer Farms in California and have

a bit of an investment, but it’s well worth it.

them ship them to you in the mail

We’ve done indoor fishing two or three days

—yes, in the mail. (You do not need a permit

every year for the last four. You’ll want to get

from the U.S. Department of Agriculture to

about 12 live ducks for this exciting venture.

use ducks in your photo shoots.*)

Get them from a local fleet and farm store,

When the ducks arrive, immediately put

The owner of this RAID storage device heard some really good news

DriveSavers rescued thousands of files from their towering inferno Ballerina Babies

demand, we do a Ballerina Babies Quick Takes promotion in February. We always have yards of tulle and assorted tutus, tights and ballet shoes. For props, we use pink roses, rose petals, columns, balustrades, pearls and feather boas. A Quick Take session includes one 8x10, two 5x7s and eight wallets of one pose for just $75. The clients return a couple of weeks after the session to view prints of our picks of the three best poses and take home what they want. Additional units sell for $15 each; three or more units sell for $12 each. We average $130 per Quick Take session. Look at our calendar of events for more Quick Take ideas at countrygallery.com. GONE FISHIN’ INDOORS WITH LIVE DUCKS. If you’re bored in February and March, this promotion will keep you

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January 2010 • Professional Photographer • 37

PROFIT CENTER

them under one or two heat lamps and give them a little drink by dunking their

Models Wanted

beaks in water. Feed and water them well at the end of the shooting day, not before sessions, or they’ll foul the water. We use them in rotation, six in the water and six under the heat lamp, so that half are dry and fluffy for the pictures. I use the large Gentle Valley canvas background from Photo Showcase, and I throw down green muslin to cover the floor (photoshowcasebackgrounds.com). The 6x7foot indoor pond is made of 2x6 boards and a plywood bottom under a sturdy plastic pond liner. You’ll need a wooden dock,

Gone Fishin’

fishing poles, all kinds and heights of artificial greenery and other appropriate flora, rocks, fishing basket, fake fish and a fish net. The more depth the set has, the more realistic it will look. MODELS WANTED. A great promotion whether you’re established or new to the business, but definitely a promotion to save for slow times. You want the models to appear in your future marketing and branding campaigns. In our marketing pieces for this year’s promo, we use just one image with a lot of impact—my little girl screaming. The time before, we used an image of all three Country Gallery photographers with our cameras over the caption, “Models wanted,” on the front of a postcard. The backside of the card described the promotion and the dates it would run. We had costumes made by a couple of local tailors, designed new sets, and got lots of new and fun images to use in print and Web advertising. The special deal for the clients was a complimentary session and 15 percent off their order. (Be sure to get signed model releases.)

38 • www.ppmag.com

PROFIT CENTER

Kids Contest with Bunny and Lamb

KID’S CONTEST WITH BUNNY AND LAMB. The whole month of March is devoted to this annual promotion. For only $49, clients get a session and one 8x10 that can be used in the contest, which is set up like the pet contest. For prizes, we solicit donations by mail from a huge variety of vendors, including boutiques, toy stores, professional sports teams, malls, restaurants and theaters. We borrow two bunnies from the Humane Society for a couple weeks, and one lamb for two days.* We like newborn, pure white, bottle-fed lambs. You’ll want a large dog kennel for the lamb, which needs to be fed every three hours or so. We get two bunnies so we’ll have a backup in case one gets a wild hare—er, mean or naughty. As for props, we always have something high key, so we do a soft, pretty set on pastel muslin. It’s also fun to do more a rustic set with hay bales, crates and barrels on an earth-tone background. The last set we did was Peter Rabbit’s garden, with bunches of carrots and lettuce, an old green wagon, trees and greenery, rocks and mushrooms. Benches and pedestals are a must for kids to sit on, with the animal next to them. If you do a bunny and lamb session, remember to take some images of the children without the animals as well. � *Editor’s Note: You will need a license from the USDA to use lambs and rabbits, among other animals, in your photographs. For information, call 919-855-7100 (Eastern regions) or 970-494-7478 (Western region). Your state might also have laws regarding the use of animals.

Lisa Crayford owns Country Gallery Photography Studio in Kimball, Minn. Visit her gallery at countrygallery.com.

40 • www.ppmag.com

PROFIT CENTER

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

Invest your time, extend your reach Why you should care about social networking

Popular with photographers, Twitter has a robust photographic community. The number one goal of Twitter is to connect with people. Standard social barriers

We’ve always known the value of networking.

THE BIG ONES

disappear—it’s perfectly acceptable to start a

Meeting with vendors in related businesses

Facebook. This is the largest social network

conversation with anyone on Twitter. I find

and frequent personal interaction with

in the world. Think of Facebook like a direc-

it to be an incredible source of information,

clients are staples in continuing growth.

tory for the world. For portrait photographers,

and it’s brought me several clients.

Social networking online is a hugely expanded

Facebook is a great fit. The ability to tag

form of traditional networking. It can help

people in your online photos means that any

site is known for its endless content and

you attract new clients, establish yourself

update will appear on your client’s profile. All

viral videos. Its popularity makes it a smart

as an expert in your field, and network

of the client’s friends can see the photos, which

place to promote yourself. Photographers

with colleagues and other business people.

will in turn lead them to further examples of

can use YouTube to share slideshows of

your work. Nearly all high school seniors are

their images, Photoshop tutorials, photo

came from connections I made on my

extremely active users of Facebook. Much of

tips and more. Determine what content

WorldPress blog, and sites like Facebook

my senior portrait business comes from people

would interest your target audience, and

and Twitter, which has also led to editorial

who say they saw my work on Facebook.

create it for YouTube. For example, you

This year, a third of my portrait business

assignments from several magazines.

Twitter. Don’t get hung up on the 140-

YouTube. The world’s largest video-sharing

might make a clothing and posing guide for

character limit of Twitter messaging. You

portrait clients or produce a slideshow of

networks and how they can be useful to

can say plenty in just a few words. Links to

your best images as an online portfolio.

professional photographers. All the sites

other sites, photos, short musings and status

listed are free to use.

updates are all valuable uses of Twitter.

Here’s an overview of the major social

Blogging. There are numerous free blog hosts. A blog is an effective way to establish a reputation; it becomes your home on the Web. Photographers have tons of ever-changing

FLICKR, NOT JUST FOR FUN Yes, there are plenty of amateurs on Flickr, but it’s also full of professional photographers. BUILD A COMMUNITY. Flickr is a place to get your name out there and build a following. It has a vast and active community of photo enthusiasts. Remember, you get out of social networks what you put in, so if you join groups and contribute constructive comments on others’ work, you will get recognition of your own. SEO. Flickr has incredible search engine optimization. The detailed descriptions and tags you put on your images makes them easy for Google to find. EASY WORKFLOW INTEGRATION. There are several desktop and mobile applications that enable you to directly upload images to Flickr. You can configure

44 • www.ppmag.com

settings to have your Flickr images feed into your blog, Facebook and other social networking sites. GETTY IMAGES. For nearly a year now, Getty has had specialists combing Flickr to find photographers to contribute to their stock collection. Now you can apply to have your images included. Simply upload 10 of your best images to the Flickr Collection on Getty Images (www.flickr.com/groups/callforartists/). PRO ACCOUNT BENEFITS. The Flickr pro account costs just $25 a year. It includes unlimited upload and storage (treat it as a form of cloud storage), analytics to see how many views your images are getting, and HD video capability. The Pro icon by your Flickr name shows you take your work and the Flickr community seriously.

content to put on a blog. Some feature photos with interesting descriptions of how they were created, some discuss Photoshop techniques, some discuss business practices. I blog about my fashion photography, new publications of my images and upcoming workshops; I also invite and answer readers’ questions. Blogging has led to my being published in several international magazines, after editors serendipitously come across my work. Flickr. As the world’s largest photo community, Flickr is a fantastic place to get your photography noticed. You can join groups, enter contests, comment on others’ work, and keep track of how often your own work has been viewed (see sidebar).

OTHER IMPORTANT NETWORKS Vimeo. A video-sharing social network. Many photographers prefer it to YouTube for the

Get a free roll of 50 prints from Sony. Sony’s new UP-DR80 digital photo printer is changing the face of portraits for the Event, Studio and Seasonal Portrait markets. And for a limited time, when you purchase a UP-DR80, we’ll start you off with a free roll of media so your first 50 prints are on us! The UP-DR80 unleashes a whole new level of print quality in a wide range of print sizes and a choice of three surface finishes – all from a very compact photo printer. Accelerate your sales – and make every occasion unforgettable. visit: Sony at Imaging USA Booth 745 click: sony.com/UPDR80PROMO for details. Promotion period November 1, 2009 to March 31, 2010.

© 2009 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony, the Sony logo and ProMatte are trademarks of Sony.

PROFIT CENTER

artistic and professional community it caters

a blog, get feedback on your work, buy and

stylists, wardrobe stylists, makeup artists

to. Another plus, the Vimeo video-player

sell artwork, and interact with other artists.

and other collaborators.

interface is more sleek and customizable

Model Mayhem: This social networking glamour and other kinds of photo shoots.

SOCIAL NETWORKING IN ONE HOUR A DAY

community of artists. You can create a

You can create a photographer profile, upload

You might be putting off online social net-

profile to showcase your images, maintain

samples, and then connect with models, hair

working because you can’t spare the time.

than other video sites like YouTube. Deviant Art: This website is an online

site connects creative individuals for fashion,

But it doesn’t have to be all or nothing. Think of it as another necessary business task that you set aside time for every day.

In the Movies the hero never runs out of ammo!

Start with 30 minutes to an hour a day to get your reputation established. As you become more comfortable and integrated with social networking, it will become a seamless part of your business activities. Your tasks won’t be the same every day. Make a weekly schedule with the following goals: 1. Sign up for various sites and look for people to connect with. Find people in your target audience, people you admire, people with similar interests. Most important, connect with old and current clients. 2. Pick a blogging schedule and stick to it. At first, try to blog once a week, ad focus on creating a high-quality post. 3. Check Twitter for industry updates, and contribute at least one good tweet per day— a discovery, a thought, a photo you’ve taken. 4. Update your Facebook page in some way.

Now, in the Real World, you too can shoot as fast as you want, for as long as you want!

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46 • www.ppmag.com

Search for your own clients’ entries, and post and tag their photos. 5. Add three Flickr photos each week, and submit them to appropriate groups for critique and review. It’s all about developing good habits. Determine your audience, set your goals, and create a schedule to keep you on task and productive! �

To learn more, visit linkedphotographer.com, and look for Adler’s new book, “Linked Photographer: New Media and Social Networking” in March 2010.

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like David Stoecklein gets results by traveling fast and light What makes your workflow flow? I use Adobe Lightroom and keep all my digital images in a few libraries. Then I divide them into the various projects that I’m working on. What’s the best equipment investment you’ve ever made? My Canon gear. It’s the best. Next, my Apple Xserve. It keeps everything in one place, instead of in a mess of interconnected hard drives. I see everything in one directory, and that really gets the job done for me. Also, I have about 70 CompactFlash cards, and traveling with that many cards really helps. Little thing, big difference ... Traveling fast and light. I go on location with one box of gear that includes three or four prime lenses, my Canon 400mm f/2.8 lens and two Canon camera bodies. Has a piece of equipment ever changed your approach to photography? The Canon EOS 7D. Now I think about video as well as still images. It’s exciting to see things this way —moving! What’s the one piece of gear that they’d have to pry from your cold, dead fingers? The Canon 400mm f/2.8 lens. IMAGE BY DAVID STOECKLEIN WWW.DRSPHOTO.NET

January 2010 • Professional Photographer • 49

THE GOODS: INVENTORS

Necessity is the mother of invention—when photographers see the need for a solution, they're likely to invent one. BY ALICE B. MILLER

Inventing 101 5 PHOTOGRAPHERS WHO SOLVED PROBLEMS WITH INNOVATION Photographers are a creative breed. Some of

Graphic lens. Intent on developing a “simple

the most influential innovators and

contraption that would let me use my

problem-solvers in the industry have been,

medium-format lenses as tilt lenses on my

first and foremost, photographers. Their

SLRs to get selective focus without spending

inventions have helped simplify our

a lot of money,” he didn’t realize how many

workflow, save time and reduce stress,

other photographers had a similar need.

enrich the art of photography, add value to

A freelance media and commercial

His first drawing of the flexible lens concept that led to the Original Lensbaby fell on the same page as Strong’s journal entry on the birth of his twin boys.

a market for the first Lensbaby—now called the Original Lensbaby—very quickly.”

our products and services, and increase

photographer, Strong says that the same

client satisfaction. Here, we look at a few of

strengths that help him create unique and

innate knowledge of the industry, Strong and

those innovators, and what it takes to drive

compelling photos helped him create the

his team continue to develop novel products.

a product from concept to market.

mechanical solutions behind Lensbaby

“Helping other photographers see the world

products. Accustomed to constantly moving

in a new way and greatly expand their creative

CRAIG STRONG of Portland, Ore., inventor

on to the next assignment, which kept him

vision is one of the best parts of bringing

of the Lensbaby creative effects SLR camera

fresh and invigorated, he says, “Working on

unique solutions to market,” says Strong.

lens, made the first model from a ShopVac

each new Lensbaby generation for a year or

www.lensbaby.com

hose, a camera body cap, and a Kodak Speed

more taxed my ability to stay fully engaged

www.strongphotography.com

With a photographer’s perspective and an

with the process.” in ev ©K

ta bo Ku

Strong encourages would-be inventors to “pay attention to what frustrates you. My best ideas have come from my greatest frustrations.” Also make sure your idea works without major consequences if it breaks or malfunctions—but

KEVIN KING, inventor of the RadioPopper, hadn’t set out to create a commercial product, but to make his own flash units easier to use. “I went from knowing nothing about manufacturing and electronic components to releasing a product in a very short time,”

don’t wait until it is perfect. “My

says King. “I wish I’d had more fun with it

business partner, Sam Pardue, and

and stressed less about the small stuff.”

I transformed what might have been a time-draining do-it-yourself hobby into a successful international business by developing

To other innovators, King advises, “Do what makes you happy, but be cautious. Don’t get greedy or try to do anything overnight. Be careful with whom you deal. Don’t give up the things that matter most

Craig Strong, inventor of the Lensbaby, photographed by Kevin Kubota, through the Lensbaby Composer fitted with the new Fisheye Optic.

52 • www.ppmag.com

for a business or idea, or become so blinded by your vision that you can’t hear the good

THE GOODS: INVENTORS

advice of people who care most for you.” And try not to limit your imagination:

JIM DOMKE designed the first Domke Bag to solve a specific problem. “As a staffer at

“Just because the industry-standard

the Philadelphia Inquirer, I needed a bag I

solutions don’t work, it doesn’t mean a

could work out of quickly and on the run.”

problem can’t be solved with a little out-of-

When Gary Haynes, photo director at the

the-box thinking,” he says. “Have faith in

newspaper, saw the prototype, he said he

yourself and just start the process. Taking

wanted to buy 20 of them. Those first

the first step is where all great inventors,

Domkes went with the Inquirer photo staff

artists, and philosophers began.”

to the 1976 Republican Convention. The

Bringing RadioPoppers to market has been rewarding for King. “Seeing others

national press and the photo trade picked up on them, and Domke was in business.

grow with their photography and knowing

Due to demand, he started selling the

that I produced a tool that has encouraged

bags through industry merchants rather

that growth is big,” says King. “Sometimes at

than to individual photographers. “I

seminars I see people confused and

probably should have expanded the bag line

frustrated about lighting, then suddenly

rather than focus on solving problems of

they get it. For the next six months, they e-

working photographers,” says Domke. “But

mail images to us to show what they can do.

then it couldn’t have been branded as a

It’s great to be part of that.”

‘professional camera bag.’”

www.radiopopper.com

Domke believes inventions that succeed

www.kevinkingphoto.com

in the marketplace are the ones that solve a

“Just because the industry-standard solutions don’t work doesn’t mean a problem can’t be solved with a little

out-of-the-box thinking.”

—KEVIN KING

Jim Domke, designer of the Domke Bag.

problem or meet a specific need. The success of the Domke Bag also highlights the value of the product’s flexibility because, he says, “Everyone works a little differently.” Domke’s most cherished reward for bringing the Domke Bag to market is the steady stream of letters he receives from other photographers. “And it’s great that after 33 years, the product is still on the market,” he says. www.tiffen.com • www.jimdomke.com GARY REGESTER of Silver Plume, Colo., well regarded by his peers, is a prolific inventor of useful photo tools, including the Chimera and Wafer Lightbanks. He says there’s truth in the adage about persistence, but he quickly adds, “You need a heck of a lot of miracles, too.” “If your idea is a product rather than a service, see it through to your first or second

Kevin King, inventor of the RadioPopper.

54 • www.ppmag.com

sale before bringing it to a larger company,”

THE GOODS: INVENTORS

“Spend as

little money as possible on your

prototype, keep it simple, document your work —ask a notary to affix a date on your drawings and photos—and remember that the first sale

starts

the clock in deciding to patent or not.”

—GARY REGESTER

MICHELLE WOOD of Roseville, Calif., had

facturing options for cost-effective production,

complete confidence in her invention, Wall

develop marketing strategies that demonstrate

Mirage, a background baseboard system.

the necessity of the product, and invest in

Unsatisfied with the available faux wall back-

the counsel of qualified professionals.

grounds, she figured other photographers

Michelle Wood, inventor of Wall Mirage.

the process or enhance the output of our indus-

certain about was being able to see the project

try, don’t hold back,” says Wood. “Have faith

through with everything else she needed to do.

in your vision and pursue your dream.” �

“I became more determined to bring Wall Mirage to market every time I saw magazine ads

Regester suggests. “Spend as little money as

and fashion spreads that needed my product,

possible on your prototype, keep it simple,

portrait galleries that needed my product,

document your work—ask a notary to affix a

even the style section of Oprah’s O magazine

date on your drawings and photos—and

clearly needed my product,” says Wood.

remember that the first sale starts the clock in deciding to patent or not.”

Doing something outside her comfort zone was challenging and rewarding. “I learned

Regester says that any good idea will be

about patenting, manufacturing and market-

copied within a year, so he stays in front of

ing, and I still find there’s much to discover,”

the pack with new inventions and improve-

she says. Grateful for the support she’s

ments on existing ones. His strongest caveat

received from other photographers, Wood

is about patents: “They are expensive, afford

advises, “Take each day as it comes, stay posi-

little protection, and require you to disclose

tive, and focus on maintaining momentum.”

all trade secrets,” he says. “They only last 14

Wood tells other innovators to trust their

years and require a $10,000 investment

instincts, and have a sincere desire to develop

with an attorney. If someone copies you or

something that will benefit others.

accuses you of copying him, you’ll need at

Determine if there’s a need for the

least $100,000 for your first hearing with a

product, network with other professionals and

judge. It’s better to document your progress

ask for feedback, research patents to confirm

and save that $10,000 for the business.”

that the invention is unique, test the product’s

www.garyregester.com

durability and craftsmanship, explore manu-

56 • www.ppmag.com

“If you believe that your idea will improve

might feel the same. The only thing she wasn’t

www.michellewoodphotography.com www.wallmirage.com Gary Regester, inventor of useful photo tools, including the Chimera and Wafer Lightbanks.

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2

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5

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THE GOODS: SOFTWARE

Your settings for one Photoshop tool or function can affect the performance of another. Knowing how they relate can help you use the software more effectively.

White, in Hue/Saturation when you target a specific color, and the eyedroppers in CS4’s new Targeted Adjustment tools. If you use the Info palette to read colors,

BY ANDREW RODNEY

be aware that the sample size will determine

Relationship status

the range of pixels to be averaged into that

ADOBE PHOTOSHOP

calculation. Hold down the shift key to access the Color Sampler, click to place a readout point of the image color, then rightor control-click to toggle the sample size and see how the values change. When you use

Many of the applications photographers use to

in the image with an area you’ll be able to

the sampler to measure color in an image,

process images have intertwined preferences

click on repeatedly. Leave tolerance at its

the sampling size will have a huge impact on

and tool settings that have a profound influ-

default setting, 32. Select the Eyedropper

the colors reported.

ence over one another, even when their func-

tool and set Sample Size > Point Sample.

tions are seemingly unrelated. It’s like the game

Toggle back to the Magic Wand (type W),

Select > Grow or Similar with a selection,

Six Degrees of Separation, but in well-designed

and carefully click on the reference section.

the result is tied to the Magic Wand

software, the connections aren’t quite as

Note the range of colors and the amount

tolerance settings, even when you’re not

random or pervasive. Knowing what features

Magic Wand selected.

using the Magic Wand. Check the setting

are connected can greatly aid in maximizing

Deselect the selection (cmd/ctrl-D),

an application’s performance. Let’s look at a

select the Eyedropper, and set Sample Size

few examples in Adobe Photoshop.

to 11x11 or even 31x31. Now select the Magic

SAMPLED COLORS. The much-

GROW AND SIMILAR. When you use

before using Grow or Similar to get better control over what’s selected. COLOR RANGE. The Select > Color

Wand again and click on your reference

Range command has an option to select what

maligned Magic Wand tool has a somewhat

section. The selection looks quite different

it specifies as out-of-gamut colors, but the

veiled but important connection to another

and probably larger. If you’re selecting a

range of colors is based solely on the CMYK

tool’s setting, the Eyedropper’s sampling size

small range of colors, use a low setting for

profile selected in Photoshop Color Settings

(Figure 1). The Magic Wand tolerance

both the tolerance and the sampling size.

(Edit > Color Settings…). If, like most users,

For larger areas of dissimilar colors, do the

you select the SWOP V2 profile, the colors

opposite. The Quick Selection tool is not

you’ll select, while technically out of gamut,

affected by the Eyedropper sampling.

are probably not the colors you really wanted.

The Replace Color command (Image >

There’s no way to select out-of-gamut

Adjustments > Replace Color…) also uses

colors in Color Range based on an RGB

the Eyedropper sampling settings. It even

profile. You could select an RGB profile in

affects the color you see in the Color Picker

the Customize Proof Setup (View > Proof

Figure 1: When the Eyedropper tool is active, the pixel sampling options are accessible from the Option bar.

in this dialog. A large pixel sampling may

Setup > Custom…) and view the out-of-

produce a color that looks nothing like what

gamut colors through the out-of-gamut

setting controls the range of colors to be

you expected because all the adjacent colors

overlay (View > Gamut Warning), but there’s

selected; the Eyedropper’s sampling size

were sampled as well (Figure 2).

no access to these colors in Color Range.

defines the number of pixels to be

Do you like to use the eyedroppers in

And speaking of Color Range, there’s an

scrutinized. The tolerance setting will

Curves or Levels to set black, white and gray

option to select pixels from the image and,

determine its selection based on the pixel

points? Those, too, will use the Eyedropper’s

you guessed it, the selection will be based

sample setting of the Eyedropper.

pixel sample size in applying those corrections.

upon the Eyedropper sample size (Figure 3).

Open an image for a demonstration of this relationship. Identify a reference section

60 • www.ppmag.com

It’s the same with the eyedroppers in Image > Adjustments > Exposure, Black and

INTERPOLATION AND TRANSFORM. Photoshop has different

THE GOODS: SOFTWARE

algorithms for sizing images up or down. Photoshop CS gives us five: Nearest Neighbor (maintains hard edges); Bilinear; Bicubic; and the newest, Bicubic Smoother (up-sizing up) and Bicubic Sharper (downsizing). You can set a default interpolation in General Preferences (Figure 4). When you resize an image with the Image Size command, you can use its pop-up menu to override the default. Not so when you use any of the Edit > Transform command options, including Perspective cropping, even if you enlarge or reduce the selection. When you use Free Transform, you can’t always predict whether you’ll want to enlarge or reduce the selection, and there lies a potential problem. When you can, set Figure 2: The Replace Color eyedroppers also access the pixel sampling set in the Eyedropper (see Figure 1). When the sampling is set to a high value, in this case 101x101, the colors that are selected might not be the ones you expect. Here I’ve clicked on the dog’s tooth, but the sampled color is different because the sample includes pixels outside the tooth area.

the General Preferences interpolation based on the direction (enlargement or reduction) of the resizing you’ll be making. You could merely set your preferences to a midpoint (Bicubic), which will do a decent job of resizing those pixels, but the latest interpolation options will produce better results. CONVERSIONS. In Color Settings, there’s a section of conversion options for setting Engine, Rendering Intent, Black Point Compensation and Dither. This entire section, though, is generally used only when you convert from one color space to another in the Mode change menu (Image > Mode). When you use the Convert to Profile command, you can override any of these preference settings; the Print command, however, is always set for Adobe ACE. If you wish to make prints from Photoshop identical to prints from a non-Adobe application —those applications cannot use the Adobe ACE color engine—you’ll have to set the

Figure 3: Color Range set to Sampled Color also accesses the Eyedropper tool’s pixel sampling size.

Engine options accordingly and use Convert to Profile. Then choose No Color Management in the print dialog to bypass Adobe ACE. It’s the same with Dither, although you’ll almost always want that setting

62 • www.ppmag.com

THE GOODS: SOFTWARE

turned on to help maintain smooth gradients in the print. If any other applications apply dither, it would likely be different from Photoshop’s. DITHER AND MODE. Dither is useful in making conversions from one color space to another. (Access dither in the Color Settings menu.) It’s used when you convert from 16- to 8-bit color as well, even into and out of the Lab color space. The effect is often quite subtle. It’s useful to know that dither might not be available in other products. If you see differences when you compare prints of the same data made from different applications, this could be the cause. When you try to produce

Figure 4: In Photoshop General Preferences, you can select an interpolation algorithm, but it will be used for every transform sizing routine. For best results, base your algorithm selection on how you want to resize the data (enlarge or reduce), and choose it before using the Transform command.

identical conversions, Dither adds random noise, so the results will all be slightly different.

images in different color spaces. When you

selected in the Color Settings. That can have

select data in an Adobe RGB document and

an especially important effect when you’re

Conversion settings also kick in when you

paste it into an sRGB document, the con-

working with documents in an output color

drag and drop or copy and paste data between

version will be made in the rendering intent

space such as CMYK. You might try setting

COLOR SPACES AND INTENT.

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64 • www.ppmag.com

© 2009 Vincent Versace

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THE GOODS: SOFTWARE

RENDERING INTENTS THAT DO

the rendering intent you desire in Color Settings

Conversions between RGB working spaces

before doing the copy/past step. You could

are always Relative Colorimetric, so I set

ZIP. This disconnect confuses many users.

also use the Convert to Profile command.

this intent in Color Settings.

In the Convert to Profile command, you can select four rendering intents (see Figure 5). But virtually all working spaces (sRGB, Adobe RGB, ProPhoto RGB) have just one conversion table and will apply only apply the Colorimetric intent (Relative or Absolute). If, for example, you convert from ProPhoto RGB to sRGB and select Perceptual or Saturation, you’ll wind up with the Relative Colorimetric intent anyway. It would be helpful if the non-applicable rendering intents would gray out in the menu, but that’s not how Photoshop behaves, and it’s not likely to change. If you think you should be converting with a Perceptual intent because you generally prefer it for printing or soft proofing (where such profile

Figure 5: There are four rendering intents available in the Convert to Profile command, but in some instances, Perceptual and Saturation will provide a Relative Colorimetric conversion instead.

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tables are available), sorry for the bad news, but that’s not what you’ll get. �

7+(8/7,0$7((9(17)25(9(5