Professional Photographer July 2008

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©David Schwartz

JULY 2008 | WWW.PPMAG.COM | $4.95

©Anne Geddes, 2008. All rights reserved.

PROFESSIONAL PRINTS

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PROFESSIONAL PHOTOGRAPHER

JULY 2008

Features 72

LET’S HEAR IT FOR THE BOYS Women often make the buying decisions, and the concerns of men seem to get brushed aside. How about a little TLC for the guys? by Jeff Kent

62

PARTNERSHIPS: MUTUAL ATTRACTION

Forging productive partnerships with high-end salons by Jeff Kent

68

PORTRAITS: 16 CANDLES

Sweet sixteens are a growing market for pro photographers By Jeff Kent

IMAGE BY PETE WRIGHT

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

14

FOLIO

57

IMAGING USA

82

CALENDAR

87

PPA TODAY

106 GOOD WORKS

©Mark Brandes

Departments C O N TA C T S H E E T 20 Anne Geddes: Visionary down under 22 24 26 27

by Lorna Gentry 5 Steps to using music legally in slideshows Extreme studio makeover by Cyndi Smith Second annual CPI P3 winners Professional Photographer wins 7 gold GAMMA awards

PROFIT CENTER 29 What I think: 32 34 36 38

Jeff and Carolle Dachowski Shoestring marketing by Kammy Thurman Ties that bind by Sarah Petty 10 Steps to never forget by Charles J. Lewis Payroll relief by Scott Kurkian

THE GOODS 41 What I like: James Balog 42 Features: Nikon D3 high ISO

by Ron Eggers and Stan Sholik 46 Lighting essentials 2: Fill light by Don Chick 52 DSLR roundup: Pro selection by Ron Eggers

72

We asked a panel of photographers to discuss how photographing men differs

from photographing women. Among those we canvassed is Mark Brandes, a traditional portrait artist who prompts his male subjects to talk about what they love to do when they’re not working— that’s the way to reveal what’s in the subject’s heart.

6 • www.ppmag.com

ON THE COVER: David Schwartz captured this image of the bridegroom, Brian Blain, just before the start of the wedding reception at the Mill at Fine Creek, near Richmond, Va. “Brian spent much of the morning setting up tables, the cake, and the flowers for the reception, says Schwartz. “I pulled the couple aside for 10 minutes before the reception started to let them relax. The natural light flooding in a bank of windows illuminated the mask of his face perfectly.” Schwartz augmented the natural light with a gold reflector, using manual exposure with a Canon EOS 5D digital SLR, for 1/100 second at f/1.8, ISO 1000.

™

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ISO 6400, the Nikon D3 means you’ll never again have to choose between blazing speed or brilliant image quality, particularly in low light situations. And that’s just the

change the way you shoot sports or action of any kind. With a 12.1 megapixel FX-format CMOS sensor, 9 fps speed at full FX resolution, and incredibly low noise even at

See more of Sandro’s awe-inspiring D3 images at stunningnikon.com/challenge.

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No digital SLR on the planet could take this shot. So we built one. The Nikon D3 is here.

©2008 Nikon Inc.

Mind. Body.

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

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P ROF E S S I ONA L

EDITORIAL

director of publications

Coming to America ANNE GEDDES TO APPEAR IN PHOENIX It’s been an exciting month here at the offices of Professional

CAMERON BISHOPP [email protected] senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

Photographers of America (PPA). It began with the news that Anne

LESLIE HUNT [email protected]

Geddes has graciously accepted our association’s invitation to speak

editor-at-large

sales and marketing assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

at Imaging USA 2009, in Phoenix, January 11-13. And what a story Geddes has to share: Her inspiring career as a world-class baby photographer has blossomed into a dynamic brand. Her images grace an array of attractive merchandise—books,

KARISA GILMER [email protected]

technical editors

ANDREW RODNEY, ELLIS VENER director of sales and strategic alliances

calendars, date books, clothing, crockery, even checks and credit

SCOTT HERSH, 610-966-2466, [email protected]

cards. At the heart of Geddes’ work is her belief that images can

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

help protect, nurture, and foster love for all children. In fact, the Bank of America Anne Geddes Visa Card earns you Anne Geddes rewards points and helps children worldwide through the Geddes Philanthropic Trust, established by Anne and her husband, Kel, to battle child abuse. To date, the trust has accumulated more than $4.5 million. You’ll be able to hear the story behind Anne Geddes’ phenomenal success first hand on the evening of Monday, January 12 at IUSA. Head over to www.imagingusa.org today to register for the PPA

eastern region ad manager

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

MOLLIE O’SHEA, [email protected] editorial offices

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

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

convention and expo.

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com

GOLD STARS I once worked for a brilliant magazine publisher who would end every staff meeting with the few simple words, “Just do good work.” I’m excited to share the news that Professional Photographer was recognized this year by the Magazine Association of the Southeast with its gold award for General Excellence, bestowed to the magazine with the best overall packaging, showcasing, excellence in content selection, writing and reporting, design and illustration among all the business-to-business/association titles published in the Southeast. PP won six more gold awards in other categories, as well as one silver award (details on p. 27). We have to thank the inspiring photographers we are honored to feature each month for this glittering hardware. Our publications staff here at headquarters and our contributing writers and designers all work from the same rich palette; the artists of our industry provide the heart and soul featured on our pages. I Cameron Bishopp Director of Publications [email protected]

10 • www.ppmag.com

western region ad manager

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

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

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

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

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


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

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

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

PPA staff DAVID TRUST Chief Executive Officer [email protected]

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

SCOTT KURKIAN Chief Financial Officer [email protected]

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

CAMERON BISHOPP Director of Publications [email protected]

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

show the world how you see it.

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

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.

©Jo Burkhardt

JO BURKHARDT Jo Burkhardt, M.Artist, MEI, of Photographic Art By Jo in Sarasota, Fla., was commissioned for this digital painting by Pepito Valdes of Pepito Masterpiece Portraits in Tampa. “The original photo captured my imagination and carried me back to days gone by in a quaint European village,” says Burkhardt. “I wanted to convey an inviting warmth by painting in the cottage I saw in my mind’s eye.” Burkhardt used Adobe Photoshop CS to remove street and building signs, and Corel Painter IX to complete “Welcome,” which earned a Fujifilm Masterpiece Award.


To develop technologies that redefine the industry standard, and to create cameras and lenses that inspire photographers to take their photography to the highest level.

Great images begin with great lenses. But it’s not just unparalleled optics that keep Canon at the forefront of imaging. It’s inspiration, the inspiration to constantly innovate.

©Robert Cleere

ROBERT CLEERE An avid scuba diver, Robert Cleere, CPP, of Cleere Portraits in Tuscaloosa, Ala., also loves to experiment with 3D imaging programs. “I came up with the blue tubes, and they reminded me of swaying sea life,” he says. “I was looking into a saltwater aquarium when I saw this beautiful fish, and I thought how neat it would look in my blue underwater world.” Cleere rendered the 3D fish using a variety of 3D programs, then polished the image, “Jail Bait,” in Adobe Photoshop.

RANDY MCNEILLY Randy McNeilly, M.Photog.Cr.MEI, API, of McNeilly Photography in Shelby, N.C., created “Mr. Felix” for a local hospital’s employee of the month portrait. Shooting with a Canon EOS-1Ds digital SLR and 70-200mm Canon f/2.8 L IS USM EF lens, McNeilly exposed the image for 1/60 second at f/4. A 44WS Photogenic PowerLight 1250DR behind an 18-inch Photogenic Parabolic Glamour Reflector with a 42x72-inch silver Larson reflector provided the main lighting. An 80WS Photogenic PowerLight 1250DR with a 4-foot Chimera soft box on a Red-Wing boom arm hung above the subject, while a 30WS Photogenic PowerLight 1250DR with an 8-inch grid and reflector lit the background.


©Randy McNeilly

©Ken Sklute, Canon Explorer of Light

E

©2008 Canon U.S.A., Inc. Canon and EOS are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.

To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc

very once in a while you come across something that simply takes your breath away. Something that’s simply astonishing. Can a camera do that? If you’ve ever held a Canon EOS 5D or EOS 40D in your hands, you know the answer is an unequivocal yes. The 12.8-megapixel EOS 5D, with its full-frame CMOS sensor, makes small work out of big ideas, while the 10.1-megapixel EOS 40D compromises nothing in the way of features and technology. A truly awe-inspiring pair.

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

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

V ©Roy Emerson

New York Times best-selling author and

latest book, “A Labor of Love” (Andrews

photographer Anne Geddes will be speaking

McMeel Publishing), is a personal account

at Imaging USA 2009, being held in

of her life, from her childhood on a 26,000-

Phoenix, January 11 to 13.

acre cattle ranch in North Queensland, to

.. isionary The Australian photographer became an

teaching herself photography in her mid-

international phenomenon in the 1990s with

20s, to embarking on the 25-year career

her remarkable images of babies. Geddes’

that brought her international renown.

down under An evening with Anne Geddes announced for Imaging USA 2009

BY LORNA GENTRY

©Anne Geddes, 2008. All rights reserved.

Geddes’ work has been published in 83 countries; worldwide book sales exceed 18 million copies in 24 languages. A Geddes photograph is instantly recognizable. Her unique perspective enthralled international audiences, and revolutionized children’s portraiture. But Geddes’ success didn’t happen over night. Early on, when she approached a London publisher, she was summarily rejected. In an interview with Seattle Times book critic John Marshall, Geddes said the publisher told her, “If I can give you some advice, just photographing babies is never going to work for you. You need to broaden your portfolio to include adults and animals.” Years later, the chagrined editor would confess it was a bit like turning down the Beatles. Indeed, the Anne Geddes brand has become a global business empire. Her images appear on an array of products, including stationery, greeting cards, toys, photo albums, watches, even wallpaper and dishes. She also designs clothing for infants and toddlers, and last year introduced maternity T-shirts. More than 3 million people visit Geddes’ Web site, www.annegeddes.com, annually to shop and read her blog, where she reinforces the message behind her work: Protect, nurture and love. “For me, a photograph constitutes art when viewers are awakened to an idea or visual experience they might not have had otherwise, helping them to see their world afresh and sometimes in a totally different way,” Geddes says. “The essence of a great child portrait is, for me, that the magic and the intangible individual energy of that child at that particular age are captured. And with a child, the magic or energy is always in the eyes.” Spend an evening with Anne Geddes at Imaging USA 2009 in Phoenix, January 10-13. For more show info, visit www.imagingusa.org. To view more of Anne Geddes’ work, go to www.ppmag.com. ©Anne Geddes, 2008. All rights reserved.

CONTACT SHEET

Slide rules 5 steps to using music legally in slideshows

HOW TO SECURE THE APPROPRIATE LICENSES 1. Choose the song/s you wish to use on the slideshow. 2. Find out who owns the master use rights to each sound recording you want

If you’re combining copyrighted music with

make copies of your work, you can’t force a

to use. The label info is usually in the

your images to create a presentation or a

music copyright owner to allow you to use

CD liner notes and at any online music

product, you’ll need to obtain two different

his work in your slideshow at any price. It is

service site. (See sidebar below for major

copyright licenses, a master use license, often

entirely possible that at least one of the

record label contacts.)

granted by the record label for use of the actual

rights owners will refuse to license the work,

recording, and a synchronization license, pro-

or demand a prohibitively high fee to do so.

vided by the songwriter or music publisher for

GOING HALFWAY. In cases where the

3. Next, determine who owns the synchronization rights; most likely it’s the publishing company representing the

the use of the music in conjunction with images.

publisher and the record label are not the

songwriter. Song names can be matched

In some cases, the usage rights are owned by

same entity, do not finalize payment on any

with publishing companies through the

different divisions of one record label.

licensing contract until you’re sure you can

ASCAP ACE database (www.ascap.com),

acquire both the synchronization and master

BMI (www.bmi.com) or the U.S. Copyright

to grant either usage license. Unlike some

use licenses. One without the other is useless

Office (www.copyright.gov).

music rights, there’s no mandatory licensing

to you for the purpose of putting pre-recorded

or statutory rate (fee) for master or synchro-

music to visual presentations. For a detailed

use and synchronization rights. Sometimes

nization rights. The licensing departments

discussion on these issues, see PPA’s Guide

it’s the same company. Explain your project

of recording companies are geared toward

to Music Licensing for Photographers in the

and ask for the appropriate license. Expect

the motion picture and television industries,

Members Only section at www.ppa.com.

questions about the number and

The rights owner is under no obligation

so be prepared to educate them regarding your particular use.

(The Harry Fox Agency, which used to secure synchronization licenses, no longer

PRICING AND NEGOTIATION. Just as

offers this service. The only way to secure the

your clients can’t force you to allow them to

license now is directly through the publisher.)

WHO OWNS THE SONG? Contact info for the major labels SONY BMG ENTERTAINMENT 550 Madison Ave., New York, NY 10022 212-833-7700 2100 Colorado Ave., 2nd Floor Los Angeles, CA 90404 310-449-2555 Song information locater: www.sonymusicfinder.com (free registration required) E-mail: [email protected] UNIVERSAL MUSIC GROUP Film & TV Licensing Department, 2220 Colorado Ave., Santa Monica, CA 90404


310-235-4721; FAX: 310-235-4905 [email protected] www.synchexpress.com WARNER MUSIC GROUP Warner Special Products, 3500 West Olive Ave., Suite 800 Burbank, CA 91505 818-953-7900 Pre-licensed music (not royalty free): www.onestoptrax.com Other Warner licenses: www.warnerchappell.com EMI-CAPITOL MUSIC GROUP NORTH AMERICA Alasdair McMullan, Esq. 1290 Avenue of the Americas New York, NY 10104

4. Contact the owners of both the master

geographical distribution of your project, and be prepared to negotiate the price. 5. Sign the various licensing agreements and submit payment.

212-492-5056 FAX: 212-492-5095 EMI MUSIC PUBLISHING 75 Ninth Ave., 4th Floor New York, NY 10011 212-492-1200 2700 Colorado Ave., Suite 100 Santa Monica, CA 90404 310-586-2700 Master use licenses: 212-253-3000 [email protected] www.emimusicpub.com/worldwide/ around_the_world/usa_home.html

For other label information, search allrecordlabels.com

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

www.millerslab.com

800.835.0603

CONTACT SHEET

Extreme studio makeover Sweepstakes win gives a big boost to a major renovation

l

CYNDI SMITH

father built the space themselves, even the curved wall that makes such a dramatic design statement. We wanted the space to impress clients with the enticing yet tranquil atmosphere of a luxurious spa. An interior designer advised us on colors, and we bought modern, comfortable furniture from Ikea. The awesome canvas prints from Simply Canvas transformed the space into our ideal studio. The new space has brought incredible results. My favorite wall display is one image of a family on the beach reproduced as 8x12-, 11x14-, 16x20-, 20x24-, 20x30- and 30x40inch prints, and hung in a group. It’s the best sales tool I have to illustrate how large canvas prints are the best buy. We show clients their images on our large flatscreen TV, surrounded by all these beautiful canvases. In 2006, when we were producing canvas prints ourselves on a Roland

All images ©C.A. Smith Photography

printer, we sold about 15 all year. Just when our studio needed it most, a little

shop, we created a gallery meeting area for

Since our studio makeover, one client

luck came along to give our long overdue

the studio. We consolidated inventory, built

alone ordered 20 canvas prints for

studio renovation the boost it needed. I had

new walls, laid tile and hardwood floors,

her home.

entered the Simply Canvas Extreme Studio

installed new lighting and a flatscreen TV,

Makeover Sweepstakes at Imaging USA 2007

and re-painted. My husband, Chris, and his

C.A. Smith Photography is in Kennebunk, Maine (www.casmithphotography.com).

in San Antonio. Simply Canvas owner and CEO Adam Fried called to tell me I’d won. We’ve been in business in Southern Coastal Maine since 1991, running a camera and custom frame shop, and a full-service photography studio. Our interior design was embarrassingly out of date. With the influx of pro and pro-wanna-be photographers here, we needed to make our business really stand out. With the $4,500’s worth of Simply Canvas products we’d won and the company’s invaluable consultation on display we added a profitmaking finishing touch on our extreme renovation. Taking half the floor space of the camera


PHOTO BOOKS

TX. Image courtesy of Sallee Photogaphy, Dallas,

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

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

CONTACT SHEET

Commercial Photographers International (CPI) announced the winners of its second annual image competition. Dubbed P3 for the categories—Best in People, Products and Places—the competition recognizes excellent commercial images by both professional and

Commercial competes

amateur commercial photographers.

Winners of the second annual CPI P3 image competition

photographic community.

The competition was created as a venue for established and emerging commercial photographers to promote their work. The P3 Image Competition also aims to unify the passion and flair of the commercial This year Paul D. Van Hoy II garnered P3 awards for Best in People and Best in Products. Debra Collins took the honors in the Best in Places category. Kayce M. Baker was named P3 Photographer of the Year. The P3 Photographer of the Year is awarded prizes and $800 in cash. The Best of winners are awarded prizes and $300 in cash. Winning images from the competition will be on display at the Commercial Photography Conference at Imaging USA, in Phoenix, January 11-13, and on the CPI Web site. CPI is a non-profit organization dedicated to providing information, resources and materials for photographers in the rapidly changing commercial photography industry. For more information on CPI, go to www.MyCPI.com.

©Debra Collins

©Paul D. Van Hoy II


Top prize Professional Photographer wins 7 golds, including General Excellence ©Greg Heisler

Gold winner, Best Cover.

The Magazine

casing, excellence in content selection,

Association of

writing and reporting, design and illus-

the Southeast

tration among all Southeast business-to-

recently pre-

business/association titles.

sented Profes-

Additional gold winners: Best Series,

sional Photog-

“Celebrating 100 Years of Professional Photog-

rapher maga-

rapher,” December; Best Feature, “Hair of the

zine seven gold

Dog,” by Stephanie Boozer, July; Best Profile,

GAMMA wins,

“Life in Balance: Greg Heisler,” by Jeff Kent,

including the

January; Best Service Journalism, the

highest prize a magazine can win in its

“Marketing to Women” package, including

category, General Excellence, as well as one

“Soft Power,” by Lorna Gentry and “What

silver GAMMA.

Women Want” by Ann K. Monteith, May;

The gold in General Excellence was awarded for best overall packaging, show-

Gold winner, Best Series.

Weddings,” photographs by Susan Stripling. The silver GAMMA for Best Photography

Best Cover, image by Greg Heisler, January;

was for “Bon Appétit,” photographs by Sara

and Best Photography, “Destination:

Remington, February.

July 2008 • Professional Photographer • 27

3-DAY BUSINESS WORKSHOP NOW’S YOUR CHANCE TO INCREASE PROFITABILITY and receive instruction on essential elements for business success (in both a group setting and a one-on-one consultation). Q August 4-6: Ann Monteith & Lori Nordstrom

BUSINESS BASICS WORKSHOPS: THE BUSINESS OF PHOTOGRAPHY Q July 19-20: Ann Monteith & Mary Fisk-Taylor THE BUSINESS OF WEDDING PHOTOGRAPHY Q August 10-11: Jen Roggi & Julia Woods

NEW WEBINARS (online seminars)

NEW BOOKKEEPING SERVICES

PPA and SMS are bringing education to you, and all you need is a computer and the Internet. Keep watching your inboxes for information on live business webinars. Q July 14: Fast-Paced Wedding Growth - Laura Novak Q July 28: Working with Children - Sam Puc’

Behind on your bookkeeping? Our Bookkeeping Program can help! With competitive pricing and programs tailored to meet your studio’s individual needs, SMS can help ease your headaches and get your studio off to a great start.

Classes fill up fast…Register today...800.786.6277 For more information, call Beth Moore at 888.851.0405 Professional Photographers of America | www.ppa.com

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think For Jeff and Carolle Dachowski, success is about partnerships What do you wish you knew when you were first starting out? How to price our work. We were afraid of being too expensive. Now we understand that every market has different price points. We picked one and are very happy where we ended up. What was your biggest surprise when you started your business? That people want their portraits made when they are ready, not when we are. So we adopted the phrase, “Whenever you’re ready, we’re happy to help.” What piece of conventional wisdom do you find untrue? That you have to specialize. Our main work is portraiture, but we produce commercial images along with weddings, children and families. The subjects of these categories become great referral sources for our other product lines. What’s your deal breaker? If someone asks us to make exceptions to our policies before we even work together, they’re going to be too much trouble. What’s been your most effective marketing strategy? Marketing partnerships are our single most effective tool. These relationships are all about a time investment. They don’t cost us anything out of pocket, and the return is huge. IMAGE BY DACHOWSKI PHOTOGRAPHY WWW.DACHOWSKIPHOTOGRAPHY.COM


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PROFIT CENTER

KAMMY THURMAN

11 low-cost/no-cost ways to market your photography

your clients are. Get involved with the organizations that your target market is

Shoestring marketing

involved in or supports. 9. SPEAK UP. In addition to attending civic meetings, you can be a volunteer speaker. It doesn’t have to be incredibly deep, and

What do you do when you want to get your

or premium after they’ve purchased a certain

you don’t have to give away trade secrets,

name out in the community, but you just

number of items in a given time. Such clubs

but it will prove your value and expertise to

don’t have the resources to do the heavy

have been very successful. You can create

the very people you want on your client list.

advertising your competitors do? Here are

clubs around seasonal and holiday portrait

Offer to teach classes or mentor photography

11 free or low-cost ways to attract more

sales. How about a birthday club that includes

groups in schools in your area, or to Girl

clients and build your business quickly.

a child’s portrait every year to age 18? Create

Scouts, Boy Scouts, 4-H members. Those

a lifetime club for your best clients—your

kids have parents who will appreciate you!

cream of the crop—with products, services

Offer special sessions just for club families.

1. SEEK PUBLICITY. People are 10 times more likely to read an article than an ad, and to act on it. Find books at your bookstore

and prices available only to these VIPs. 5. STUFF IT! Every time you hand a

10. KEEP IN TOUCH. Keep track of who does business with you, what they buy

or library that explain how to create press

product to a client, you should also hand out

and how often, so you can create fitting

releases and get them into newspapers, on

an incentive to return. Cards promoting

opportunities for future purchases. According

radio and on the Internet. My favorite is

other products or special discounts or gift

to some reports, 68 percent of the clients

Joan Stewart’s “89 Ways to Write Powerful

certificates can ride home with the client in

who leave a business say it’s because they felt

Press Releases” (www.publicityhound.com).

the bag or box that holds the purchase. Use

ignored. Your current clients are the low-

2. SELL TO CURRENT CLIENTS.

enticing language and truly valuable offers

hanging fruit on the marketing tree. If you

to pull them back.

want to reap more sales, reach out often.

It’s five to seven times more expensive to get a new client than to sell to a current client.

6. TEAM UP. Offer to photograph charity

11. ESTABLISH A REFERRAL

Give your clients lots of opportunity to come

events (with attribution, of course) and provide

PROGRAM. Newsletters are a great way to

back for more. They might not buy a

images or portrait packages for fundraising

stay in touch. Every time you send one out,

30x40-inch portrait every year, but they’ll

auctions and such. It’s a super way to

include several referral cards for clients to hand

go for grandparent folios, Christmas cards

network and make a positive impression.

out to friends. The card should reward clients

and photo gifts for friends and family.

Partner with businesses of other kinds

for making referrals, and reward the new

Marketing to people who already like your

that cater to the same market. Share names

clients who come in with the card. Tuck referral

work can cut your expenses dramatically.

and send mailings. For every type of photog-

cards into your packages, too. Make digital

raphy, you’ll find complementary businesses

versions for clients to forward to friends.

3. CREATE A LOYALTY PROGRAM. Within a few days of a purchase, send the client a thank-you card featuring the

that can help you attract more clients.

You don’t have to be a big studio or have

7. BUILD VISIBILITY. You sell what

a big budget to market your business success-

portrait image. Make it personal, from one

you show. Do a roving exhibit that moves

fully. You can do a lot of effective marketing

friend to another. So few businesses bother

from one business to the next every month.

with a little time and imagination. I

with this small courtesy that your clients will

Offer to show images at your library for

be surprised and impressed when they get it.

National Photo Month, May. Be visible your-

You can also give them items they’ll hang on

self. Volunteer for worthy community organi-

to, such as photo calendars. They’ll see your

zations. People like to buy from someone

name every day for a whole year!

they know, so put your best face forward

4. START A CONTINUITY PROGRAM. Launch baby, child and family portrait clubs that reward members with a discount


and get acquainted with a lot of people. 8. STALK YOUR CLIENTS. Not literally, of course, but you need to be where

Kammy Thurman, a direct-marketing sales writer and consultant, is co-owner of Anchor Photography in Laurel, Mont. For more marketing strategies, see her free “Photography Marketing Report: 25 Ways to Boost Your Marketing Return—Without Increasing Your Marketing Budget” at www.anchorcreative.com.

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THE JOY OF MARKETING

TM

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

Be the business everyone loves to work with. Respect, friendliness and rewards for loyalty make you a long-term favorite with clients.

White House Custom Colour, beautifully

Ties that bind

best clients’ sessions—talk about facilitating

BUILDING RELATIONSHIPS IS JUST GOOD MARKETING

packaged in boxes from Nashville Wraps. We also had a local artisan create handmade leaded-glass ornaments with images from our strong relationships! Anything you can do to treat the best clients in a special way solidifies the long-term value of your brand. B-TO-B AND COMMUNITY. It’s smart to get other businesses to share the

You’ve heard the saying, “It’s not what you

images. The more time clients spend

task of marketing. At times you can tie in

know, it’s who you know.” I’d like to add that

interacting with your brand, the more

with other businesses for events,

it’s the strength of the relationship you have

emotionally attached they become.

fundraising and various other community

with the “who” that makes all the difference.

Reward your best clients the way fancy

efforts. Become a top client with businesses

Your success in business is determined in

restaurants reward their regulars with the

that share your target market. Make

part by your ability to foster caring

best seating with no waiting. It costs much

friends with the owners and let the staff

professional relationships with your

more time, effort and money to bring in new

know you appreciate their service and

employees, clients and other businesses.

clients than to cultivate ongoing relationships

enjoy working with them. When an

If people like you, they’ll want to be

with present clients. How much time do you

opportunity to partner up comes along,

your client. Employees who respect you

have to invest in educating a new client

they’ll be happy to participate.

and know that you value them will both

about your products and services and what

treat your customers well and willingly

to expect in a portrait session?

chip in when you really need them. And if

Create relationships with your vendors! We wouldn’t be able to deliver such high-

Find ways throughout the year to reward

quality products as consistently as we do

you have a friendly relationship with your

customers for their loyalty. And don’t

without our top-notch suppliers and service

vendors and neighboring businesses, they’ll

underestimate the power of a handwritten

providers. Just as we ask our own clients to

want to help you succeed. As a codicil,

note. Congratulate or console clients with

pay fair prices for outstanding photography,

the company you choose to keep can help

flowers. Include images of their children in

we expect to pay for quality ourselves. From

or hurt your business, so work with

your promotions. During the winter holiday

labs, to album companies to framers, we

reputable businesses.

season, we actually rank our clients by the

want to do business with companies who

amount they’ve invested in us that year. We

treat us like their most valuable client.

CLIENTS. The more time prospects spend interacting with your promotional

send the top clients a special gift,

pieces, the stronger their desire to relate to

personalized photo greeting cards printed by

Don’t be afraid to ask vendors to help in your marketing programs. For example,

your brand. Create dynamic, involving promotions that your clients will want to share with their friends and family. Use a blog on your Web site to build relationships with your clients by giving a face and a personality to your brand. Share your positive thoughts and feelings about your clients, even tell cute stories from their sessions. Get a site that allows you to continually update the messages and the


community

Give back to the . We have created a charitable endowment fund that’s yearly to the charity of our choice. It not only generates and , it makes us feel great.

distributed

publicity

goodwill

when you embark on a huge promotion

Day—a good time for a mother and child

each of your major tasks without interrup-

that requires 20 large framed portraits,

promotional special.

tion. And tea time or tee time, schedule

call those companies with whom you’ve

Yes, building relationships takes an

fostered a relationship and see how they

investment in time, but it’s doable if you

can help you in your endeavor. It can only

specifically allocate times to concentrate on

some time to be good to yourself. I Sarah Petty Photography is in Springfield, Ill. (www.sarahpetty.com).

benefit the frame-maker to show off their wares with your dazzling portraits between the borders. You only sell what you show and so do they! Give back to the community. We have created a charitable endowment fund that’s distributed yearly to the charity of our choice. It not only generates goodwill and publicity, it makes us feel great. STAFF. Surround yourself with people who have relationship-building skills. When you interview prospective team members, see how well they can carry on a conversation with just about anyone, in addition to having a positive, willing-to-please attitude. It’s so important to have friendly people answering the phone, dealing with problems and helping to further relationships. Show you value your employees’ efforts by supporting their relationships with their families by allowing a little flexibility in scheduling, so they can participate in special activities like their children’s school performances and family vacations. SYSTEMS. To be a great relationship marketer, you need to use accessible, multifunctional studio management software and a database that accommodates all kinds of info about every client, supplier and business you have a relationship with. Database launched, you must regularly communicate with everyone in it, not just those extra-special clients. You strengthen your brand by reaching out to clients, friends and prospects during their emotional experiences, such as the birth of a baby, the holiday season, even the week of Mother’s


PROFIT CENTER

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

A strategic marketing plan is targeted, sequenced, diversified in scope and unified by your brand.

10 steps to never forget

most profitable clients, the 20 percent, you can dramatically increase your profits while actually doing less work. 4. The best targets for your marketing are clients you have served. Induct them into your own V.I.P. club and mail them a personal

I’m on a mission here. I want to help every

most on gaining new clients wins. You have

note or a newsletter or a promotional offer

reader of Professional Photographer magazine

to price your products and services high

or something every month. You have no past

realize that it’s imperative to become a

enough, and have excellent sales techniques

clients if you make every customer a client

master of marketing and selling. Discovering

to be able to afford marketing that will bring

for life. The very best people to market to

that changed and enhanced my life, and it

in new clients and sustain your profitability.

are the people who already know you, like

will benefit you too, if you embrace it. 1. The best marketer wins. Commit yourself

3. Be mindful of the 80/20 rule. That is, 80 percent of your profit comes from 20

you, trust you, and appreciate what you do. 5. Strategic (sequenced) marketing is 100

to becoming the master marketer you need

percent of your clients. Keep excellent

times more effective than one-step tactical

to be, right now.

records and know the breakdown of your

marketing. The strategy should include your

sales averages. By carefully targeting your

Web site, special reports, sequenced mailings,

2. The photographer who spends the


displays, referral rewards, and more. 6. Always include an offer and a deadline in promotions. The offer can be for a percentage off your regular fees, a bonus frame with

marketing

Formulate and put your strategic plan into action today. It will bring in wonderfully qualified who are happy to pay your .

clients

prices

a portrait purchase, a beautiful flower arrangement or dinner for two—anything but free photographs, which would undermine the value of your images. 7. Always use photographs and testimonials from satisfied clients in your marketing. Don’t

Lighting Systems For Digital and Film Cameras

be timid about asking for those testimonials. 8. The headline is one of the most important parts of your marketing. A headline is an ad for the ad. It should stop the reader in her tracks and compel her to read on.

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9. Successful marketers are patient. They

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the best results. Print a unique key code on each version, ask every caller or e-mailer for the code, and record the information. Formulate and put your strategic marketing plan into action today. It will bring in wonderfully qualified clients who are happy to pay your prices and ready to choose you

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PROFIT CENTER

SCOTT KURKIAN

PPA recommends an easier, more affordable solution for processing payroll and filing the appropriate tax forms.

HERE’S THE LOW-DOWN ON PRIORITY PAY’S SERVICES: The cost is $12 per payroll, plus $1 for each

Payroll relief

employee. That includes filing all tax forms and generating year-end W-2s. (PPA members get the first four months of service free.)

You need to read this article if: You currently

the current economic slump, and making

have employees; you are planning to hire

this one change almost guarantees relief.

There’s no additional fee for direct deposit for each employee.

someone in the near future; or you have no

If you are using Paychex or ADP—good

employees, but you and/or your spouse are

companies both—to process your payroll, you’ll

Priority Pay can handle all pre-tax and after-

employees of your S-corporation.

save a bundle by switching to Priority Pay.

tax non-tax deductions, such as 401(k),

Paychex and ADP do a fine job handling payroll.

health insurance and garnishments.

If you fall into one of the three categories above, let me ask you some questions:

But as publicly-traded companies charged

You can sign on for services at any time.

Priority Pay assumes full responsibility

• Who handles your payroll?

with earning large profits for their stockholders,

for handling all IRS and state and local tax

• Who determines how much tax should

their fees must be high, and their focus directed

notices for any payroll for which they

be withheld from each paycheck, and who is

on companies with more than a few employees.

provide the processing.

responsible for paying and filing all government forms and taxes? If you handle it yourself, even for one or

The privately owned Priority Pay company

SMS has already referred many studios

is in business to make money, of course, but

in its program to Priority Pay, and highly

can do so while providing affordable services

recommends looking into the company’s

two employees, you really need to consider

to small businesses. Let’s look at a real-

services. We believe you’ll get relief in both

outsourcing this responsibility. The U.S. and

world example of how Priority Pay benefited

cost and stress. I

state government requirements for withholding

one photography business.

and reporting employee taxes are complex,

Over 16 months, this studio with its five

and in the best interests of your company,

employees paid Paychex $3,006 to process

should be competently handled by someone

its bi-weekly payroll. The service included

who understands the laws. As a small-business

filing all quarterly tax forms, calculating and

owner, you’d be smart to outsource as many

depositing the monthly employee withholding

tasks like this as possible, for a reasonable cost.

and matching payroll taxes, and filing the

PPA Studio Management Services (SMS)

year-end payroll tax reports and W-2s. The

recommends an outsourcing option that makes

studio switched to Priority Pay. Over the

it virtually impossible from a cost standpoint to

next 16 months, the studio paid just $527

justify doing it yourself—Priority Pay. And, if

for the same services—a savings of $2,479!

For more information, ask Joy Pachowicz at Priority Pay, 866-862-6483; [email protected]; or visit www.prioritypaypayroll.com. Don’t forget to mention your PPA membership to get the first four months free. If you have any questions about payroll services, or want to know more about what PPA’s Studio Management Services can do for your business, please call Beth Moore at 800339-5451, ext. 244. Beth Moore is the coordinator of Studio Management Services at PPA headquarters in Atlanta. Scott Kurkian is Chief Financial Officer of PPA.

you’re currently outsourcing your payroll duties to an accounting firm or a payroll service, this option could save you a great deal of money. In addition to being an efficient, reliable company, its service fees are low enough to be cost-savers for tight, small-business budgets. Photography businesses are always looking for ways to trim their expenses, especially in


PPA Studio Management Services (SMS) recommends an outsourcing option that makes it virtually impossible from a cost standpoint to justify doing it yourself—Priority Pay.

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like James Balog revolutionizes his work with the Nikon D3 What’s the best equipment investment you’ve ever made? The Nikon D3. We’re really excited by what the camera can accomplish. It solves a lot of problems from a professional standpoint. Little thing, big difference … The UPstrap non-slip shoulder strap that prevents gear from slipping off the shoulder. It’s saved me from a lot of neck pain over the years! Has a piece of equipment ever changed the way you approach your photography? For years, I was drawn to 4x5 cameras because of the extra-large prints you could produce. But a 4x5 camera in the field is cumbersome. In the work I’m doing on the Extreme Ice Survey (see January 2008 issue), we’re photographing in severe environments during extraordinary weather conditions. We’re on boats and helicopters and dogsleds. Lugging in a big camera just isn’t practical. With the Nikon D3, suddenly I can make 72-inch prints and feel good about them. I can have the portability and the end result I need. The file size and resolution of the D3 have really revolutionized my work. IMAGE BY JAMES BALOG WWW.JAMESBALOG.COM


THE GOODS: FEATURES

ISO plays an important role not just in low light, but anytime you need smaller apertures or faster shutter speed than the available light allows.

capture ISO to 25600—unbelievably high light sensitivity that enables shooting with available light in situations that couldn’t be captured any other way. For this review, we were able to shoot

BY RON EGGERS & STAN SHOLIK

with the D3 in lighting situations so dark

ISO advantage NIKON D3

that it was difficult to set the camera without turning on its LCD light. In situations such as the police DUI checkpoint, flash becomes extremely annoying. It also destroys the overall feeling of the activities. Being able to shoot with just the available light makes

Digital SLRs are improving all the time, but

Nikon takes the ISO range far beyond

the scene look a lot more natural.

advances in sensor light sensitivity have

any model available previously with the D3,

lagged, until now. Most professional DSLRs

the company’s first full-frame digital SLR.

high ISO. It’s also an advantage in shooting

have the ISO equivalence of 100 to 1600 or

The new model’s stated ISO range is 200 to

action, sports and other activities. The Nikon

3200, and a few extend the range one stop

6400, indicating that Nikon deems the

D3 can get the job done in many competitive

in either direction for effective ISO of 50 to

electronic noise acceptable up to ISO 6400.

situations, such as with marginal overhead

3200 or 6400. When the highest ISO is

But the D3 takes it beyond even that—the

light in an old gym or a badly lit high school

part of an extended range or custom

ISO can extend two stops over 6400. The

football stadium, that otherwise would

function, it indicates that the camera

first stop, Hi-1, is done in roughly third-stop

definitely have required auxiliary flash.

maker considers it to be above the optimal

increments, at these settings: Hi-0.3 (ISO

range, and therefore electronic noise may

8320), Hi-0.7 (ISO 10880), and Hi-1 (ISO

be beyond acceptable levels.

12800). The second stop, Hi-2, sets the

Low light isn’t the only reason to call on

This motorcycle shop, lit only by side windows and overhead fluorescent lights, was shot at ISO 6400, yet the electronic noise was minimal.

©Ron Eggers

THE GOODS: FEATURES

Shooting with the Nikon D3 at ISO 6400 made it possible to capture the DUI checkpoint without having to add flash.

©Ron Eggers

Sometimes in a relatively well-lit area, you’ll need fast shutter speed, small aperture, or both to capture the scene. It took a shutter speed of at least 1/250 second to stop the motion of dancers at a local ballet school rehearsal, even at the apex of a leap. To maintain relatively sharp focus on all the dancers in the large rehearsal space required an aperture between f/5.6 to f/8. The room was well lit with fluorescent lamps, but a good exposure with the necessary shutter speed and aperture required ISO 6400. Using a camera with a maximum ISO of 3200 would have compromised the depth of field. The resulting image would need post-processing noise-reduction software, such as Noise

Ninja, to produce anything remotely usable. Images captured with the Nikon D3 at ISO 6400 are remarkably noise-free, even in dark areas like the dancers’ leotards, and don’t need post processing for noise reduction. The D3 is just as effective for shooting entertainment venues. Frequently, credentialed photographers are permitted to take pictures with available light only. Often, dramatic stage lighting is powerful enough to shoot even at lower ISO, but the extra low-light capture capabilities of the D3 make it possible to pick up shots that otherwise would have been missed. The Nikon D3 is the right camera for any photographer who shoots in difficult lighting situations. I

A high ISO allowed shutter speed fast enough to stop action at the precise moment, with an aperture small enough to capture adequate depth of field. ©Stan Sholik


THE GOODS: LIGHTING

A thorough understanding of the fundamentals is vital to your growth as an artist. Understand how to use fill light to control contrast and heighten the impact of the image.

optimum way to achieve flat light. Positioned anywhere else, the light is likely to cast shadows from the subject’s features. Using non-directional, non-specular fill

B Y D O N C H I C K , M . P H O T O G .C R . , C P P

light is a way of controlling contrast. There are two basic ways to provide fill light:

Lighting essentials 2: Filling the shadows CONTROLLING FILL LIGHT

bouncing light from a strobe or powered light source into a light modifier, or using a reflector to bounce some of the extra light from the main light onto the shadow side of the subject. The latter works best when there’s a large light modifier attached to the main light. Photographers often attach an umbrella to a powered light when it’s used for fill. The very characteristics that make an umbrella

This is the second in a series on the

light is non-directional (casting no shadows

difficult to use as a main light modifier make

fundamentals of studio portrait lighting.

from the subject’s features) and non-specular

it ideal for the fill light. It provides a large

(causing no visible reflection of the light

light with a soft quality that’s spread evenly

source on the subject).

over the entire scene—exactly what you

The primary role of fill light is to fill shadows; i.e., control the lighting ratio or the contrast

If every light in the room were turned off

want in a fill light.

ratio on the subject. When the fill light is

and the subject were illuminated solely by the

A good starting point for the contrast

supplied by a powered light or strobe with a

fill light, the light should appear flat, lacking

ratio is 3:1 (Figure 2). From the subject’s

modifier, it’s usually positioned directly over

shadow detail on the subject. Positioning

position, point the dome of your light meter

and behind the camera (Figure 1). Ideal fill

the fill light directly over the camera is the

at the main light, and measure only the light

All images ©Don Chick / Model: Emilye Chick

Figure 1


A 16-inch parabolic with barn doors on the main light and 45-inch umbrella for fill

Figure 2

3:1 Contrast ratio

Figure 3

5:1 Contrast ratio

Figure 4

A Photogenic PowerLight 1250 with a 45-inch Westcott umbrella


THE GOODS: LIGHTING

and with white, you don’t have to worry

Figure 5 Reflector fill

about color affecting the white balance of the image. One photographer I know tacked up a large sheet of white cardboard to bounce fill light for portraits. If you’re using a 3x3-foot or larger soft box for your main light, you can use a reflector for the fill light. A large freestanding reflector works well and is easy to place. For low contrast, position the reflector close to the subject; for higher contrast, increase the subject-to-reflector distance (Figures 5 & 6). With a little experience, what you see will be what you get in the image. Whatever the reflector, I recommend a white fabric or surface. With a silver

A 3x4 soft box on the main light and reflector fill

reflector, you could get unwanted specular reflections in the oils and sheen of the subject’s skin. Ideally, you want a degree of specularity from the main light, but none

falling on the subject from the main light. As an example, let’s assume a value of f/8. If

You can also bounce a powered light onto a wall behind the camera and back into the

from the fill light. In a tiny studio space, the wall opposite

any other light is on when you take this

scene for fill. I know photographers who

the subject might be close enough to reflect

reading, shelter the meter from it. Point the

have painted an entire wall white for this

sufficient light into the scene so you don’t

meter at the fill light and meter only the

purpose. It provides a very large fill light,

need a fill light. If that’s your situation,

light falling on the subject from the fill light. Adjust the fill light power setting until there’s a one stop difference between the main light

Figure 6 High-contrast reflector fill

and the fill light (f/5.6 in this example). Now the contrast ratio between the main light and the fill light is 3:1. If you want darker shadows, increase the difference by lowering the power setting on the fill light strobe (Figure 3). For lighter shadows, decrease the difference by increasing the strobe power setting. To achieve non-specular light with an umbrella, it’s better to use one with reflective white fabric rather than silver. Silver would more efficiently bounce light back into the scene, but as a fill modifier, it could create unwanted reflections. A 45inch white Westcott umbrella costs less than $30 (Figure 4).


A 3x4 soft box and distant reflector fill create a high contrast ratio

THE GOODS: LIGHTING

notice how the color of that wall (if it’s

Figure 7

Figure 8

A 42x78-inch Calumet panel

A 42x72-inch Larson Reflectasol

other than white) affects the color balance of your final image. If the wall is too efficient at returning light, hang a length of black fabric on it to serve as negative fill, which will actually subtract some of the reflected light, thereby increasing contrast. There are many reflectors on the market of various prices. A large piece of foam board costs $20. If you have a popup portable reflector, you can add a portable reflector mounting arm to a light stand for about $50. F.J. Westcott’s 42X72-inch aluminumframe Scrim Jim kit sells for $366 (you’ll still need a light stand to hold the frame in a vertical position). Photoflex sells a 39x72 PVC panel that can be used as a stand-alone reflector with an optional set of legs and white/black fabric for a total cost of about $165. Calumet offers a 42x78 aluminum–

Background

frame, three-fabric panel kit with a set of legs for $160 (Figure 7). Larson Enterprises

Reflector Fill Incorrect location

offers a freestanding 42x72 Reflectasol with a soft white fabric for $330 (Figure 8). A common mistake photographers make is putting a reflector panel in the wrong place. The reflector should be positioned around and toward the front of the subject so that the reflected light falls on the shadow side of the subject’s face (Figure 9). Early in my portrait career, I used a strobe light bouncing into an umbrella as a fill light

Subject

setup. I switched to a reflector fill setup, and the results are very pleasing. With careful placement of the reflector, I rarely have to Reflector Fill Correct location

retouch for glasses glare. A powered fill light over the camera nearly always provides a second catch light in the eyes, and if your subject wears glasses, you’ll likely have to retouch.

Main Light

Fill light doesn’t have to be expensive or complicated. Studying the characteristics of various fill light setups will deepen your understanding of light and further your growth in the art and craft of photography. I


Camera Position

Diagram by Don Chick

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THE GOODS: DSLR ROUNDUP

An elite tier of high-end models tops the dozens of DSLRs competing on the market today. Each new generation raises the bar. BY RON EGGERS

Pro selection

Canon EOS-1Ds Mark III

PROFESSIONAL DIGITAL SLR CAMERAS

Just when it seems resolution can’t get much

With the prevalence of raw file capture,

shoot JPEGs at 5 frames per second (fps)

higher, shooting speed much faster or low-

in-camera processing is a key factor in per-

for up to 10 seconds, or RAW files at 5 fps

light capture capability much better, a new

formance, and new processing engines

for 4 seconds.

generation of professional DSLRs comes to

continue to improve responsiveness and

A/D conversion is performed at 14-bits

market. Aside from a brief experience with

shooting speed at every level. To accom-

per channel, or 16,384 tonal variations per

the Leica, I’ve shot extensively with all of the

modate RAW + JPEG capture and other

channel, exponentially more than the cus-

current professional models.

workflow options, many high-end models

tomary 4,096. That results in significantly

now have two CF memory card slots, or

smoother skin tones and color gradations.

High-performance pro camera bodies are available for less than $2,000 now, with many features and capabilities once

pair slots for CF with xD or SD cards. Two DSLR cameras squash the com-

Its main drawback is its standard ISO range of 100 to 1600, which can be

exclusive to the most expensive models.

petition in resolution and shooting

extended one stop in each direction through

I’m amazed at the level of performance of

capability: the Canon EOS-1Ds Mark III

a custom function setting, but is rather

many of the new DSLRs, even the entry-

and the Nikon D3. Last year Canon set a

limited for a camera of its caliber.

level models.

new and as yet unmatched benchmark in

Nikon has been playing catch-up to

DSLR resolution with the 21.1-megapixel

Canon for the last few years, but it nar-

CANON EOS-1DS MARK III, which

rowed the gap with the new NIKON D3.

handles like an SLR but has the resolution

It has the DSLR body that professional

of a medium-format digital camera. It has a full-frame, 35mm-size CMOS

have been waiting for. One of its many

sensor with maximum resolution of

impressive features is its very broad ISO

5,616x3,744 pixels. The 1Ds Mark III is equipped with


range. Its standard 200 to 6400 range can be extended one stop lower and two

dual DIGIC III image processors, a

stops on the high end, topping out at an

multiple-threading engine that handles

incredible ISO 25600, for shooting

all analog-to-digital (A/D) conversion

under extremely low light. Electronic

and transferring tasks. Without such an

noise remains a consideration at the

advanced high-speed processing engine,

highest ISOs, but the advanatage of its

21-megapixel captures would choke the

light sensitivity far exceeds any noise

camera’s electronics. Nikon D3

photographers using a Nikon system

The 1Ds Mark III is also fast. It can

problems, which can be significantly reduced with software.

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The D3 is the first model with Nikon’s

consumer DSLRs between the

new FX-format CMOS sensor, the full-

original E-1 and last year’s E-3, to

frame sensor Nikon pros long clamored

the point of causing conjecture

for. It captures 12- or 14-bit, 12.1-megapixel

about whether it would continue to

images at resolutions up to 4,256x2,832

target the professional market. I

pixels. Nikon is developing a new line of

took the E-3 and a couple of the

lenses for the FX format. With its low-light

new Zuiko lenses on assignments to

shooting capability and the ability to

Central America and had no

capture up to 9 fps at full-frame resolution,

problems.

it’s excellent for shooting sports and action.

In travel, sometimes the only

Also incorporated is the Nikon Scene

chance to pick up a shot might be

Recognition System, with an improved 1,005-pixel RGB sensor, to enhance auto-

from a moving vehicle. It’s not ideal, Olympus E-3

exposure capability and optimize white balance. Nikon’s self-diagnostic shutter

The SONY ALPHA DSLR-A700 is a

system ensures continued operation; the

solid piece of equipment that combines

shutter is rated at 300,000 exposures.

professional performance with

I shot with both of these cameras for

focusing response, it can capture 5 fps

up either of them. The Canon Mark III is

for almost 4 seconds.

Many professional photographers don’t

meets one of my major criteria. In the mountains of Costa Rica, the E-3’s extremely

affordability. With excellent shutter and

several months, and I was reluctant to give priced $7,999, the Nikon D3 $4,999.

but that may be the only option. A camera responsive enough to get those shots

Designed around an APS-C-size 12.2megapixel CMOS Exmor sensor, the A700

need a camera with such advanced capabilities.

has a maximum capture resolution of

The cameras that meet their shooting require-

4,272x2,848 pixels. Processing is handled

ments have to stand up to heavy daily use.

through the advanced Bionz image

Several models fit the bill, listed here in reverse

processor. The hardware-based, large-scale

alphabetic order.

integrated Bionz circuitry increases performance, optimizes image quality and reduces electronic noise, particularly in low-light situations.

Nikon D300

The A700 body has sensor-based Super SteadyShot Image Stabilization,

fast autofocus and Supersonic Wave Drive

making IS available with any lens, to pick

(SWD) lenses performed better than some

up two or even three stops without having

other models in its price range.

to crank up the ISO. I shot with a prototype last year, and have been using a

makes it possible to pick up several extra

production model for a couple of months

stops of shutter speed. Olympus pioneered

now and haven’t been disappointed.

the DSLR Live View shooting mode, enabling

Olympus finally released the OLYMPUS E-3 in its E-series of the Sony Alpha DSLR-700


The SWD in-body image stabilization

shooters to use the LCD for framing. Maybe that doesn’t seem crucial for professionals,

Four Thirds System digital cameras and

but I’ve used it several times when shooting

lenses. Olympus produced numerous

overhead or at odd angles. A number of


other manufacturers followed suit in

Digilux 3 body has the style and feel of a

incorporating live LCD preview.

traditional rangefinder rather than an

The E-3 has a 10.1-megapixel Live MOS sensor, maximum resolution of 3,648x2,736

SLR. It’s priced $2,499. The FUJIFLM FINEPIX S5 PRO

pixels, and a capture rate up to 5 fps; it’s

is the newest in the line of Super CCD

priced $1,699.

digital SLRs. Its Super CCD sensor has 6.17 million pixel positions, and captures two kinds of pixels at each position, for effective resolution of 12.34-megapixels. The S5 Pro’s RP (Real Photo) Processor Pro, with its two-cycle image processing, retards electronic noise, even at high ISO settings. The

Canon EOS 40D

results are a wide dynamic range,

Leica Digilux 3

The NIKON D300, a more affordable

smooth gradients and natural looking

workhorse in the EOS line, the CANON

colors, as well as advanced moiré

EOS 40D houses a 10.1-megapixel

reduction capability.

CMOS sensor that can capture images

One of the S5 Pro’s signature features is

at a maximum resolution of 3,888x2,592

alternative to the D3, is designed around a

the film simulation mode, which mimics

pixels, and uses a DIGIC III Image

12.3-megapixel DX-format CMOS sensor.

film characteristics for capturing different

Processor to enhance image quality and

It can capture images at a maximum

subjects under different lighting and

color fidelity and sharpen details. It has the

resolution of 4,288x2,848 pixels. It’s

shooting conditions.

Canon EOS Integrated Cleaning System,

possible to shoot up to 6 fps, and up to 8

I had no problem shooting with the S5

which goes through a 2-second cleaning

fps with the optional MB-D10 multi-power

Pro, although some of its capabilities, such

routine every time you turn the camera on

battery pack attached. One thing I really

as the frame and burst rates, were limited

or off. That’s a major plus because dust and

like about the D300 is how easy it is to

compared to competing cameras. It has a

dirt on a sensor can cause real problems

change settings and modify options. Most

maximum capture rate of 3 fps, but can

for photographers.

of its major controls are directly accessible.

take only seven images in a 5-second burst.

The D300 is priced $1,799.

That’s on the low side for professional

a big impression on anybody who’s used to

cameras. The S5 Pro is priced $1,699.

shooting with an earlier model in the series.

The LEICA DIGILUX 3 is the first in its line to support interchangeable lenses.

A

The large 3-inch LCD screen also makes

The 40D has an MSRP of $1,139. I

It’s built around a 7.5-megapixel LiveMOS sensor with maximum resolution of 3,136x2,352 pixels, and supports aspect ratios of 4:3, 3:2 and 16:9. Leica supports the Four-thirds bayonet lens mount. The classy looking Fujifilm FinePix S5 Pro


Editor’s note: Though several of these manufacturers have other midrange digital SLRs on the market, this selection covers the current models of most interest to Professional Photographer readers. You’ll find a roundup of high-end consumer level DSLRs, as well as sample images from the pro DSLRs, in Web Exclusives at ppmag.com.

,

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The Dachowskis saw a ready-made clientele in the patrons of the chi-chi salon down the street, and went a-courting. They soon saw a steady flow of beautiful new clients walking in the door. PA R T N E R S H I P S All images ©Jeff & Carolle Dachowski

By Jeff Kent

W

hen Jeff Dachowski,

Cr.Photog., CPP, and his

wife, Carolle Dachowski,

opened their Manchester, N.H.,

studio in 2003, they had

photographic skills, a good business

plan and a sophisticated studio space. Next challenge, get clients. The Dachowskis looked at businesses around them that were drawing the same target market they aspired to win, women with disposable income. If they could arrange a mutually beneficial partnership with another high-end service provider, the business just might get the foothold it needed. Partnering with the boutique salon just down the street was a no-brainer. The photographers proposed creating edgy portraits of the salon’s stylists to decorate its walls. The Dachowskis would donate their time and artistry, asking the salon owner to pay only the cost of the printing. Jeff went into the initial meetings without a formal presentation, bringing only a notebook and an open mind. “I didn’t try to sell them anything,” he says. “I asked them what they needed, and said we wanted to create an atmosphere where they’d have a partner in the graphic field.” For the salon, the benefits of receiving completely customized photography for so little outlay was obvious. In addition to decorating the walls, the Dachowskis’ images grace the salon’s marketing materials and

Mutual attraction Forging productive partnerships with high-end salons


Web site. It’s a tremendous help in promoting the personalities of the salon staff to new clients. “Going to a salon or day spa is a

PA R T N E R S H I P S HOW TO ESTABLISH A SALON PARTNERSHIP OF YOUR OWN Tips from Jeff and Carolle Dachowski

personal thing,” says Carolle. “If you’re

stylist’s hair looks. Our images enhance the

getting a facial or massage, you want to

personal connection.”

know who will be touching you. If you’re

BEGIN WITH A PERSONAL CONNECTION. Start with a salon with which you already have a relationship, like your own or your spouse’s salon. Take advantage of that personal in. KNOW THE SALON’S STYLE. It’s important to see the style of the salon before you make a proposal. Does this salon fit the branding of your photography? You need to find a match that works for both sides. BE HONEST ABOUT EVERYONE’S BENEFITS. Be up front about how the relationship will benefit the salon, and forthright about what you’ll get out of it as well. Most salons are small businesses run by people who understand and appreciate the value of a symbiotic relationship. DON’T PUSH THE ISSUE. If you’re too pushy about the number of referrals you expect, it could sour the relationship. If your partner businesspeople have a good experience with you, and they like and respect you and you work, they will be delighted to send clients your way.

getting a haircut, you want to see how your

In turn, the studio needed connections to the people working at the salon. “We wanted


PA R T N E R S H I P S

frequent updates to show new work, feature different salon clients, and promote collaborative studio-salon specials. “With these partners, it’s more important to have contact with their clientele than to charge for the sessions, especially in the beginning,” Jeff says. “We justify the time we invest as a marketing cost—as opposed to spending $17,000 on a direct mail piece, we create these images. And the results are more successful! Yes, we will continue to give our time and artistry to maintain those relationships.” I To see more work by Jeff and Carolle Dachowski, visit www.dachowskiphotography.com.

them to create a buzz about our business

grossed $16,000 from the salon’s referrals.

with their clients,” says Jeff. “If we

In 2007, the salon provided them with

succeeded, they’d be talking about us at a

nearly $40,000 in referrals.

time when clients were a captive audience.”

The Dachowskis have never asked the

The relationship is succeeding. In the

salons for mailing lists, e-mail addresses or

first several months, the Dachowskis

any other client contact info. They don’t want

booked, on average, one new client a week

them. All they ask is the chance to get their

from salon referrals. In the first year, they

images in front of people and to build personal

pulled in around $10,000 in gross sales

relationships with other businesspeople. “The

from salon referrals alone.

salons are our ambassadors to our target

A couple of years later, the Dachowskis decided to up the ante and engage a bigger salon across town. Every week, some 850

market,” says Carolle. “They provide personal referrals as trusted sources. That’s everything.” Today, with their established relation-

women came in for the services provided by

ships with the two salons, the couple says

the 65 members of the salon’s staff. The

the referrals account for 30 to 40 percent of

Dachowskis made a similar proposal, and

the studio’s gross sales. In exchange, the

the results were even more successful. In the

Dachowskis continue to provide professional

first month of their new arrangement, they

portraits for the cost of the printing, making


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

images courtesy

of Operation Smile

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

charities

Business is sizzling in Miami for photographer Manolo Doreste. He puts his heart into covering the sweet sixteen and quinceañera party beat, and the girls love having something so personal that reflects who they are at 16. PORTRAITS All images ©Manolo Doreste

By Jeff Kent

M

aybe you’ve heard the hype. Maybe you’ve seen the MTV show. Maybe you’re wondering, is this for real? Are sweet sixteens really such a huge phenomenon? Could

this be a market for my photography? The popularity of sweet sixteen parties is

definitely for real. The renewed trend of this coming-of-age tradition is powered by the growing Latin influence on mainstream American culture, coupled with reality TV’s rapt coverage of these events. It’s revving up sales in catering, reception venues, flower delivery, fashions, music, and happily, professional photography. In Hispanic communities, girls’ symbolic transition into womanhood is celebrated on her 15th birthday with a quinceañera, an important longstanding tradition. Families save for years to throw lavish parties that rival any wedding reception. The parties sometimes resemble supercharged debutante balls, only less stuffy and with more panache. Attended by a court of friends, the birthday girl often makes a grand entrance, stepping from a stretch limo, alighting from a horse-drawn carriage or carried on a pallet like a princess. Latinas who have grown up in the United States have begun to put off the quinceañera for a year to align it with the traditionally American sweet sixteen celebration. Buoyed in recent years by the extravagant and widely popular MTV show “My Super Sweet 16,”

16 candles Sweet sixteens offer a growing market for pro photographers


the celebrations that once meant pizza, soda pop and cake have swelled into full-blown galas with full-blown price tags to match.

To date, the quinceañera/sweet 16 trend

To other photographers interested in

it just for the dollar value. You need to enjoy

is growing strongest in internationally diverse

quinceañeras and sweet sixteens, Doreste

that type of work and appreciate giving these

cities like New York and Chicago, and areas

recommends following your heart, not your

kids a true documentation of who they are now

with a heavy Latin influence, like the South-

wallet, into this budding marketplace. “Be

—something they can cherish in the future. If

west. Los Angeles and Miami, with their

true to what you’re doing,” he says. “Be sure

you follow those ideals, you will be successful.” I

penchant for high-profile partying and large

you like kids of that age. You are investing

Hispanic populations, are the epicenters.

your creativity and personal time, so don’t do

To see more from Manolo Doreste, visit www.ManoloDoreste.com.

Manolo Doreste, a professional photographer in Miami, is a specialist in quinceañeras and sweet sixteens. Also a portrait and wedding photographer with a background in commercial work, Doreste was reluctant when he accepted his first sweet sixteen shoot six years ago. “I didn’t want to do what I’d seen done in the past, which was traditional and without variation,” he explains. “So I turned to the girl and said, ‘Let’s talk about this. Who are you now? What do you like? Let’s do something different that’s personal to you.’” Personalization became Doreste’s trademark. He soon built a clientele of Miami-area girls who wanted the coverage to be as stylish and individualized as their parties. “People ask me all the time about what’s typical. I tell them that nothing is typical. I want to create something … you look at 10 years from now and remember this time in your life. The pictures should be a reflection of you, not of the photographer.” By Doreste’s estimate, about 40 percent of his revenue comes from these teenage fiestas. To accommodate the dramatic variation in events—from formal balls with six-figure price tags to small private parties—Doreste established three basic price tiers: portraits only; portraits and event coverage; and portraits, event coverage and an album. Clients can customize packages or add items a la carte, including extended event coverage and hair and makeup stylists for multiple-look portrait shoots. The fees for full event coverage are comparable to his wedding fees, which is a fiscal necessity, as both kinds of events compete for time on his calendar.

©Rob Watts

©Pete Wright

Women often make the buying decisions, and the concerns of men seem to get brushed aside. How about a little TLC for the guys?

LET ’S HEAR IT FOR THE

BY JEFF KENT

s portrait, family and wedding photographers zero in on their target market—women—are the concerns of men being brushed aside? After all, photographing women is

For most women, the primary desire is to show youthfulness and beauty. Men mostly want to appear strong, although they often want to show a sensitive side. —MARK BRANDES

©Pete Wright

distinctly different than photographing

What are the major differences in your approach

although they often want to show a sensitive

men. To get a masculine perspective, we

to making portraits of men and women?

side. Body shape is less important to men,

asked five well-respected photographers to

MARK BRANDES: Both men and women

so there’s more freedom in posing a man

give us their take on the art, the science

want to be flattered in their portraits, but

with a less-than-perfect physique.

and the psychology behind making

the feelings they want to convey are often

portraits of men.

different. For most women, the primary

ROB WATTS: Men are usually in a hurry

desire is to show youthfulness and beauty.

and have fewer concerns about details like

Men mostly want to appear strong,

hair, clothing and jewelry. I move as quickly

WISE GUYS OUR PANEL: MARK BRANDES, M.Photog.Cr. A traditional portrait photographer in Westlake Village, Calif., Brandes caters to a high-end clientele. He draws inspiration from the great master painters such as John Singer Sargent and Jan Vermeer. www.markbrandes.com DON CHICK, M.Photog.Cr., CPP. This Rochester, N.H., portrait specialist, speaker and educator has garnered many accolades. He regularly conducts portrait studies with male subjects. www.donchick.com ROB WATTS. A wedding and portrait photographer in Hendersonville, Tenn., Watts photographs executives, music industry personages, and regular Joes. www.robwattsphoto.com PETE WRIGHT, Cr.Photog. The Richmond, Va., wedding and portrait ace and his wife, Liliana, handle portrait subjects in commercial assignments, model shoots, senior and family sessions, and straight-up shoots with guys. www.pwphotography.com


as possible. I try to find out how the portrait will be used to help me guide the session. In general, men are a bit more relaxed, and I don’t have to puff them up so much. They’re concerned about how the final images will look, but are less picky about the little things. They want to get through the session and move on to the next task. How do you get men to open up to show energy and a desirable expression? PETE WRIGHT: It’s very much case-by-case.

MANLY MARKETING Who says men can’t commit? Bringing the groom into the equation has led to quicker decisions for bigger albums. BY PIERRE STEPHENSON, CPP

Our business, without a doubt, thrives on our ability to exceed our female clients’ expectations. The majority of our marketing reflects the fact that women represent the largest percentage of our clientele. They are usually the decision makers, the purchasers of our products and services, and the ones who tell everyone under the sun what a great studio we are. So why don’t we focus 100 percent of our marketing on women? Because everyone else is doing that. Professional photographers have long realized that our marketing should be geared toward women. Several years ago, we realized that most everyone was leaving men out of the marketing equation. In wedding marketing especially, men are overlooked— after all, it’s all about the bride, isn’t it? That didn’t sound entirely right to us. We decided to create a small and very focused manly marketing strategy to target those forgotten guys. It worked! In fact, ©Pierre Stephenson

Some men want to be led every step of the

MARK BRANDES: Conversation with a por-

them to exude a confidence that they can

way, and be told straight out how they look

trait subject is important to set the stage. My

achieve anything. In other scenarios, like

and what they need to do. With others, it

friend Michael Thompson, who’s a great portrait

with new dads, I want to bring out some

has to be subtle, like “Hey, did you see the

photographer in Nashville, says he never asks

vulnerability and reflect the tenderness a

Cowboys game this weekend? Can you slide

a man about his work, but what he loves to

man feels when he holds his new child, or

your right foot forward and drop your chin?

do when he’s not working. This unlocks the

the playfulness he exhibits when he’s

Terrell Owens was on fire, wasn’t he?”

heart of the man, not just his head.

spending time with his family.

DON CHICK: I get them to talk about

Artistically, what are your objectives when

ROB WATTS: It depends. If he’s the CEO of

themselves—their likes, desires and dreams.

photographing men?

a large company, a nice strong image with

I want their minds busy thinking about

PETE WRIGHT: Typically, I like to I photo-

split lighting works well. In this scenario,

things other than being photographed.

graph a very confident, GQ-feel. I want

you can never go wrong with a sort of half

it worked so well that we often witness prospective grooms dragging in their soonto-be brides to see us. Our women clients continue to love what we do, and we still focus primarily on their needs and desires. But we have, in essence, created a niche brand catering first to the forgotten man. We are seeing our grooms take a more active part in the decision-making. Many of them fall in love with our coffee table albums long before the wedding day and insist on having one. Surprisingly, brides shopping without the groom tend to be much more cautious and indecisive when it comes to committing and buying bigticket items, such as custom albums. Having the grooms involved has definitely increased our sales and made the process easier for both the clients and us. I don’t think men spend more, but I do think that women are more willing to buy if their partner is excited and involved. Moreover, the albums we’re building now are bigger because everyone wants to include our unique guy images. Along with other sales incentives, this has almost doubled our album sales over the last year. Although we do track the effectiveness of our marketing and advertising efforts with regard to jobs contracted, we haven’t analyzed our final sales in relation to specific marketing campaigns. Our overall sales have

grown for the last 13 years. Last year we saw an increase of 16 percent in gross sales and about 19 percent in net profit. Looks like we were right to trust our instincts! Our style of shooting has changed to encompass the guys. We make them look like they’ve walked right out of a magazine shoot. It’s as important to showcase the groom and his friends as it is the bride and her bridesmaids. You have to be careful sometimes not to spend more time with the men than the women. There’s so much fun stuff that guys are ready to do! We encourage them to be themselves and to play on the wedding day. It creates a buzz at the reception later, when we project a montage of the day’s images. Our beauty-andthe-beast spin surprises the guests and gets the whole room laughing and crying. We didn’t reduce our female-oriented traditional advertising, we simply created another ad for men, which we place in a separate area of, for example, our bridal book. This way the ads don’t compete or send mixed messages. One manly marketing approach that worked surprisingly well was the poker tournament we hosted at our studio for our wedding clients. It not only brought in many grooms and their friends, but also generated word of mouth advertising that spread amongst our male clientele.

Grooms are now asking when we’ll host another tournament. There are legal restrictions on gambling, so our poker players weren’t really gambling at all. Instead, each player’s “buy-in” was the purchase of a credit in their name for later use on a print or album order. Winners were awarded prizes donated by our studio and other businesses in the area. Our latest manly marketing success was at a winter bridal show. We convinced the show owners to let us project a wedding day bloopers show on stage before each of the fashion shows. It was a huge hit! Set to jazzy swing music, our show had audiences laughing and tapping to the beat. It prompted grooms to vigorously escort their brides to our booth, where we made sure to show them our brideoriented materials. Months later, couples coming in are still mentioning that show. Manly marketing does work. We’ll continue to emphasize female appeal in our marketing, décor, sales approach, and training, but not at the exclusion of men. Good marketing is not always about your largest client segment. Set yourself apart, find the niche that works for you, and brand the heck out of it! Pierre’s Portrait Art Co. is in Madison, Wis. (www.pierresportraitart.com).

©Don Chick

smile that depicts wisdom. With a groom or groom-to-be, I like to show some tenderness toward the camera as well as his new bride. I like to see the groom lost in the moment. The best way to get this look is to take him away from everyone else so he’s not distracted and will let his guard down. I work with musicians, and for these guys, a sense of gentle humor always works. I’ll tell them a funny story or ask them to tell me something funny that happens in their industry. What do you do differently when you photograph men? MARK BRANDES: I rarely raise my camera above a man’s forehead. Too high of an angle can make him look weak. With women, I try to curve the body as much as possible, but I don’t curve men. I pose men’s arms and shoulders with more angles to give a strong foundation for the upper body and head. ROB WATTS: I like to see a bit more contrast in lighting. It portrays a sense of power and intelligence. I like to shoot with the camera at eye level rather than from below so they appear to be good listeners. If it’s a light-hearted person, shooting from above can work well with a jovial grin. I watch for the tilt of the man’s head. I don’t like it to tilt toward his higher shoulder, as it can be interpreted as feminine body language. The head tilted toward the lower shoulder conveys a laid-back attitude. Of course, there are always exceptions. DON CHICK: I like dramatic lighting and posing, so when I photograph a man, I almost always add accent lighting, especially on the temple area. I may ask the subject to let his beard grow for a day or

In general, men are a bit more relaxed, and I don’t have to puff them up so much. They’re concerned about how the final images will look, but are less picky about the little things. They want to get through the session and move on to the next task. —ROB WATTS

GROOMED FOR SUCCESS Wedding photographer David Schwartz shares tips for giving the groom his share of the spotlight. The bride will get her time, but I always arrive early to ensure I have some time with the groom and his groomsmen. I approach the session in a relaxed manner. I want the groom laughing and relating to me from the minute I walk in. We’ve already developed a level of comfort in the engagement session. The groom has seen my work, and in most cases will do anything I ask if he trusts me. I try for about eight looks within five minutes. For example, I go for the strong look where I capitalize on the feeling in his eyes. I’ll go for a softer side by using split lighting with a portion of his face in shadow. And I always try for a natural expression of laughter. Brides love that one. If the groom is contemporary and fashion conscious, I’ll use only natural light and wide open aperture, and incorporate different angles and looks. If the groom is more traditional, I’ll use my 70-200mm lens and a minisoft box on my Quantum T5D flash, which I mount on a light stick. The lighting will be flat and classic. My male clients often enter the session dreading having their picture taken, but by the end, they’ve enjoyed being the center of attention. I have had brides say the groom was so disappointed the session had to end, and “Don’t tell him I told you this, as he’d feel too prissy.” I just smile and think to myself that I had another great session. To see more from David Schwartz, go to www.davidschwartzphotography.com

©David Schwartz

two and to wear masculine colors. I may even

over-talk, but you have to have some kind

tion of beauty. A mature man with

over-sharpen the image a bit in Photoshop to

of personal conversation. Most people

a face full of life can be an interesting,

bring out a rugged masculinity. I often use a

fail to realize how much psychology is

challenging and rewarding subject.

split light pattern, too, which I consider a

involved with portrait work. There are so

The beauty you see in his finished portrait

more masculine form of lighting.

many subliminal things going on that

isn’t that of a 20-year-old female, but is

influence the entire session. Learn how to

it any less appealing? Don’t shy away from

What is your advice to other photographers

read people quickly. This will help in every

the subject matter. Use accent lighting to

interested in making portraits of men?

portrait session.

add interest and drama. Compliment

ROB WATTS: Relax! If you are relaxed and confident, the client will be at ease. Don’t

©Mark Brandes

strengths, minimize the flaws, and above DON CHICK: Watch out for a narrow defini-

all, make him look good. I

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

Current Events August 2-5 C: PP of Louisiana, New Orleans; Dayna Ponthieu, 318-359-6633; www.ppla.net August 9-13 C: Tennessee PPA, Marriott Cool Springs, Franklin, Tenn.; Ernie K. Johnson, 615-509-5737; [email protected]; tnppa.com August 10 S: New Hampshire PPA, Manchester, N.H.; Paul Kady, 603-788-8864; [email protected]; www.nhppa.com

September 13-16 C: PPA of New England, Radisson Hotel Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226; [email protected] September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum, 770-972-8552; [email protected]; www.gppa.com September 27-29 C: PP of Nebraska, Midtown Holiday Inn, Grand Island, Neb.; Brian Baer, [email protected]; www.ppofn.org October 3-7 C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; [email protected]; www.swppa.com October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com October 12-13 C: PP of Colorado, Denver, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.ppcolorado.com October 12-14 S: PP of Mississippi-Alabama, Guntersville State Park, Ala.; Wayne Rawson, 601-693-1966; [email protected]; www.ppma.net

October 20-21 C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Mary Gueller, 920-753-5302; Jim Buivid, 262-377-5118; Deb Wiltsey, 866-382-9772; wppa-online.com October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected] October 26-28 S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-6272; [email protected] November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

Future Events January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected] February 6-10, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat, wilber@jeffcoatphotography; www.ppofsc.com

August 23-27 C: Florida PP; Rosen Plaza Hotel, Orlando; Alan Dust, 800-330-0532; www.fpponline.org

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

September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin, [email protected]; www.ppok.org

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

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

January 10-12, 2010 Imaging USA, Nashville

February 20-23, 2009 C: PP of Massachusetts; Steve Meier, 781-829-4282; [email protected]; www.ppam.com

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


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

Image Review Online submission: August 8 & October 10

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

February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth, Va.; William Garrett, 434-836-2751; [email protected] February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com

February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Mary Gueller, 920753-5302; Mary Mortensen, 262-754-8889; Deb Wiltsey, 866-382-9772; wppa-online.com

2008 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices.

March 15-18, 2009 C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected]

August 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com

March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620624-4102; [email protected]; www.hoappa.com

August 10-14 East Coast School, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected]; www.eastcoastschool.com

March 28-31, 2009 C: PPSNYS, Desmond Hotel, Albany, N.Y.; Kelvin Ringold, 315-451-3716; [email protected]; www.ppsnys.com

August 24-27 Carolina Art & Photographic School, Randolph Community College, Archdale Campus, Creekside Park, N.C.; Bob Henderson, 336-288-1132; [email protected]; www.capsartschool.com

April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783; [email protected]; mnppa.com April 4-8, 2009 C: Northern Light, Minnesota, Jeff Fifield, 218-722-377; [email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, MN; 56455; 763-390-6272

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

PPA-Approved Continuing Education Seminars PPA members receive both merits and the best published prices. August 1-4 C/E: Oxford Painter Workshop, San Francisco, Calif.; Jeremy Sutton, 415-6263971; www.jeremysutton.com August 4 C/E: Print Competition Boot Camp; Batavia, Ill.; 630-761-2990 August 13 C/E: “Making Digital Photography Easy, Predictable & Fun” with Robert D. Lloyd, Malta, Ill.; Wendy Veugler, 815-356-1231; [email protected] August 25-27 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com August 28-29 C/E: The Artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; www.artistrymag.com September 12-17 C/E: Great Gatsby Impressionist Workshop, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com October 3 C/E: The Art & Craft of Studio Portraiture: Marion, Iowa; DonChick, 603-335-4448; [email protected] October 9 C/E: Escaping from the Box, Jamestown, N.Y.; Paul Rogers, 815-436-0422; www.paulrogersphotography.com October 20-23 C/E: Painter Creativity, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com November 2-6 C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com November 10-14 C/E: Joseph & Louise Simone Workshop, Virtual Backgrounds, San Marcos, Texas; Jim Wilson, 800-831-0474 November 14-16 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com


© Vision Photography

YOU NEED DRIVE AND PASSION TO SURVIVE IN YOUR OWN BUSINESS. After realizing that my home country of Scotland didn’t have everything I wanted, I landed a job as a cruise ship photographer in the US. When we finally started our land-based studio in Colorado, my wife was 6 months pregnant. I knew we needed help or we would end up living in a cardboard box! I joined PPA, and the education, Studio Management Services, and photographer network took the fear away and gave us a grip on what we needed. Yes, we hit many obstacles and heard many people say, “no.” BUT WHEN YOU HAVE PASSION, THOSE NEGATIVES BECOME MERELY BUMPS IN THE ROAD. GRAHAM WILSON | PROFESSIONAL PHOTOGRAPHER | PPA MEMBER SINCE 2002

JULY | 08

TODAY

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

PPA President

© Dennis Craft

Welcome to summer! This month’s magazine is dedicated to family portraiture. Family is one of the greatest blessings in my life, and I know others feel similarly.

Our home was empty for a few weeks before we found our new Golden Retriever puppy, Jackson. It was love at Àrst sight, and the laughter is back in our home. Jackson is every bit a puppy, but I wouldn’t trade the joy he brings for anything. We have had many family portraits with our dogs, and I can’t wait until Jackson is a part of the next portrait. As photographers, we have an awesome responsibility with such family portraits. Customers trust us to memorialize their family and capture the love and laughter they share. Getting to know them in the few hours we spend together is a blessing in itself. Anyone can take a picture of a family, but a true artist captures the relationships and the spirit of each family (and the family pet). I have been mentored by some of these true artists and wonderful family photographers. Rod Gleason is probably one of the best family portrait artists in Michigan, and he has taught me many things over the years. I became friends with Michael Taylor about sixteen years ago and have always marveled at his beautiful family portraits. And I am always inspired by Ken Whitmire.

The challenge of family photography is making many people look good and feel comfortable at the same time. I have a lot of respect for image makers that can take the challenge of family photography and create images that show the interaction and love of the family, making it beautiful at the same time. Whether you are with your family or creating images for your clients this summer, enjoy the time and relationships that will develop. Have a great summer with your family!

friend who shares the same passions as I. Quinn, thanks for a great week. The second person to meet is graduating from our local photography program. Sarah Karr worked in our studio during high school, wanting to continue her college education. She recently graduated with an Associates Degree in Photography. As part of the process, she needed a professional photographer to critique her portfolio. I spent a few hours reviewing her images, Ànding myself impressed with her creative eye. At the end, my family and I went to the open house (for all the graduates in the 2008 class), where we enjoyed the portfolios and spent time with Sarah. It was an honor to share this special time with a young person who loves photography and the future that it holds for her.

PPA News & Notes

For the last 12 years, an important part of our family has been our Golden Retriever, Molly. When she became ill this spring, we faced the tough decision of putting her to sleep. She was the only Golden my children remember, so you can imagine the void in our home.

Many years ago, I had the opportunity to sit in a few programs and see his mastery of family portraits. Ken’s images are not only technically correct, they also Áow with a grace and beauty that is breathtaking.

Thanks to Quinn and Sarah, they have again inspired me. I count that a blessing. Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President FRIENDS MET ALONG THE WAY The best part of this profession is meeting others who share the same passions we do, whether they have been in business many years or are just beginning. I had the privilege to teach at Texas School in April. While there, I met Quinn Hancock, a Kansas photographer. Quinn was the head wrangler for the building my class was in, and we had many conversations ranging from associations to computers and photography. As the week came to a close, I knew I had found another

© Dennis Craft

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

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TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: CHRISTA HOFFARTH by Angie Wijesinghe, PPA Marketing Specialist © Michael Imus Photography

PPA News & Notes

“I like things that are different. I want to be different, unique,” comments Christa Hoffarth of [studio] in South Lake Tahoe, Calif. One look at her marketing concepts and design, and you can see it is true. After all, she won the 2007 AN-NE Marketing Award for Best Wedding Campaign. Of course, it is easy to say that one wants to be different. Following through is the hard part…just not for Hoffarth. She doesn’t have a background in marketing or graphic design. She just looks. She looks at her competition for ideas. She looks at graphic design books to see the latest design from packaging to icons. Most importantly, she looks at all of her marketing pieces as a whole. Take, for instance, one of her Àrst marketing experiences. She wanted brides to Ànd her online and created a proÀle on TheKnot.com. What made this an effective start was her proÀle image, as she found later. After looking through the other photographers’ proÀles on the site,

Hoffarth chose an image that was really different from the others. “It’s the only way to get noticed,” she says. Hoffarth always starts her marketing campaigns with a concept. In fact, she keeps a box of ideas—full of interesting designs she’s come across—for inspiration. “I come up with a concept and start recreating all the materials from scratch. Then I marry them together,” explains Hoffarth. For her award-winning wedding campaign, Hoffarth started by remembering a custom brochure held together with a screw post. Intrigued, she created a design concept featuring unique binding ingredients (ballchains, screw posts) and square shapes (brochure with DVD, storytelling thank you cards, business cards). She even included a square, boxed wedding day emergency kit as a client gift. Ever-tuned to details, Hoffarth also redesigned her business cards to Àt this theme (a square shape connected to the brochure with a ballchain).

Even though each campaign is unique, Hoffarth stresses the importance of consistency. “Be consistent in the style and the way you approach your campaign on the Web, in print, and everywhere,” she says. That’s why it’s so important to look at all the pieces together. There are also some parts that never change in Hoffarth’s marketing: her logo, her main colors (blue and white), and even her logo placement. “I’ve developed a style guide for my marketing pieces, and it’s been a great help,” she adds. “I have a prelaid-out set of instructions to follow. The information usually stays the same, so all I have to do is create a new style in the software and apply it.” All things considered, Hoffarth puts a great deal of thought into how she stands out in the large wedding market. What she loves about the ANNE Marketing Awards is that it forces photographers to put that kind of thought into their marketing. “The AN-NEs will make you focus on your design and how it all looks and connects together,” says Hoffarth. “Earning this accolade was a great addition when I pitched my image marketing designs to a printing company. For me, the AN-NEs opened doors.” Don’t worry if you’re not the natural designer that Hoffarth is. To her, the most important advice she can give photographers is to be consistent and really look at how your marketing all Àts together. In her words, “Start with a concept and let it spread.” Learn more about Hoffarth’s wedding campaign in “Married to Marketing,” by Lorna Gentry (Professional Photographer, March 2008, pg. 36).

© Christa Hoffarth

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TODAY BOARD MEMBER SPOTLIGHT Ron Nichols, M.Photog.Cr., API PPA Member since: 1984 Location: GRAND LEDGE, MICHIGAN

GO WITH THE DVD

“Most of my customers are out-oftowners. My portfolio DVD is the quickest way to control what my clients see of my work,” says Christa Hoffarth. A good wedding portfolio DVD is:

Christa Hoffarth [studio] - South Lake Tahoe, CA www.christahoffarthphoto.com

~ Christa Hoffarth

After starting his own studio, Ron kept getting busier. He volunteered with PPA, co-founded and directed the Great Lakes Institute of Photography (GLIP), made the teaching rounds, and so on. Soon, he had to develop efÀciency tools. “I had to work quickly, smarter, and better because I wasn’t in studio very often,” Ron remembers. His efÀciency and workÁow systems soon developed into something others needed, programs and software code made to handle problems photographers face. Ron is busier than ever with PPA’s Board of Directors, his almost virtual consulting and workÁow solutions company (RonNichols.com), and his studio. Luckily, though, he has a great team (including his wife) in the studio and is able to run RonNichols.com online from wherever he is. “It’s always a balance,” Ron says. “But even though I’m not in my studio every day, I’m consulting in a studio all the time.”

items I help photographers with is standardizing procedures and eliminating repetitive tasks. Still, every studio needs to handle it differently.” Ron knows that photographers tend to go into photography because of the creative aspect. “Then they are hit with the management side…and it’s tough to learn,” he says wryly. Ron’s advice to all photographers is to “concentrate on business.” No matter where you are in photography, take business classes and learn how to run a business. As Ron says, “The most successful photographers aren’t always the best photographers themselves.” They usually have the added beneÀt of knowing how to make a business proÀt. At the end of the day, does Ron miss capturing images? “Not really,” he replies. “I always have a camera in my hand. Now, though, I usually get to photograph what I want and concentrate on the art of it…when I have time!”

PPA News & Notes

• More interactive than an online gallery. • Emotional…with all the music and effects possible. • Easily included in a brochure or another marketing piece. • Easily shared with co-workers at the bride-to-be’s workplace (face it, a lot of women plan their weddings at work).

Ron Nichols has always been involved with different groups. In fact, he spent a lot of time in dark rooms as a young boy, earning his Boy Scout merit badges and growing ever more intrigued with photography.

All his volunteering and consulting work gives him a special view into photographers’ needs. “I see similar issues of balancing work,” Ron explains. “Two of the most common

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


P3

TODAY AFFILIATE SCHOOL SPOTLIGHT LAMARR WILLIAMSON SCHOOL OF PHOTOGRAPHY September 28 - October 2, 2008 | Myrtle Beach, SC Contact: John Wrightenberry; [email protected]; 803-781-2130 Web site: www.lamarrschool.com Course Information: The Lamarr School was founded to honor the life of South Carolina’s world-renowned background artist, teacher, and gentleman, Lamarr Williamson. Photographers are invited to come “learn in an atmosphere that promotes interaction and sharing at a level where professional development is the prime product.” High Octane Weddings – Curt Littlecott All the World Is a Studio – Michael Taylor Painter in a Digital World – Cheri MacCallum Taking It to the Next Level – Monica Sigmon

PPA News & Notes

CONVERSATIONS ON OURPPA.COM July often means that many of you are hot and heavy into photographing weddings and high school seniors. If you want inspiration, browse the Photographic Specialties forums on OurPPA.com. You can scroll through images to get ideas for new poses and offer helpful critiques. You can ask speciÀc questions about

wedding cancellations, what kind of shoes to wear on a long shoot, new places for logos on senior wallets… anything that pops up. Tough questions come up all the time. And a forum is a great place to gather responses from many, many sources who understand your position.

Not a wedding or high school senior photographer? Not to worry! The Photographic Specialties section of the OurPPA.com forums also includes areas for questions/comments on commercial, portrait, sport & event, and other photographic specialties. www.OurPPA.com

EXCELLENT OR GOOD ENOUGH by Dennis Gartner, M.Photog., CPP One never hears a baseball fan say, “He might hit only a couple of runs this year, but he’s good enough.” Likewise, “My heart surgeon doesn’t have the greatest reputation, but I guess he’s good enough.” Photographers need neither license nor certiÀcate to call themselves professionals. Unlike doctors, lawyers, teachers, architects and other professionals, photographers can open a studio without taking a qualifying exam, and (as long as we’re lawful) conduct business without government regulation. But photographers—like all true

professionals—must continue to develop their skills and knowledge, to strive to become not just good enough but excellent, and to have that excellence afÀrmed not just by their clients, but also by their peers. For photographers, participating in PPA is the best way to accomplish those goals. PPA provides a range of continuing education in photography, juried print competitions with constructive feedback from experts, a professional certiÀcation program, and a cumulative merit award and degree program.

For any professional, especially in a creative endeavor like photography, an essential element of quality comes from the heart. It’s that spark of energy that makes us do what we do. We may go hungry and sleepless, not wanting to stop lest we lose that inspiration. We use all of the tools at our disposal to craft a photographic image. If quality is your pursuit, you will never settle for average, adequate, fair, passable, or good enough.

CONGRATULATIONS ANN! Congratulations to PPA’s very own Ann Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI, API, A-ASP, Hon.A-ASP. She is the 2008 PPA recipient of the IPC Professional Photographer Leadership Award from the International P4

Photographic Council (IPC), a nongovernmental organization of the United Nations. For more information on IPC and the awards, please visit www.ipc-un-ngo.org. © Brandon Remler


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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 800593-3767 or visit our Web site www.SuccessWare.net. Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business— even when you don’t! More professional photographers trust Photo One Software, powered by Granite Bear than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio; personalized phone training for you and your staff; 75 minute no-hassle guaranteed support call-back time; 365 days of unlimited support and usable upgrades and a 365 day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 now for your free working demo or visit www.photoonesoftware.com. Photo One, Building better businesses, one studio at a time.

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

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

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

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

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at [email protected].

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

LAB SERVICES FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd. Beverly Hills, CA 90211 310-274-3445 • www.goldencolor.com ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com SCHOOL/WEDDING Photographers. Low package prices starting at 19 images. Wedding 10x10’s, you design we print $2.49. www.PhotoPrintPros.com. PLATINUM GICLEETM FINE ART B&W from your digital file or negative up to 40 x 60. New DuraFiberTM Media provides deep blacks and waterproof, non-scuff surface, great for hand-coloring. Also available in sepia, color, split-tone. Call for free sample. Jonathan Penney, Inc., Master Printmakers. 631-874-3409. www.jonathanpenney.com SCHOOL & SPORTS PACKAGES “Green Screen”—With Hundreds of Different Backgrounds Galeone Photo Lab 2161 Greenspring Drive Timonium, MD 21093 410-252-5355 • [email protected] Call for pricing. HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com

LEGAL PHOTOGRAPHY LEARN LEGAL PHOTOGRAPHY. Buy the “Guide to Becoming a Legal Photographer” and work freelance for attorneys. See www.nylawphoto.com/guide.htm

EQUIPMENT FOR SALE

MARKETING

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

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

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

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

Well respected, full service studio for sale in BEAUMONT, TEXAS. Originally established in 1946. Strong name identification with little advertising, repeat customers into the 3rd generation. This studio has exclusivity over 2 premier programs for high school senior girls, presenting repeat opportunities from senior portraits to weddings to babies. Owners are anxious to relocate. This is a once in a lifetime opportunity for the right person. FOR SALE AT A FRACTION OF THE VALUE WITH OR WITHOUT EXCELLENT REAL ESTATE. Serious inquiries only. 409-553-6434. FULL SERVICE Studio with Great Reputation in Charming Mid-South Town with Major University and Large Trade Area. 30-Year-Old Business—Only Studio in Town. Great Opportunity—Owners Retiring and Will Assist in Transition. $125,000 Studio Real Estate Available. To obtain further information, please reply to :[email protected] and refer to ad #107.

STUDIOS WANTED COLUMBUS CAMERA GROUP, INC. buys whole studios or any part including cameras, film, darkroom, long roll, lighting, and misc. No quantities too small. Call 800-3257664. Ask for Eric.

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

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

STUDIO FOR SALE A WELL-ESTABLISHED, SUCCESSFUL TURNKEY PHOTOGRAPHIC BUSINESS IN A HIGH VISIBILITY, FASHIONABLE AREA OF NORTH FLORIDA. OPEN FIFTEEN YEARS, NOW WITH FULL FILM AND DIGITAL PROCESSING, WIDE FORMAT PRINTING, LUCIDIOM AND FUJI KIOSKS, SPACIOUSEQUIPPED STUDIO, LIGHTING, CAMERAS, BACKGROUNDS AND MUCH MORE. READY TO HAND OVER TO CONTINUE MAKING A PROFIT RIGHT AWAY. THE BUILDING, OVER 4000 SQ.FT., WITH LARGE PARKING LOT, IS AVAILABLE FOR LEASE OR PURCHASE. OWNERS ACCOMMODATION AVAILABLE ON SITE. THE BUILDING WILL BE WORTH $1,000,000. NOW OFFERING BUILDING AND BUSINESS TOGETHER FOR 900K. OWNER AVAILABLE DURING TRANSITION. [email protected] OR CALL MON-FRI 904399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST. STUDIO ESTABLISHED in the Pittsburgh, Pennsylvania, area for over 20 years, with a great image and a very large client base. Owner is PPA Certified, Master Photographer & Photographic Craftsman. Wants to slow down. Will train and is willing to work for new owner to maintain continuity during transition. For information call 724-789-7371. FANTASY STUDIO FOR RENT. Not ready to buy, wanting to relocate and test an area? This is a studio unlike any other. Now you can afford to be the best with minimal outlay. Complete with lights, wardrobe, props and 5000 sq.ft. of movie set backgrounds. Unlimited creativity and an exceptional opportunity to be the best you can be. Colorado Springs, Colorado, is waiting for you. www.ljm-photography.com; 719.593.2424. WESTERN COLORADO—just hours from national parks. 40 year-old established studio plus client list. Amazing outdoor photo park. Thriving economy in this sunny college town of 150,000—a great opportunity. Owner will assist your transition. Call 970-596-1975.


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. ©Sarah Smith, M.Photog.Cr.

Love,’” says Helen Yancy, M.Photog. M.Artist.MEI.Cr.Hon.M.Photog., a member of the Society of XXV, and a past president of Professional Photographers of America. “No signatures on the portraits, no egos allowed.” Working in small teams, the photographers brought a variety of perspectives and expertise to the project. Each photographer was involved in every aspect of the sessions, retouching and artwork, so that the final images represented the best of all of them. Canon U.S.A. and Breathing Color stepped up to provide the requisite materials. They loaned the project a large-format printer with archival inks, and donated canvas, coating material, stretcher bars and 20x24inch frames, so that every family would

No egos, just altruism

leave with a world-class framed portrait.

A GIFT OF LOVE TO THE MAKE-A-WISH FOUNDATION

The Society may have fulfilled the children’s

To say the project was charity didn’t seem right to members of the XXV organization.

wishes, but each member felt generously

A

rewarded by the joy of a collaborative expe-

group of photographers from across the

ill children. Since 1980, the Make-A-Wish

rience they’ll never forget. “When photogra-

globe, known as the Society of XXV,

Foundation has enriched the lives of chil-

phers form a small group to inspire and

made a commitment several years

dren with life-threatening medical condi-

refresh each other, they not only gain in

tions by granting their wishes. The children’s

friendship and knowledge, they also increase

wishes have ranged from the exotic, like

their capability to conduct projects that ben-

ago to meet annually to share experiences, techniques and friendship. At gatherings, the

meeting Elvis in Hawaii and shooting hoops

efit others,” says Yancy. “We all had a won-

members often compare accolades, network,

with an NBA star, to down-to-earth pleas-

derful time with the kids and their families.

and learn from one another. In 2008, the get-

ures like swimming at the YMCA and build-

There is no greater reward than working

together had a particular focus. Each of the

ing a playhouse complete with flower boxes.

with friends to help someone else.” I

highly accomplished photographers left his

The Society helped grant the wishes of 12

or her ego at home and embarked on a life-

children who wanted to have family portraits

changing mission.

made. The members took on the ambitious

In April, the Society met in San Diego’s

goal of photographing all 12 families in four

Balboa Park, where, in partnership with the

days. Afterward, they produced digitally

Make-A-Wish Foundation, the members

enhanced, coated canvas prints for each

created portraits for the families of terminally

family. “We called the project our ‘Gift of


To learn more about the Make-A-Wish Foundation, visit www.wish.org.

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

© Mary Fisk-Taylor

Mary Fisk-Taylor & Profoto ComPact “ Now we get perfect color balance, incredibly even illumination and consistency shot-to-shot. In the early days, my par tner Jamie Hayes and I had to make do with what we had, but Profoto was always on our ‘goal list’. When we used Profoto’s for the first time we were shocked by the difference we saw – beautifully natural lighting. Now we are a high-end studio and we have to produce the best possible results. Profoto is just the best there is.”

ComPact Kits now include ComPact and new ComPact R

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

914-347-3300 Profoto-USA.com

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