Professional photographer June 2010

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©Joel Grimes

JUNE 2010 | WWW.PPMAG.COM | $4.95

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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

Vox populi IN PRAISE OF SPEAKING UP Around mid-summer every year, we e-mail a survey to our readers to find out what we can about the kind of businesses you run, the photography you create, and the challenges you face. Your answers become the foundation of the topics we’ll cover throughout the year. So fill out your survey… you know who you are! We receive hundreds of topic ideas every month, too, via readers’ e-mails, phone calls and our Facebook page, facebook.com/ppmagazine. One such suggestion landed in my inbox a few months ago from a photographer based in Chattanooga, Tenn., Michele Winter Johnson. She specializes in architectural, real estate and advertising photography, and made a case for our doing more architectural stories. With 95 percent and 77 percent of our readership doing portrait and wedding work, respectively, we tread lightly in our commercial coverage, but Michele made a great argument for how all specialties could benefit from her proposal: “More articles on photographing interiors and exteriors would help portrait and wedding photographers who have to work in challenging environments when they work outside their studios. “I find some portrait and wedding photographers do great portraits in their studios,” she continued, “but run into difficulties when they’re outside their usual environment. They of course are concentrating on their human subject(s).” Michele’s e-mail was well timed. We were days from planning the issue you’re holding, focused on lighting and, yes, architecture and interiors. I asked if she would join our efforts this month, and her interview with famed architecture and interior design shooter Dan Forer starts on p. 72. (Look for some of Dan’s best work in the pages of Architectural Digest.) So I entreat you to reach out to us. We always welcome your ideas and opinions and look forward to hearing from you. � Cameron Bishopp Director of Publications [email protected]

Find us on facebook.com/PPmagazine

4 • www.ppmag.com

Follow us on twitter.com/PPmagazine

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

LESLIE HUNT [email protected]

KARISA GILMER [email protected]

editor-at-large

sales/strategic alliances assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

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

northeast region ad manager

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

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

southeast region ad manager

BILL KELLY 404-522-8600, x248; [email protected] editorial offices

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

Professional Photographer P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com member services

PPA - Professional Photographer 800-786-6277; FAX 404-641-6400; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $19.95 one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 3606, Northbrook, IL 60065-3606 Copyright 2010, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

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CONTENTS PROFESSIONAL PHOTOGRAPHER JUNE 2010

Features 88

LIGHT MOVES For Joel Grimes, great lighting has little to do with fancy equipment, and everything to do with who you are as an artist By Stephanie Boozer

66

LIGHTING: FAST AND MOBILE

TriCoast’s signature lighting keeps business moving By Jeff Kent

72

ARCHITECTURE: LIGHT AND SHADOW

Q&A with prize-winning architectural photographer Dan Forer By Michele Winter Johnson

76

ARCHITECTURE: INSIDE JOB

Tips on photographing interiors By Norman McGrath

82

ARCHITECTURE: FORM MEETS FUNCTION

Composition is key in the way Jaime Ardiles-Arce brings out the sculptural qualities of structures By Jeff Kent IMAGE BY TRICOAST PHOTOGRAPHY

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

14

FOLIO

96

SCHOOL CALENDAR

99

PPA TODAY

114

GOOD WORKS

©Jaime Ardiles-Arce

Departments C O N TA C T S H E E T 18 Pictures by women at MoMA 20 Free business portrait to job seekers 24 Robert Weingarten:

The portrait unbound 26 State grants for business owners 26 SMS Workshops: Summer schedule

PROFIT CENTER What I think: Mike Fulton 32 Ask the experts 36 Sanders: The road to self-discovery 40 Roundup: Soup-to-nuts marketing kits 31

THE GOODS 49 What I like: Michael Stern 50 Pro review: Canon

imagePROGRAF IPF6300 by Ellis Vener 54 Pro review: Unified color

HDR PhotoStudio 2 by Curtis Joe Walker 58 Lighting: Photographic umbrellas by Stan Sholik 62 Lighting: Paul C. Buff Einstein 640

by Ellis Vener

82

In architectural photography, every shot must be more than a pretty picture,

“It must be a potent sales tool,” says Jaime Ardiles-Arce. His interior images are so

sumptuous, you’ll want to walk right in and assume the glamorous lifestyle they bespeak.

8 • www.ppmag.com

ON THE COVER: Dramatic fashion and beauty photography is just one of Joel Grimes’ specialties as a commercial photographer. Outdoors or in-studio, he is a master of lighting for maximum impact. Here, he used four White Lightning Ultra 1600 lights, three on the subject, one on the background. He used small Photoflex soft boxes with honeycomb grids on the side lights, and a 22-inch Paul C. Buff beauty dish on the overhead light. His camera of choice is a Canon EOS 5D Mark II. For this shot, he used a 24-70mm Canon f/2.8 lens, and near as he can recall, at a focal length somewhere around 50mm. For optical performance, 99 percent of his studio photography is shot at f/9. He enriched and darkened the skin color with layers and blending modes in Photoshop CS3. Cover image retouched by Jim DiVitale, M.Photog.MEI.Cr., API, F-ASP

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Premium Packaging “The majority of my wedding clients are out of state. The Premium Packaging from WHCC has been a lifesaver for us because we can simply dropship my print orders directly to my clients! Without even having to see the finished product, I know that all my prints and packaging will have a very upscale and professional look when delivered. In fact, many of my clients have commented on how much they love my packaging! I use Premium Packaging for engagement albums, thank you and save the date cards, and all of our prints under 11x14.” Kevin Jairaj, KJ Images Photography, Keller, TX

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CONSTANCE S. RAWLINS M.Photog.Cr., CPP [email protected]

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

2010-2011 PPA board president *LOUIS F. TONSMEIRE JR. Cr.Photog., API [email protected] vice president *DONALD DICKSON M.Photog.Cr., CPP [email protected] treasurer *TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] chairman of the board *RON NICHOLS M.Photog.Cr. Hon.M.Photog., API [email protected] directors SANDY “SAM” PUC’ M.Photog.Cr., CPP, ABI [email protected] RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected] CAROL ANDREWS JENSEN M.Photog.Cr, ABI [email protected] SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

12 • www.ppmag.com

industry advisor KEVIN CASEY [email protected] PPA staff DAVID TRUST Chief Executive Officer [email protected] SCOTT KURKIAN Chief Financial Officer [email protected] THERESE ALEMAN Director, Marketing and Communications [email protected] CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected] CAMERON BISHOPP Director of Publications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] GRAHAM KIMBROUGH Director of Education [email protected] WILDA OKEN Director of Administration [email protected] COREY B. SHELTON Director of IT & Online Strategies [email protected] LENORE TAFFEL Director of Events [email protected]

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

BING ZENG PPA China Managing Director [email protected]

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

SANDRA LANG Executive Assistant [email protected]

MICHAEL GAN M.Photog.Cr., CPP [email protected]

*Executive Committee of the Board

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.

CINDY GORDON Cindy Gordon, of Cindy Gordon Photography in Plano, Texas, was inspired to create “Duck Hunting” when her dog, Cooper, got interested in a prop rubber ducky after a child’s portrait session. With a Canon EOS 5D and Canon 24-105mm f/4 L IS USM EF lens, Gordon exposed the image for 1/200 second at f/10, ISO 100. A 160WS AlienBees B400 and 4x6-foot Larson soft box just left of the camera provided the main lighting, with a second B400 and 28-inch Westcott Apollo Mono Recessed Front soft box for fill. A third B400 and 52-inch Larson Flying Starfish soft box with four wings open lit the background from overhead. cindygordon.com

©Cindy Gordon

What the judge thought:

“Clean whites, amazing expression,

wonderful composition and technical expertise can take an image of the back of a dog to Loan Collection status. The degree of difficulty in creating this charming image is a consideration as well, and the lasting power of the story being told makes it complete.” —Helen Yancy, M.Photog.M.Artist.MEI.Cr , Hon.M.Photog., API and PEC Committee member


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JOHN F. HILL While traversing northern Thailand, John F. Hill, M.Photog., CPP, of John F. Hill Fine Photography in Easton, Conn., wanted to photograph aspects of the culture there. He created “Ritual Beauty” with a Nikon D2X camera and a Nikkor 28-70mm f/2.8 D AF-S lens, shooting for 1/200 second at f/4, ISO 400 (with an adjustment of -0.3EV). The woman is a member of the Karen (long necked) tribe. Hill converted the image to sepia in Adobe Photoshop CS3, and added a mild vignette to give it, he says, the feeling of an old National Geographic image. The image won a Kodak Gallery Award. johnfhill.com ©John F. Hill

©Mickey Ginn

MICKEY GINN Awestruck by the dramatic natural beauty of this canyon, Mickey Ginn, M.Photog., of Enchanted Light Photography in Farmington, N.M., created “Eye of the Cathedral.” He says he wanted to “communicate the emotion I felt upon discovering this place.” With a Canon EOS 20D camera and a Canon 16-35mm f/2.8 L II USM EF lens, Ginn exposed the frame for 2 seconds at f/22, ISO 400. He performed minimal processing on the raw file to tweak the color and bring out detail in the highlights.


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CONTACT SHEET What’s New, Cool Events, Interesting People, Great Ideas, Etc. ©The Ilse Bing Estate/Courtesy Edwynn Houk Gallery

Pictures b y

w o m e n

MoMA presents a history of photography through a feminine lens l 18 • www.ppmag.com

BY LORNA GENTRY

This summer the Museum of Modern Art in New York has 16 decades of photography on view in “Pictures by Women: A History of Modern Photography,” through August 30. Beginning with a cyanotype from the 1850s by British photographer Anna Atkins and ending with photos created as recently as last year, the exhibition includes more than 200 images taken by 120 women. While style and technique vary greatly, the subject of every image is women. The majority of the show, from 1850-1980s, will remain on view through next March 21. “The beauty of the photographic medium

©Cindy Sherman/ Courtesy Museum of Modern Art

is that it has always been accessible to women,” says MoMA curator Roxana Marcoci, who organized the show. “Our collection is extremely rich in women’s work, which makes it possible for us to do a comprehensive retrospective of photographic history. In any other medium, there would be too many gaps to do that.” The exhibit accompanies a book, “Modern Women: Women Artists at The Museum of Modern Art,” published this month by D.A.P., which includes illustrated essays by Marcoci and other MoMA curators, and scholars not affiliated with the museum. A symposium is scheduled at MoMA this month. The collection gives insight into how the perception of womanhood has changed over time. Early works, such as those by British photographer Julia Margaret Cameron and American

©Claude Cahun/ Courtesy Museum of Modern Art

©Gertrude Käsebier/ Courtesy Museum of Modern Art

educators. “Then in the 1920s and ’30s the

photographers, mid-century photojour-

Johnston’s commissioned photos of the

view of women changes,” Marcoci points out.

nalism, and life postwar to post-9/11. Several

Hampton Institute, which were featured in

“You see through photographs the birth of

jarring standouts in the collection are even

an exhibition about contemporary African-

the New Woman that was taking place across

more fascinating in juxtaposition. For example,

American life at the Paris Exposition of 1900.

Europe and America, particularly in images like

1950s photo collages by Japanese artist Toshiko

The exhibit fills the entire third-floor Edward

Claude Cahun’s radical gender-bending 1921

Okanoue assembled from Western magazines,

Steichen Photography Galleries. The space may

self-portrait, in which she was dressed in drag.”

Italian photographer Tina Modotti’s photos

be named for a man, but the women’s visual

of revolution in 1920s Mexico, and

voices on display speak volumes about mankind.

American photographer Frances Benjamin

Visit MoMA online, moma.org.

Gertrude Käsebier, take a pictorial, soft-edged view of women as mothers, nurturers and

There are fine examples of the influence of Bauhaus and Surrealism on early 20th-century

June 2010 • Professional Photographer • 19

CONTACT SHEET

What comes around ...

nected with several of my subjects on

Michael Stern offers free business portrait to job seekers

come full circle.”

LinkedIn, so I get to see their pictures in action. It’s really interesting to see it all Stern plans to have another free portrait day this summer, with tentative plans to

In 2009, California suffered its worst

counseled the subjects on ways to get the

continue the project in some form in the

unemployment rate since 1940. Los

most from her portrait. Each participant

future. For him, the need to volunteer is

Angeles was hit particularly hard, with

got a high-res, low-compression JPEG of

compulsive; it’s something he feels obliged

even fewer than one job available for every

the portrait to print and post online. Stern

to do as a professional photographer and

eight unemployed people.

even offered to help them resize the images

as a human being. “No matter how things

and post them on various job search and

are going in my life, I feel better when I’m

networking sites.

in the service of others,” he says. “Even at

Last fall, photographer and author Michael Stern of Pasadena decided to do something to help the situation. He felt

“I gave every participant the full expe-

times when … I’m struggling to pay my

that job seekers needed to maximize their

rience,” says Stern. “I don’t distinguish

own bills, I recognize that in the grand

professional image and take full advantage

between the quality of a paid job and a

scheme of things I am very fortunate. I

of online networking opportunities, so he

volunteer job. You have to give your best to

have a roof over my head and a warm place

offered free business portraits to

everything to truly call yourself a professional.”

to sleep, and I want to give something back

participants of Women at Work, a

Of the 28 women who got the comple-

nonprofit job resource center. Following a

mentary business portraits, about half had

six-week promotion campaign, Stern set up

never had one done professionally. “The

a makeshift studio at the facility, conducted

feedback I’ve received has been incredible,”

full portrait sessions with each subject, and

says Stern. “People are so grateful. I con-

All images ©Michael Stern


to help others as long as I’m able.” —Jeff Kent To see more from Michael Stern, visit cyberstern.com.

Tom Bagby & Kristen McGill _ Tom Bagby Photography

We are Tom Bagby & Kristen McGill. We Are Giving Back. We feel strongly that giving back to the community and to the world is absolutely essential. We’ve recently started working with an orphanage in Guatemala called Shadow of His Wings. We love the spirit of the people there. They not only provide food, drink, and shelter to young girls, but they restore their hearts and help them grow into beautiful, strong women. We Are Humbled. We are truly inspired by people who blaze their own trails rather than following the crowd...people who have the courage to step outside their comfort zone and manage to change the way the rest of the world thinks. The people who run Shadow of His Wings are such people.They are never satisfied with settling for the way things are, always reaching for the impossible. We are constantly humbled to be around them. We Are Creative. In today’s crowded marketplace, we are trying to attract clients that are interested in more of a custom portrait experience...one that really reflects not just what they look like but who they are. This custom experience is what really brands us – the lack of one particular pose. By approaching each session differently, we’re able to spread our “creative” wings with each and every senior we shoot. We are Evolving. We’ve been in business since 1976 and have seen plenty of changes.The only way to continue thriving after 34 years is to anticipate the changes and react to stay ahead of them while maintaining your own identity. Our 34 year partnership with Miller’s has been crucial to keeping ahead.They have always opened doors for us and led the way with new technology and new products. We are Miller’s. Our lab is Miller’s Professional Imaging because we Expect More.

Expect More

To see how Tom and Kristen use Miller’s to grow their studio, please visit www.millerslab.com/TomBagby For more information about Shadow of His Wings, please visit www.shadowofhiswingsorphanage.org.

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©Robert Weingarten

Sometimes a good portrait is more about a person than of the person. Consider the collection of portraits by celebrated fine-art photographer Robert Weingarten that was on display recently at Atlanta’s High Museum of Art. Weingarten’s “The Portrait Unbound” is a series of digital compositions featuring everything about the subject save his likeness. These montages allude to the subjects in representations of their interests, achievements or critical moments in their lives. Weingarten asks the viewer to consider each set of images as a whole, understand its meaning, and identify the subject based on the symbols.

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portrait that is unconstrained by the specifics of time, place and conventional subject matter,” says Julian Cox, curator of photography at the High. The images are, indeed, a dramatic departure from traditional portraiture, yet they convey something essential about who the subjects are. To wit: prominent Americans Hank Aaron, Buzz Aldrin, Mikhail Baryshnikov, Chuck Close, Sandra Day O’Connor, Frank Gehry, Jane Goodall, Billy Graham, Dennis Hopper, Quincy Jones, Made in the U.S.A.

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Carl Lewis and Colin Powell. The collection has been hailed for its accomplished digital imaging techniques, and its display at the High—the first fully digital photographic exhibition there—represents the growing acceptance for the genre among the fine-art community.

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— Jeff Kent For more information on the “The Portrait Unbound,” visit robertweingarten.com.

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Wish granted Could your business be eligible for a state grant? Have you ever thought about getting a grant

rapher friend, Rackley got the idea to search

for business education? It’s not impossible,

for business education and training grants.

as Ruth Rackley of Rackley Photography in

Her friend had gotten just such a grant

Clinton, S.C., found out in April.

when he hired his studio manager—funds to

After reading Professional Photographers of America’s Financial Benchmark Survey

help his new employee get software training. Rackley discovered a grant for business

Analysis, the only business and financial

training offered through South Carolina’s

guideposts based specifically on the unique

Workforce Investment Act from the South

needs of photographers, Rackley was at a

Carolina Department of Commerce

turning point. “I was trying to run my business

(Workforce Division). The state’s goal was to

business training growth. So might the Small

as a photographer, not as a businessperson.

encourage small businesses to grow, and

Business Administration (sba.gov). Finding

I saw that I have to be a business owner first.”

thus create jobs in the local market. Rackley

a grant offer will take some research, as they’re

She wanted to attend the PPA Studio Man-

applied, and indeed got a grant to cover the

often buried under governmental details.

SMS workshop and her expenses.

When you start looking, keep in mind that

agement Services’ (SMS) three-day business

Ruth Rackley

every state has its own names for government

workshop in April. The only thing standing

“I was quite frank in my application,”

in her way was the cost—almost $1,000 for

says Rackley. “I said, ‘I know that if I get

agencies. You might browse the Web or call

the seminar, plus hotel and travel expenses.

this training, my business will grow.’

your state’s Department of Commerce, Depart-

That’s when Rackley thought about a grant.

I even gave them my goal of when I hoped

ment of Entrepreneurs or Small Businesses,

She’d had some experience with grants

to hire people.” A caveat here: The grant

the Office of Economic Development and so

when she worked in the environmental

isn’t just free money. Rackley has a three-

on. State offices are often listed under a

industry, and she started to do research.

ring binder full of paperwork she’s required

larger department, like the Department of

to fill out as part of the bargain.

Revenue or Secretary of State.

Grants for artists are usually based on particular projects. But thanks to a photog-

Your state might offer a grant for similar

BUILD A HEALTHY BUSINESS Only two more SMS workshops offered this summer Your creativity got you into photography, but you need business smarts to take you to the next level, so get a jump-start this summer. Hundreds of studios have benefited from the PPA Studio Management Services's (SMS) intensive business-building workshops, which focus on growing your studio and becoming more profitable. SMS offers two programs: A two-day business basics workshop designed for new and emerging studios, and a threeday business workshop geared to well-established studios. June 26-27: 2-Day SMS Business Basics Houston (Houston Airport Marriott at George Bush Intercontinental) Instructor: Ann Monteith The two-day business basics workshop, with limited enrollment, is focused on the fundamentals for business success, taught by experi-


—Angie Wijesinghe

enced SMS mentors like Ann Monteith, who conducts this month’s event in Houston. You’ll leave with a firm grasp of the elements you need to put in place to develop a successful photography business. July 26-28: 3-Day SMS Business Irvine, Calif. (Irvine Marriott Hotel) Instructors: Julia Woods & Carol Andrews Jensen The three-day business workshop is designed to help established studios move to the next level. The intensive learning experience combines three full-day classroom sessions with extensive oneon-one consultations. Your support team will help you fine-tune your financial management, marketing, pricing and selling strategies. You’ll leave with a financial plan and actionable marketing steps to move your business forward. For further details and registration, call SMS at 888-851-0405, or e-mail us at [email protected].

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bobbi+mike – A husband and wife photo team who love photography, being in love, and being loved. How lovely is that?! “Unique products make our clients happy, and we love that too. We love MpixPro.”

To see how bobbi+mike use MpixPro products, please visit mpixpro.com/bobbiandmike.

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DISCOVER DISCOVER YOUR YOUR DIRECTION DIRECTION

See all your learning options: www.PPA.com/Education

NOT ONLY DO YOU HAVE TO BE A GREAT ARTIST, YOU ALSO HAVE TO BE A SOUND NOT ONLY YOU HAVE TO BE A GREAT YOU ALSO lose their BUSINESS PERSON TO DO SUCCEED…and that’s where so ARTIST, many photographers TO BE A SOUNDmanagement BUSINESS PERSON TOyou SUCCEED… way. Don’t HAVE let a lack of business skills hold back. PPA is the only and that’s wherestudio so many photographers lose theirand way. Don’t business organization that provides management consultations services, let a lack ofand business management skills hold you back. education workshops the Financial Benchmark survey—the onlyPPA business and is the onlyspecifically organization with Studio financial guideposts built around theManagement unique needsServices, of photographers. which provides studio management consultations and services, education workshops andeducational the Financial Benchmark Of course, business we also provide a comprehensive palate of artistic classes in only business andtofinancial guideposts specifically all kinds of survey—the formats, from online learning hands-on workshops, local seminars and builtone around unique needs photographers. Imaging USA, of thethe industry’s largestofeducational conventions and trade shows.

TO NEW EXPLORE NEW FRONTIERS & READY TOREADY EXPLORE FRONTIERS? SUCCESSFULLY NAVIGATE YOUR SEE ALL THE LEARNING OPTIONS PPA HASBUSINESS? TO OFFER.

Ë www.PPA.com/Education

For established For established studios: studios: SMS SMS 3-DAY 3-DAY BUSINESS BUSINESS WORKSHOPS WORKSHOPS Prepare toyour take photography your photography business the next Prepare to take business to thetonext level with three days of in-depth instruction plus one-onlevel with three days of in-depth instruction plus one-onone consultations withstaff ouraccountants staff accountants and business one consultations with our and business mentors to help you meet your goals. 3-Day workshops mentors to help you meet your goals. 3-Day workshops are are designed for studios with $50,000 in annual revenues. designed for studios with $50,000 in annual gross gross revenues. Workshop fee is $949; and $349 AtlantaAtlanta Workshop fee is $949; and $349 for for second person from same studio. Other Workshops second person from same studio. Other Workshops $1,199; and $599 for second $1,199; and $599 for second personperson

Ë 26-28, July 26-28, Orange County, Ë July 2010 2010 Orange County, CA CA Ë November 8-10, 2010 Atlanta Ë November 8-10, 2010 Atlanta

For new and emerging studios: For new and emerging studios: SMS 2-DAY BUSINESS BASICS WORKSHOPS SMS 2-DAY BUSINESS BASICS WORKSHOPS

Workshop fee is $349; and $199 Workshop fee is $349; and $199 for for second person from same studio. second person from same studio.

Ë 26-27, June 26-27, Ë June 2010 2010 Ë November 6-7, 2010 Ë November 6-7, 2010

www.PPA.com/Education

Houston Houston Atlanta Atlanta

image © Todd Royal Hicken, M.Photog.Cr.

Get studio your studio the track right track withintensive this intensive Get your on theonright with this small-group workshop focused on the fundamentals small-group workshop focused on the fundamentals for photographic business success. Key topics for photographic business success. Key topics covered will be business planning, financial covered will be business planning, financial management, marketing, pricing and sales. management, marketing, pricing and sales.

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think

TriCoast’s Mike Fulton sells an experience, backs it with service What do you wish you’d known when you were starting out? Without a doubt, the business of photography. Taking average to above average photos is easier than ever, while the business aspects have gotten more difficult. What advice would you give to someone just beginning in the business? Too many new photographers never truly discover who they are as an artist, so they don’t distinguish themselves, and potential clients don’t see the benefit of hiring them. And always take the high road. Stay ethical and trust the people who’ve helped you grow. What’s been your most successful business move? Making TriCoast into a full-service studio that covers weddings, portraits and school photography. Becoming a complete, high-end studio allowed us the freedom to grow. If one area of the business lags, the others usually help us through. “Don’t put all your eggs into one basket,” really rings true in today’s market. What’s the secret to running a successful photography business in today’s economy? We sell a great experience, we produce top-quality products, and we offer the best customer service in the area. Word of mouth is still the best marketing, and that’s something you have to earn. IMAGE BY TRICOAST PHOTOGRAPHY TRICOASTPHOTO.COM


PROFIT CENTER

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

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

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

Ask the experts Get a handle on how to price a wedding package Q: I’m trying to wrap my brain around how to price a wedding package. I’m setting up my packages around albums, so my base price includes full-day coverage of the event, 300 4x6 print proofs, and online viewing and ordering. The final package price is calculated when the client makes her album choices. Do I first figure out how much I need to make per wedding based on, say, $50,000 annual owner’s compensation? Then I’d calculate the 35 percent cost of sales, 30 percent general expenses, and 35 percent owner’s compensation. Or do I calculate how much each wedding costs to determine my cost of sales? Then where do I account for general expenses and owner’s compensation? A: You are so wise to learn about the fundamentals of pricing before you forge ahead with your business! The popularity of photojournalistic-style weddings, combined with digital capture, has resulted in an explosion in the number of wedding images captured per wedding, and in turn, requires a revision in the formula used to profitably price wedding products. Use these three steps in your pricing: 1. CHARGE FOR YOUR TIME. Estimate how many hours it takes to deal with a wedding client and her order from start to finish— • Pre-wedding: initial client meeting and wedding booking; engagement portrait session and/or pre-bridal session; additional phone or in-person planning meetings; time between the booking and the wedding day. • Wedding day: gear checking and loading, travel time to venue; average number of hours you spend at the event. • Post-production and sales session: downloading images; image editing; retouching


and preparing sales presentation; length of the sales session. • Order fulfillment and delivery: finishing images ordered; placing or printing the order; assembling the album and other products; order pick-up meeting. During business management classes, when I ask wedding photographers to estimate the length of these segments, the figure I hear most often is about 40 hours per wedding, although I think that’s low. That’s the amount of time I would spend with wedding clients in the film era, and I rarely shot more than 400 frames at the average event. But for the sake of this example, let’s go with 40 hours. Next, establish a reasonable hourly fee. We’ll use $30 per hour in this pricing exercise: 40 hours x $30 = $1,200. This base assures you’ll be paid for the work you do and time you put in, and a small gross profit margin if you choose to outsource some of the production. If you do outsource, be mindful of your hourly fee and try not to spend more than $20 per hour. Better yet, control your prices by negotiating a set production fee with your vendor. Can you see the major difference between pricing weddings and pricing portraits? Traditionally, portrait photographers are compensated for their shooting time via salary and image-production time, which is accounted as a cost of sales, to which a markup is added to fund the business’s general expenses. Because weddings involve a much larger investment of time, a per-hour fee should be a key factor in the process. Otherwise, the price charged to the consumer is likely to be less than actual business costs. To drive home the point of how important it is to be compensated for your time spent

with wedding clients and in post-production, consider how the time factor would affect the price of a simple “shoot-and-burn” business model in which the client receives only a disk of the edited images. This model will save production time—possibly as much as 10 hours. So at an hourly rate of $30 x 30 working hours, the time charge for photography and editing would be $900. The only product charge would be for the DVDs that contain the images. But the pricing process must not stop here, as charging for time alone does not take into consideration the need to compensate the owner for the day-to-day costs of running a business. You must charge enough to compensate the business for general expenses (advertising, administration, building expense, employee expense, and equipment depreciation). My suggestion for a shoot-and-burn model would be to double the $900 time charge for a fee of $1,800 for a home studio, and triple to $2,700 for a retail location studio. Your hourly charge is a personal matter, but keep in mind if you use this rule-of-thumb method for dealing with costing your time component, you’ll be crippling your ability to pay general expenses if you short the amount you pay yourself. In presenting this shoot-and-burn example, I am not suggesting this is the best way to conduct a wedding photography business. But shoot-and-burn weddings are a fact of life in the wedding industry today. The time-charge method assures that the photographer is paid a reasonable sum for the time and effort he or she puts into the time-consuming job of preparing for, photographing and processing wedding photography; it also provides a reasonable markup contribution toward the overhead of running the business. When the wedding photographer is not adequately com-

PROFIT CENTER pensated for his effort, burnout is virtually assured. When overhead funds are inadequate, the business is not sustainable. 2. CALCULATE PRICE FOR YOUR WEDDING PRODUCTS. With your fees for your time established, pricing the wedding products gets easier. Simply markup the hard costs of the items you include in each wedding package (albums, prints, frames, packaging). Use the home studio or retailspace studio cost of sales benchmark. For a home studio to be profitable, you must keep your cost of sales at or below 35 percent of your total sales. For a retail studio, your cost of sales needs to be no greater than 25 percent of your total sales (higher overhead expenses need higher gross profits to cover them). Say the estimated cost of the album and prints for a given wedding package is $800.

Here’s how you’d calculate your minimum prices: Home-based studio $1,800 time fee $2,400 product fee (35% COS): $800 COS x markup factor of 3 $4,200 total price Retail location studio $2,700 time fee $3,200 product fee (25% COS): $800 COS x markup factor of 4 $5,900 total price Separating the time fee from the product fee helps photographers make wise choices about the time and money they spend in postproduction and product selection, because it reveals where profit leaks are occurring. Usually, there will be enough profit built into

THE CUSTOM QUOTE STRATEGY I’d greatly prefer to provide a custom quote for each potential wedding client to offering wedding packages. I would present the quote as a time charge plus a like amount required as product credit. (You can adjust the time charge upward or downward depending on the scope of the wedding.) This strategy is easy for prospective clients to understand. It allows them to purchase exactly what they want, and will not preclude your opportunity to up-sell. The custom quote strategy requires only a simple à-la-carte price list for images, album pages, album covers, and other accessories. It appeals to me because I’m confident in both my ability to communicate the value of the products and services I provide and my ability to control my cost of sales and general expenses. Here’s an example of how the custom quote would work for three different styles of weddings: SMALL CHURCH/SYNAGOGUE, CEREMONY AND RECEPTION ON PREMISES Photography fee $1,500 Product credit $1,500 Total price $3,000 TYPICAL SUBURBAN/URBAN CHURCH/SYNAGOGUE WEDDING CEREMONY, RECEPTION AT HOTEL, RESTAURANT OR CATERING VENUE Photography fee $2,000 Product credit $2,000 Total cost $4,000 ELEGANT SUBURBAN/URBAN CHURCH/SYNAGOGUE/SPECIAL-VENUE WEDDING WITH UPSCALE RECEPTION Photography fee $3,500 Product credit $3,500 Total cost $7,000 Let me stress that these figures are used for structural demo purposes only. Each business owner must determine his or her own financial variables based on the monetary realities of the business and the personal financial goals of the owner. —A.M.


the time fee markup to keep your overall wedding cost of sales within the 35 percent benchmark recommended for home studios and the 25 percent benchmark recommended for retail studios. As the photographer’s pricing confidence increases and she gains experience, the next step in the natural pricing evolution is to raise the time markup to equal the product cost of sales markup. In other words, a homebased studio would mark up both its time charges and products by a factor of 3, and a retail-location studio would use a markup factor of 4 for both time and materials. Doing so, of course, will increase your bottom line substantially, an appropriate reward for a well-established business. 3. DETERMINE HOW TO EXPLAIN YOUR PRODUCT & SERVICE OFFERINGS TO YOUR CLIENTS THROUGH A PRICE SCHEDULE. Most photographers offer packages to their wedding clients. As more photographers enter the arena, the increased competition is leading many to keep adding products to their packages without increasing prices to compensate. I assume the are hoping to upsell their way to profitability. It rarely works, though, because their fundamental pricing structure does not allow for it. My advice, scale back your product offerings and focus your sales presentations on the important services you provide. Price by the structure recommended above to assure the profitability of every package. Finally, look for extras that are easy to upsell, and consider selling some of them at slightly reduced prices—still within your cost of sales guidelines—if they’re ordered and paid for before the wedding day. I strongly recommend offering no more than four packages. I’d offer no more than three, because I know the majority of clients will choose the middle offering. All the packages must be profitable, but I would structure the middle one so that clients can clearly see its value, yet leave myself the possibility for up-selling. � —Ann Monteith Got a question? The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

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PROFIT CENTER

BY JEFF KENT ©gabriel.ryan photographers

Mapping your pDNA Who do you think you are? Dane Sanders can help you discover the answer. In this new age of professional photography,

artistic identity and entrepreneurial identity,

where global competition—and opportunity

then help you establish some fundamental

—dictate the marketplace, it’s never been

truths about your professional personality.

more important to develop a unique creative identity. The hard part is discovering it. Southern California wedding photographer

The art is in applying this information. It takes a fair amount of insight, as well as the ability to candidly assess the decisions

Dane Sanders wrote “Fast Track Photographer:

you’ve made up to this point in your career.

Leverage Your Unique Strengths for a More

For example, if you have a need for collab-

Successful Photography Business” (Amphoto

oration in your business life, you’ll probably

Books) to help you map the route to discov-

do better as part of a creative team, rather

ering your unique creative identity. Sanders

than being a sole proprietor. If you have a

developed a self-evaluation tool to help you

strong entrepreneurial identity, you’ll likely

find what he calls your “photographer DNA”

gauge yourself by your success as a

(pDNA). This online personality test, he

businessperson, and the profitability of your

you are meant to do gives you the best shot

says, will help you identify your strengths,

enterprise will be much more important to

at finding success. Understanding your core

define your weaknesses, and come up with

your self-satisfaction than it would be to

personality elements can help you craft a

an overall view of your personality traits as a

someone whose artistic identity is stronger

business that plays to those strengths.

creative businessperson.

than his entrepreneurial identity.

Yes, the test is as much art as science,

None of these quotients exists in a vacuum.

Dane Sanders

The old paths to success in photography have been eroding. The new marketplace

Sanders is quick to say. The science behind the

The key is to combine the various elements

accommodates a variety of options. It’s less

questions will give you a character profile of

of your personality, taking into account real-

about being locked into a path and more

yourself in such areas as confidence, risk toler-

life factors like financial need, family life and

about being open to opportunities as a

ance, need for control, need for collaboration,

other practicalities, then draw some conclusions

creative businessperson. The current

from the information that will help you identify

market and economy almost demand that

the ideal career path for your unique pDNA.

you forge new paths to get ahead. It’s

We’re giving away 10 copies of the newly revised and expanded “Fast Track Photographer: Leverage Your Unique Strengths for a More Successful Photography Business” (Amphoto Books) on our Facebook page. facebook.com/ppmagazine


Professional Photographer recently caught

liberating in many ways. There’s this notion

Dane Sanders fresh off a speaking engage-

of figuring out what you’re good at and

ment in Brazil, and asked him to explain a

creating a new path based on those attributes.

little more about professional self-discovery. Can this assessment help established photogIt sounds like the process of becoming “you-

raphers who are looking to make a change?

nique,” as you call it, revolves around playing

The process requires a serious review of the

to your strengths as a way of establishing a

decisions that brought you to this point.

professional and creative identity.

Some may discover that they’re truly meant

Dane Sanders: Yes. It’s also based on the

to be professional photographers. Others

idea that there are lots of ways to be

may realize that they got into photography

successful in this industry. Playing to what

because of one thing they love about the

business—graphic design maybe—but not

better idea of where to focus your business.

If we can just figure out how to apply these

for all the other things involved in being a

It also helps with branding and marketing

photographer. These people may be better

because you’ll have a better understanding of

successful. �

suited to a related field, like professional album

your business identity. How will your customers

design. Still others may conclude that they’ll

understand who you are and what makes you

find their niche not just in photography, but

unique if you don’t understand that yourself?

To see more from Dane Sanders, visit danesanders.com. Take the pDNA test at mypdna.com or get a free pDNA 2.0 test included with Sanders’ book at pdna.fasttrackphotographer.com.

in multidisciplinary creation, such as the

We’ve never had more tools to be creative.

tools, we’ll have everything we need to be

fusion of photography and video. We live in an exciting time when the lines between disciplines are blurring, allowing creative people to tell stories in new ways. That’s one reason I emphasize “creative professional” more than “professional photographer.” What’s the impact of defining your creative identity on the actual practice of photography? There are lots of powerful how-to books on photography, but they start with the question how instead of who. When you know who you are as a creative professional, you have a better understanding of what kind of work you excel at, and where you should focus your energy. With that knowledge, you can go out and buy the right tools for the job you’re doing. The same concept applies to techniques. There are vital lessons from the past, and wonderful new methods evolving every day. You need to choose those lessons and methods judiciously based on the work that you’ve chosen to do. The point isn’t tradition or innovation, it’s discovering who you are as an individual creative. Ask yourself: How do I apply different influences to give myself a creative advantage in the marketplace? How does this all come together for photographers looking to advance their careers? One of my taglines is, “You are not your photography.” Your work is subservient to who you are as a creative. Once you’ve established your creative and professional identity, then you have a


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Order Framed Prints from WHCC to simplify your workow and provide added value to both your studio and your clients. Order with lustre or metallic photographic prints with optional canvas if you want! We’ll assemble the print into the frame and complete the back with black paper backing and hanging hardware so you receive a complete product the moment it arrives.

We offer Gallery Wraps with Metallic or Lustre Photographic paper in addition to Fine Art Canvas prints. Our three laminates provide superior scuff and scratch resistance and UV light protection so you can be confident that your client’s images will be durable and will last. Plus, all Gallery Wrap pricing includes ground shipping!

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PROFIT CENTER

PRODUCT ROUNDUP BY ROBYN L. POLLMAN

Soup to nuts marketing kits allow you to project a unified look without the hassle of having to create it yourself.

layered PSD format for Photoshop. You can easily change the colors

Solve your brand identity crisis

raphy and promoting your packages, merchandise, and session information.

One of the most time-consuming parts of a photography business startup

and fonts to match your websites and logos. You might also invest in Design Aglow’s coordinating eight-page marketing brochure template—a mini catalog for showcasing your photogPrice: Modern Marketing Set $125; matching companion marketing brochure $80. designaglow.com GO{4}PRO PHOTOGRAPHY: Adi Ultimate Marketing Kit This kit has 26 fully layered PSD files that can easily be customized, and

or specialty switch is establishing a brand identity. A picture may be

feature simple logo drop-

worth 1,000 words, but those words have to be pulled together in a

in spaces for brand con-

professional and cohesive fashion to impress new and potential clients.

sistency. Templates include simple clipping masks for

Marketing pieces promoting your products and services play a key role in your brand identity, whether those pieces are postcards,

images and digital papers.

business cards, brochures, DVD presentations or any other media. But

For an additional fee, the

most photographers would rather spend their time shooting than

templates can be cus-

planted in front of a computer screen designing a campaign, even if

tomized with your own

they do have the necessary graphics skills.

color scheme. Custom logo

Enter template designers who can help you create a polished look

design service is available.

you couldn’t create on your own or afford to commission. Templates

Every aspect of the Adi kit

can be huge time savers as well. We found several template services

was designed to be easily

and designers who could help you create effective, unique marketing pieces. Some of the designers are photographers themselves, so they understand the marketing needs of a photography business,

altered, affording the purchaser full control over the final products. Price: $199; customized color $260; customized with logo design $400. go4prophotos.com

and know what works. No matter what your style—funky, classic, eclectic, minimalist,

PHOTOGRAPHER CAFE: Dreamy Business & Marketing

romantic, modern—chances are there’s a template combo to suit you.

These sets are packed

Several of the resources presented here make templates for various

with templates to help

photographic genres, such as seniors, weddings and boudoir.

photographers present a cohesive, professional

DESIGN AGLOW:

look. The design ele-

Modern Marketing Set

ments are embedded in

Coordinate the look of your

separate layers, which

brochures, business cards,

can be hidden if desired.

gift certificates, letterhead,

The instructions are

stickers, price lists and more

easy to follow, and

with a clean, modern flair. On

there are trim-guides

these bold, vibrant designs,

for finishing the output.

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BE INVESTED IN YOUR CLIENTS. If I’m not whole-heartedly invested in them, why would I expect them to invest in me? I wouldn’t.

DAWN MCCARTHY Period. My own wedding images weren’t what WWW.DAWNMCCARTHYPHOTOGRAPHY.COM I requested because my photographer wasn’t PPA MEMBER SINCE 2009

invested in my story, and that’s one of the driving forces behind my passion. Social networking helps by providing me a unique chance to learn about my clients while simultaneously allowing them a window into my world. In fact, 60% of my sessions come from Facebook! To show clients that I’m as equally invested in my profession as I am in them, I joined PPA. I’m not just a gal with a camera; I’m a professional dedicated to giving each client my absolute best, and PPA reflects that high standard of professionalism and respect. When a bride tells you that she “knows” you’re the photographer for her because she’s been silently following your blog and Facebook page for the last six months… YOU KNOW YOU’RE DOING SOMETHING RIGHT.

ONE OF THE MANY FACES OF PPA PROFESSIONAL PHOTOGRAPHERS OF AMERICA |

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| CSC@PPA. COM | 800.786.6277

© Ron B. Wilson

BE INVESTED IN YOUR CLIENTS

BRING Bring your photography & business questions — WE’LL HAVE SOLUTIONS.

Bring your business cards — THERE WILL BE THOUSANDS OF PEOPLE YOU’LL WANT TO MEET. Bring your passion — WE’LL SHOW YOU HOW TO TURN IT INTO PROFIT.

JANUARY 16-18, 2011 | HENRY B. GONZALEZ CONVENTION CENTER | SAN ANTONIO, TX

IMAGING USA 2011. BRING THE HEAT

KINDLE A

creative inferno WITH HOT PHOTOGRAPHIC & BUSINESS EDUCATION

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PORTRAIT PHOTOGRAPHY: From Fashion to Portraiture: Interacting with the Model Mary Louise “Lou” Freeman

ALSO...

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Ë Scott Robert Lim

SPOTLIGHT: Step Ahead: Reinvented Lighting & Workflow for Tomorrow's Photographer Dave & Quin Cheung

Ë Parker Pfister Ë Stephen & Jennifer Bebb Ë Jennifer Hudson, M.Photog.Cr., CPP Ë Eric Anundi Ë John Hartman, M.Photog.Cr., A-ASP Ë Travis Gugelman, M.Photog., CPP

© LaVelda Box

PORTRAIT PHOTOGRAPHY: F-stop, Shutter Speed & ISO: Understanding & Using Basic Camera Controls for Creative Photography Doug Box, M.Photog.Cr., CPP, API

Ë Julia Radlick, CPP Ë Joel Grimes Ë Tomas Muñoz, M.Photog.Cr., CPP

© Studio Impressions Photography

Ë Joyce Wilson, M.Photog.Cr., API, F-ASP

WEDDING PHOTOGRAPHY: Emotion: The Source of Creating Life Clients Marcus Bell

Ë Carl Caylor, M.Photog.Cr., CPP Ë Jeff & Allison Rodgers Ë Todd & Jamie Reichman Ë David Ziser, M.Photog.Cr. Ë Bob Davis

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BUSINESS BEAT: 21 Marketing Strategies for Success in an Economy that Sucks Bruce Hudson, M.Photog.Cr. & Josh Hudson

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SAN ANTONIO: THE DIFFERENCE IS

night & day

Convention & Visitors an Antonio Burea f the S u / Dona esy o ld N ourt to C aus bau Pho m

Whether you’re looking for nightlife or a day trip with the kids, San Antonio offers Imaging USA attendees and their families a fabulous destination for combining work with play.

A HOWLING GOOD TIME Need to rest your brain? Step outside your hotel or the convention center and stroll the world-famous River Walk, complete with a variety of ethnic cuisines and watering holes, including Howl at the Moon and Hard Rock Café. Get ready to party the night away on the hopping South Bank!

DAY TRIPPING Bring the kids to Imaging USA for Texas-sized family vacation opportunities within walking distance or a car-ride away in the hill country. If you want to combine learning with levity, check out the wide selection of historical sites, museums, zoos, parks and other family-friendly venues: Ë The Alamo

Ë Natural Bridge Wildlife Ranch

Ë Ripley’s Believe It or Not! Museum

Ë Tower of the Americas

Ë San Antonio Children’s Museum

Ë Enchanted Springs Ranch, an authentic oldwest town straight from the movies

Ë Market Square (El Mercado) Ë San Antonio Missions National Historic Park

Ë Buckhorn Saloon and Museum

Ë San Antonio Zoo

Ë Kiddie Park with child-sized Ferris wheel, roller

Ë Natural Bridge Caverns

coaster and antique merry-go-round

And when it’s time for Mom and Dad to enjoy grown-up amusements, several local babysitting services can provide care-givers for hotel guests.

Learn more about this hot Imaging USA destination: www.VisitSanAntonio.com

Book your hotel now: www.ImagingUSA.org

SPICE UP

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IT ALL STARTS WHEN YOU BRING THE HEAT TO IMAGING USA.

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REGISTER & BOOK YOUR HOTEL ROOM NOW: WWW.IMAGINGUSA.ORG HEADQUARTER HOTELS Grand Hyatt San Antonio | 800-233-1234 San Antonio Marriott Riverwalk | 800-266-9432 San Antonio Marriott Rivercenter | 800-266-9432 (Visit the Hotels page at www.ImagingUSA.org for all hotels and to use your special promo code!)

Not only does Imaging USA have a WEALTH IN EDUCATION and instruction, it also provides that spark at the beginning of each year. Renee Browne | Sprouts Photography

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REGISTER & BOOK YOUR HOTEL ROOM NOW: www.ImagingUSA.org

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Michael Stern prioritizes professional-grade gear Little thing, big difference … Using wireless remotes to trigger my lights. The new wireless remotes are virtually flawless and allow me to move in and out of a set, which helps me be more efficient, especially when I’m directing talent. Has a piece of equipment ever changed the way you approach photography? Specialty lighting gear—ring flash, Fresnel spots (using flash tubes), focusing elliptical spots and grids. Specialty lighting gear makes it much easier for me to realize my vision. I’m all for rigging gobos, cutters, fingers and dots, but to achieve professional results, the specialty gear is a no-brainer. If you had to start over from scratch, what affordable, essential gear would you purchase? A phone, business cards, promo pieces, website, professional glass, pro full-frame camera body (or two), large desktop computer and medium laptop, and the essential software. Affordability is secondary to being able to compete effectively. It takes money to make money. IMAGE BY MICHAEL STERN CYBERSTERN.COM


THE GOODS: PRO REVIEW

Canon’s newest iPF series sports significant improvements in color, detail, and user interface.

When Canon jumped into the wide-format, high-quality printer game in late 2007, some photographers scoffed. Epson was

BY ELLIS VENER

Big league

pretty much the only game in town. Not so three years later. The Canon imagePROGRAF

CANON IMAGEPROGRAF IPF6300

printers are in their third generation, and the print quality and user experience improves with each iteration. There’s so much to like about the new iPFx300 imagePROGRAF series. They use ink efficiently, the nozzles don’t clog, they feature greatly improved controls and menus, they’re priced competitively, they yield a terrific color gamut, and depending on the paper, render archival-quality prints. Like its predecessors, the iPFx300 series use pigment inks and print images at 8 or 12 bits per channel. The dual PF-05 print heads allocate 2,560 nozzles to each of the 12 LUCIA EX inks: black, matte black, gray, photo gray, cyan, photo cyan, magenta, photo magenta, yellow, red, green, and blue. With that many individual nozzles per ink, when the iPF firmware automatically detects any clogged nozzles, it remaps the ink distribution with no loss of time or materials. Another smart automation: The printer automatically makes the switches to the appropriate black ink (matte or glossy) for the finish of the stock the user indicates. The chemistry of the new LUCIA EX inks has changed and the pigment grains are smaller, so the printer’s ink delivery system has been revised. The result is greater print quality. You’ll see deeper

The graphics on this and following pages show where the achievable gamut for Canon’s Heavyweight Photographic Satin includes saturated color ranges outside Adobe RGB (1998). Plotted using ColorThink 2.2, the solid form represents the printer’s achievable color gamut, and the grid represents the Adobe RGB (1998) color space.


blacks and more detail in the dark values, a bit less bronzing (never an issue for me with the iPF6100), better scratch resistance, less metamerism, and depending on the medium, a color gamut up to 25 percent greater. Unfortunately, the new inks and PF-05 print heads are not backwardcompatible with earlier iPF models, and you can’t use the older inks in the new printers. The print resolution is still 2,400 x 1,200 dpi, but the iPF6300 does a fine job with images ranging from 225 to 600 ppi. As with other inkjet printers, this model’s printer driver interpolates the image data to reach the actual output resolution. As the resolution drops below 225, there’s a progressive loss in print detail. If you must print larger than what 225 ppi delivers from your camera’s native image size (in pixels per inch), try uprezzing the image in your raw processing software (Adobe Camera Raw 5.6 does a very good job up to 1.5X). If you need an even larger print, use a program like onOne Software Genuine Fractals. Keep in mind that at normal viewing distances, large prints can look good at lower print resolution. If you prefer sheet paper to roll stock, note that the iPF6300 takes only one sheet at a time—you can’t simply load a stack of paper and walk away. Like the iPFx100 series, this series runs an internal calibration system at setup and periodically thereafter to keep it within factory specs. Calibration is not profiling, but it will ensure that the rendering of your

“The Canon

imagePROGRAF printers

are in their third generation, and the print quality and user experience

improves with each iteration.”

profiles, whether generic or custom made, will remain consistent over time, and that

There are two routes for printing—

CS5 work with 16-bit per channel (bpc)

you can use the same profiles in any other

through the traditional Photoshop workflow

RGB files, a powerful way to maximize

calibrated iPFx300 printers.

or by exporting files to the printer via the

image quality. Given a good glossy or semi-

Canon Print Plug-In for Photoshop. Based

gloss paper, the printable gamut of some

are extremely good, but a well-made

on my results, I prefer to use the Canon

colors is larger than Adobe RGB (1998).

custom profile for your specific printer, ink

Print Plug-In for Photoshop.

For example, the achievable gamut for

Canon’s generic profiles for the iPF6300

and paper combinations still wins out.

Both the plug-in and Photoshop CS4/

Canon’s Heavyweight Photographic Satin


THE GOODS: LIGHTING

specs: Canon imagePROGRAF iPF6300 PRINTER TYPE: 12-Color 24-inch printer, pigment ink, PF-05 print head NOZZLES: 2,560 nozzles per color, 30,720 total; 1,200 dpi nozzle pitch, nonfiring nozzle detection and compensation PRINT RESOLUTION: 2,400 x 1,200 dpi maximum INTERFACE: USB 2.0 high-speed and 10/100/1000 Base-T/TX

includes saturated color ranges outside

to do the calibration. Loading the software

Adobe RGB (1998), from mid-tone reds

and calibration took me about 90 minutes.

through bright yellows and slightly

Both Apple OS X and Microsoft Windows

INK: LUCIA EX ink, 4 picoliter droplets, 130ml ink tank capacity per color

yellowish light greens, a small area of deep

software and drivers are included, but not

blue/violets, and a large swath of mid- and

equal. The larger variety of Windows offer-

MEDIA: 8- to 24-inch width (cut sheets and rolls), .07-.8mm thickness (top loading feed), .5-1.5mm (front loading feed), .07-.8mm (roll)

quarter-tone blues, cyans and greens. Even

ings includes PosterArtist Lite, Print Plug-

though Adobe RGB (1998) is a fairly large

in for Microsoft Word/Excel/PowerPoint

color space, it does clip more real-world

(PC only), and Accounting Manager, a

colors than an iPFx300 printer is capable

utility that tells you to the penny the per-

BORDERLESS PRINT WIDTH: (roll media only) 10-inch, B4, A3+, 14inch, 16-inch, A2, A2+/17-inch, B2, A1, 24-inch

of printing. It’s unlikely we’ll ever be able

print cost of the media and ink you’re using.

to print a color gamut and tonal range

The Canon Print Plug-In for Photoshop

equal to the perceptual range of the human

is strictly for 32-bit versions of Photoshop,

eye, but every improvement is welcome.

so if you’re working in a 64-bit version of

The interface and controls on the

Photoshop, you’ll have to save your image,

MAXIMUM ROLL PRINT LENGTH: 59 feet

iPF6300 are a model of clarity. When you

close Photoshop, and reopen the image at

DIMENSIONS: 39.1H x 46.4W x 34.3D with stand, 146 pounds

don’t print regularly, it’s easy to forget just

32 bits. If you prefer using the Canon Print

how to set everything up, so the simpler

Plug-In, you’ll be gnashing teeth. I hope

the better. This printer is also significantly

Canon rectifies this kink in the near future.

MSRP: $3,695

quieter than its predecessor. The printer and stand come in two


Overall, the new iPF printers look to be great for both fine-art printing and high-

boxes on a wooden palette. Canon

volume production. I’ve found them to be

recommends using three people to lift the

low-maintenance devices, and I appreciate

printer onto the stand. It comes with a set

the savings from not having to switch from

of 90ml inks, the two PF-05 print heads, a

standard black to matte black inks. The

maintenance cartridge, a short roll of paper

inclusion of red, blue and green as printing

for checking and calibrating, assembly

inks lends the perception of purity in certain

tools, software disks, and a high-speed

colors, particularly blues. The boost in shadow

USB cable. It will take about 40 minutes to

detail and clean highlights adds a real

assemble the cart and printer and be ready

sense of depth and space to my prints. �


True high dynamic range (HDR) helps your camera capture the world as we really see it.

By now, virtually everyone has seen an image captured in high dynamic range (HDR). Too often, the attempts to create such images

B Y C U R T I S J O E WA L K E R

HDR reality check UNIFIED COLOR HDR PHOTOSTUDIO 2

yield oversaturated color and unreal contrast. HDR PhotoStudio 2 from Unified Color is one solution to getting the results you’re after. High dynamic range imaging is a means of capturing every detail in highlights and

All images ©Curtis Joe Walker

shadows that the human eye can see. Our eyes have a dymanic range of about a 10,000:1; by contrast, most photographic prints and monitors have a dynamic range of only about 1,000:1. We’ve seen this limited parameter used to great effect—think of police interrogation scenes in black-and-white film noir. But when photographers are faced with harsh backlighting, we usually resort to artificially balancing the dynamic range with fill flash. HDR works by combining three or more bracketed captures—one exposed for the midtones, one for the highlights and one for the shadows. For these illustrations, I used a Nikon D80. I took three-shot brackets at 0EV, +2EV and -2EV, essentially covering about seven to nine stops (or EV) of light. You can achieve greater ranges with manual exposure settings on any camera. Raw format captures work best because they’re not limited to a particular color space or file format. (JPGs work, but they’re not ideal.) HDR PhotoStudio software has one job: helping photographers present an accurate, attractive representation of a given scene. It’s particularly useful for shooting nature, travel and architecture, where adding light is undesirable or unfeasable. In addition to

Comparing the 0EV baseline exposure (above left) of the original bracket of captures with the image processed with HDR PhotoStudio (left) shows how the software retains color integrity while increasing detail in the shadows and highlights. Note as well that the movements of the people in the image during the bracketing have caused noticeable artifacts in the HDR image.


Many problems. One solution. Introducing the new Plug-In Suite 5 from onOne Software. Featuring the new PhotoTools 2.5 Professional Edition plug-in for photographic effects, the Plug-In Suite 5 solves 6 of the most common problems you face as a digital photographer.

The award-winning Plug-In Suite 5 includes: 1

Genuine Fractals 6 for Enlarging Images

2 NEW PhotoFrame 4.5 for Edge & Framing Effects 3 NEW PhotoTools 2.5 for Photographic Effects 4 NEW FocalPoint 2 for Selective Focus 5 NEW PhotoTune 3 for Color Correction 6 Mask Pro 4 for Removing Backgrounds

Making Digital Photography

Easier, Faster, Better

PhotoTools 2.5 Professional Edition is just one of six products included in the new Plug-In Suite 5 and was used on this high school senior portrait to smooth the skin, sharpen and brighten the eyes and make the background colors more dramatic. All in less than 5 minutes. PhotoTools 2.5 Professional Edition harnesses the power of Photoshop Actions in an easy to use software program but is accessible not only from within Photoshop but also from within Lightroom and Aperture.

© 2010 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc. The onOne Software logo, PhotoTools and Plug-In Suite are trademarks of onOne Software. Lightroom is a trademark of Adobe Systems, Inc. Aperture is a trademark of Apple, Inc.

onOne Software’s Plug-In Suite was voted the best set of Photoshop plug-ins in 2008 in the Studio Photography magazine Reader’s Choice Awards.

NAPP members save $100 on the Plug-In Suite 5! www.ononesoftware.com/pstv


Its own BEF format can be compressed without data loss, and the file will retain all editing undo information. Unified Color Technologies touts its Beyond RGB color model, in which the integrity of the color data is maintained when you alter the brightness. This color space is based on human vision, as opposed to the output-based RGB models of standard tone-mapper applications. Beyond RGB is also device independent, so the files should remain viable as display technology changes. If you’ve tried HDR and didn’t like the cumbersome workflow, lack of precise control or the surreal look of the image output, try it again with this program. If you’re new to HDR, you’ll find the interface intuitive, and will benefit from the tutorials at unifiedcolor.com. The image processed with Photomatix for Aperture plug-in

HDR PhotoStudio’s other strengths include noise reduction, halo reduction and native 64-bit processor support. Its weak-

having controls for white balance, shadow/

trast look of HDR. The HDR PhotoStudio

nesses include the pop-up adjustment

highlight, brightness/contrast, color saturation

image looked like a standard photograph,

windows that close only when you hit

and cropping, the program has controls for

but with greater detail.

cancel, and its high system requirements.

noise reduction and sharpening. Moving subjects are a hassle in any bracketed shot, but this software is generally pretty good at figuring it out. When it does get boggled, you’ll see obvious artifacts that will need to be cleaned up in image editing software like Photoshop. In the naturally lit flower atrium at the Bellagio Conservatory & Botanical Gardens sunlight floods through the glass ceiling. It’s a challenge to photograph during the daytime, but the full-spectrum light allows for the best colors. We took a baseline bracket of images and processed them with HDRsoft Photomatix and with HDR PhotoStudio to compare the results. The detail in the output is similar, as is the color. But the Photomatix-processed image had the obvious saturated, exaggerated conThe HDR PhotoStudio 2 interface


HDR PhotoStudio images can be output in

HDR PhotoStudio 2 costs $149.99; a free

a number of formats, including TIF and JPG.

30-day trial is available at unifiedcolor.com. �

THE GOODS: LIGHTING

A comparison of umbrella types and surfaces B Y S TA N S H O L I K

Photographic umbrellas LIGHT MODIFERS

Portrait lighting trends tend to run in cycles,

stand 6 feet from the subject. I positioned it

from hard light to light filtered by umbrellas,

for short lighting so that the differences in

soft boxes, beauty lights, and back again to

contrast on the shadow side of her face

hard light. Umbrellas seem to be popular

would be obvious. I didn’t use fill, but I did

now, and new styles are coming to the market.

add a background light for separation.

Umbrella modifiers are never out of fashion

Using the flash without a light modifier, I

for long. They’re compact and easy to trans-

set the camera’s white balance with an

port, quick to set up, do the job efficiently,

Expodisc, then locked in the setting so that

and are relatively inexpensive. And umbrellas

the captures would show any change in

are easy to use with either IR or radio TTL

color caused by the umbrellas.

for use with the through-the-lens (TTL)

To determine the exposure, I used an

flash exposure control that camera makers

incident light meter; the readings are

are providing now. The most general classes

printed with the illustrations. As you’d

of umbrellas are those designed to bounce

expect, the white bounce umbrella yields

light and those designed to be shot through.

the softest light and the broadest coverage.

Both have several subclasses that vary from

It’s best for older couples and individuals,

manufacturer to manufacturer.

and for pets and children, who might

Because today’s clients are aware of lighting

wander from the optimum shooting spot.

styles and trends, I figured it’s a good time

It’s also effective in providing a soft,

to explore some lighting setups beyond my

directionless fill that gives the eyes a

familiar comfort zone. To evaluate several

smooth, nearly round catchlight.

umbrellas, I eliminated as many variables as

The materials used in the bounce

possible, and focused mainly on ones measur-

umbrella affect the contrast and efficiency of

ing 40 inches in diameter. I included a few

the lighting, as well as the white balance.

larger units to illustrate the difference size

The light becomes more focused and less

makes; the larger umbrellas produce the

even, and the mix of fabrics can sometimes

same range of lighting effects as the smaller

cause strange-looking catchlights in the

ones when placed in the same positions, but

eyes. Umbrellas with alternating white and

yield lower edge contrast and more wrap-

silver, white and gold, silver and gold and

around light.

sunfire and silver work well for school

With the help of a very patient model, I set up an AlienBees B1600 monobloc on a


The Calumet 60-inch shoot-through umbrella, f/8.7.

portraits and young adults when you’d like to add some contrast or warmth. The all-

The Lastolite 40-inch All-in-One used as a shootthrough umbrella, f/11.1.

All images ©Stan Sholik

The Creative Light 40-inch white bounce umbrella, f/11.1.

The Elinchrom 40-inch shoot-through umbrella, f/11.3.

The Hensel 32-inch white Parabolic umbrella with the flash head at the edge of the umbrella, f/11.2.

The Lastolite 40-inch All-in-One used as a bounce umbrella with a silver bounce surface, f/16.4.

The Lastolite 40-inch All-in-One used as a bounce umbrella with a white bounce surface, f/11.1.

The Lastolite 40-inch Silver/Gold bounce umbrella used with the gold bounce surface, f/16.0.


THE GOODS: LIGHTING

silver umbrella yields the most contrast, so

Shadow and shadow edge softness are

farther from the umbrella to increase or

use it judiciously—it’s perfect for mono-

determined by the size of the light source

decrease the central core of light with spill

chrome character studies of men.

relative to the subject. Compared to a

light surrounding it. Use a shoot-through

bounce umbrella of the same diameter, a

umbrella when you want to achieve a bright

most control over the coverage of the light,

shoot-through umbrella can be placed much

center with light falloff.

allowing you to focus it from fairly broad to

closer to the subject and will give you softer

narrow, even though the interior material is

shadow edges. A shoot-through umbrella,

character to your lighting. Try something

white. With the beautiful light it creates, it

like a parabolic, offers more control over the

different than what you’re comfortable with

became my favorite.

light, as you can move the head closer or

now, and see what new ideas it inspires. �

The parabolic umbrella provides the

Every style of umbrella lends its own

PRODUCT DETAILS CALUMET SHOOT-THROUGH: A large 60-inch shootthrough umbrella. Street price: $70. www.calumet.com CREATIVE LIGHT WHITE UMBRELLA: Very neutral. Beautifully made. Street price: $39. creativelight.com ELINCHROM SHOOT-THROUGH: The white-lined, black outer fabric back zips around the flash head to prevent stray light. Beautifully designed and manufactured. Street price: $65. elinchrom.com HENSEL PARABOLIC: Latest parabolic design provides the most control over the light spread as you move the flash head along the umbrella shaft. Beautifully made. Street price: $108. henselusa.com LASTOLITE ALL-IN-ONE: An extremely versatile umbrella that quickly converts from white bounce to silver bounce to shootthrough. As with all of the Lastolite reversible/convertible umbrellas, the ribs attach to metal tips that are sewn into the umbrella fabric. The umbrella is well made and should hold up well if handled with care. Street price: $55. lastolite.com LASTOLITE REVERSIBLE SILVER/WHITE: Combining the two most popular bounce surfaces in one umbrella. Color temperature of both surfaces given as 5,600K. The umbrella doesn’t stretch as tight as the nonreversible models, but it does convert from one surface to the other very quickly. Street price: $55. lastolite.com


LASTOLITE REVERSIBLE SILVER/GOLD: Combining a silver bounce surface with a warming gold bounce surface. Color temperature of the silver surface is 5,600K and the gold is 3,800K. The umbrella doesn’t stretch as tight as the nonreversible models, but it does convert from one surface to the other very quickly. Street price: $55. lastolite.com LASTOLITE REVERSIBLE SILVER/SUNFIRE: Combining a silver bounce surface with a warming sunfire (silver-gold) bounce surface. The sunfire surface gives a beautiful skin tone. Color temperature of the silver surface is 5,600K and the sunfire is 4,750K. The umbrella doesn’t stretch as tight as the non-reversible models, but it does convert from one surface to the other very quickly. Street price: $55. lastolite.com LASTOLITE UMBRELLA BOX: A large 80-inch white umbrella with a permanent diffusion fabric that zips around the flash head. Very soft light with lots of spill for soft, shadowless wrap-around light. Comes with a very heavy-duty Bogen clamp to secure it to a light stand. Street price $300. lastolite.com PHOTEK SOFTLIGHTER: With ten rather than eight panels making up the umbrella, it gives a more circular catchlight in the eyes. The Softlighter umbrella has a silver lining and can be used alone. Also included is a translucent diffuser that quickly attaches to the umbrella. The diffuser has a ‘collar’ in the center that slips over and encloses the flash head to eliminate stray light. Street price: $99. photekusa.com

All images ©Stan Sholik

The Lastolite 40-inch Silver/Gold bounce umbrella used with the silver bounce surface, f/11.8.

The Lastolite 40-inch Silver/Sunfire bounce umbrella used with the sunfire bounce surface,

The Lastolite 80-inch Umbrella Box white bounce, f/8.7.

The Lastolite 40-inch Silver/White bounce umbrella used with the white bounce surface, f/11.3.

The Photek 32-inch Softlighter bounce umbrella used with its additional white diffuser, f/5.6.8.

The Photek 32-inch Softlighter bounce umbrella used without its additional white diffuser, f/11.1.


THE GOODS: LIGHTING

The features, design and performance of Paul C. Buff’s new monolight merits the long wait for it to hit the market. BY ELLIS VENER

Impressive gains PAUL C. BUFF EINSTEIN 640

Paul C Buff, Inc. announced the imminent

t0.1 measurement—nearly three times longer

production of the new Einstein monolight in

than the t0.5 measure—includes the full

the summer of 2008. The path to realizing

amount of the photographically significant

the product took several detours, including a

light. With non-IGBT-controlled monolights

creates a warm color side effect. The Einstein

name change and a switchback to the original;

and some inexpensive pack and head systems,

has two modes; in Constant Color mode, the

but here at last, it offers control unmatched

as you reduce the power, the flash duration

color temperature locks to 5,600 Kelvin (+/-

by another monolight, and only by a few of

actually lengthens. With IGBT-controlled

50K), no matter the output setting. I tested

the most expensive pack and head systems.

flash, as the power output is reduced, the

this with an X-Rite ColorChecker Passport

The differentiator is the Einstein 640’s

flash duration gets radically shorter. In fact,

as a target, going from full to minimum

Integrated Gate Bipolar Transistor (IGBT)

once you drop below full power in an IGBT

power in one-stop increments, and saw no

technology, which controls the energy flow at

flash system, there’s no difference between

variations outside this range. That has big

every setting but full power. Speedlights that

t0.1 and t0.5 flash duration. Instead of

workflow implications for photographers

integrate with a camera’s TTL metering

letting the energy trickle to extinction, the

concerned with baseline accurate color.

system have had IGBT for years, but next to

flash engineer can program the light to chop

During a shoot, if you change the aperture

the Einstein, those models have limited

off the flow of energy precisely. The shorter

and output light levels to get different depth

power and recycling speed.

the flash duration, the crisper the subject.

of focus effects, now you can do a single

In an electronic flash, electrical energy is

IGBT circuitry also provides a greater

white balance (provided the lighting is other-

converted to light as it discharges through a

range of output than conventional designs—

wise unchanged) for the entire shoot. The

xenon-filled flash tube in a steeply rising slope,

an Einstein 640 has a nine-stop range—640

tradeoff is that flash duration is not as

swiftly peaking before trailing off at a gradual

to 2.5 watt-seconds (WS) in precise tenth-

absolutely short as it could be, ranging from

rate. There are two ISO standards used in

stop increments. Beyond merely shortening

a t0.1 of 1/588 second at full power, down to

photography for measuring the duration of

the normal flash duration and extending the

a t0.1 of 1/8,000 second at minimum.

the flash, t0.5 and t0.1; t0.5, the figure usually

usable power range, the Einstein’s design

cited in marketing, is used to measure flash

exploits IGBT technology in other ways.

duration only when the energy level is 50 percent or more of the total discharge. The

With conventional monolights, as you reduce the power, the longer flash duration

If even shorter flash duration is important to you, switch into the Einstein’s Action mode. How short? Down to 1/2,050 second at half power, 1/6,000 at 1/8 power, and 1/13,500 at minimum power. The price you pay for shorter flash duration in Action

impressed me with its balance of light quality and performance. I’m surprised at the relatively low price.” “The Einstein really


mode is gradually rising color temperature as you lower the output, from 5,600K at full power to 6,300K at the 2.5WS setting. I’ve been using the Constant Color mode mostly, but if you regularly shoot things in motion, you’ll like having the choice.

Images ©Ellis Vener

Both portraits were lit with a single Einstein in Constant Color mode at very low power levels. A Cyber Commander metered and controlled the light. On the left, the light was modified with a 7-inch diameter 30-degree grid spot installed in a Balcar R65 reflector. Flash power was approximately 12WS. Exposure was 1/250 second at f/14, ISO 200. The portrait on the right was made using a Paul C. Buff 42-inch Silver PLM.

On the front of the monolight, a nearly circular flash tube encircles the 250-watt quartz-halogen modeling light. A frosted

scales show the energy level for the flash and

pendently adjustable and off); recycle/ready

the modeling light relative to each other.

indicators; the on/off state of the optical

Top right on the LCD, a large pane clearly

slave; choice of Action or Constant Color

Pyrex dome covers both, protecting the bulbs

displays flash energy three ways: watt-

mode; Cyber Commander channel; and

and integrating the light into a single smooth

seconds, EU scale and power level in tenth-

Cyber Commander frequency.

pattern. Four spring-loaded, heavy-gauge

stop increments from full to -8.0, along with

metal fingers protrude through the metal

pre-modifier color temperature and t0.1

choosing the individual functions, and the

plate to clamp reflectors and soft box

flash duration. Below that, the modeling

two below it are for adjusting the settings in

speedrings in place.

To the left of the panel is a button for

light pane displays the power of the

the chosen function. For straightforward

The control layout on the Einstein is the

modeling light, based on the standard 250-

setups, you can bypass all individual

most information-rich yet simple I’ve seen.

watt quartz-halogen modeling light, also in

parameter settings and use the Easy Set

tenth-stop increments and wattage.

button to the right of the LCD, just above the

The large, bright color LCD on the back panel displays the power level and groups of function settings. On the left, two vertical

Smaller panes show more parameters: modeling light mode (tracking, full, inde-

manual test-fire button. With Easy Set, the modeling light brightness tracks with the


THE GOODS: LIGHTING

the front plate, keeping the lights cool by

kind of surprised at the relatively low price.

circulating around the bulbs before venting

If you like the feel and look of Profoto

around the edge of the protective dome.

equipment (and Profoto’s excellent light

To see how the Einstein holds up under heavy usage, I ran two tests on several con-

be as happy with the Einstein. But with the

secutive days, triggering the unit once every 5

ever-expanding lineup of Paul C. Buff-made

seconds at full power with a Pocketwizard

light modifiers, you just aren’t going to find

MultiMAX transceiver in intervalometer

this much control over lighting—the

mode. The first test ran for 1,200 cycles, the

principle photographic element, after all

second 1,800 cycles. Except an occasional

—for a price anywhere near the Einstein’s

30-second break when the Einstein’s thermal

$439.95. I look forward to exploring its

protection circuitry kicked in, there were no

features more fully in the coming months. �

problems. If you find the thermal protection feature too aggressive or too conservative, it’s also user programmable. The Cyber Commander and CyberSync CXSCV system work well. It’s a big advantage Sideview of the Einstein 640 monolight.

modifier attachment system), you might not

Scan this tag with the gettag.mobi application ( free) to see a video demo of the Einstein 640 firing speed. Go to the Current Issue section at ppmag.com to view the video on your computer.

to be able to see my settings for both individual lights on the camera-mounted Cyber Commander transmitter. I hope to see this

flash power setting, the Constant Color mode is activated, the optical slave sensor is turned

feature on other radio remote systems. If your work takes you overseas, or to

on, and if used, the CSXCV transceiver is set

places where the line voltage is erratic, the

to channel 1, frequency 1. I like that these are

Einstein automatically handles input voltage

real push buttons, not just membrane switches,

of 40 to 265 volts, and can attain full charge

and nicely sized. Above the Easy Set button

with AC line voltage of 95 to 265 volts. You

is a standard mini-phone jack for sync connec-

don’t even have to change modeling lights. If

tion with the Cyber Commander system.

using extension cords is impractical for a

Except for the front and rear panels, the

particular shoot, using a battery with a

Einstein’s shell is heavy-gauge Lexan. At the

voltage-limited pure sine wave DC to AC

rear of the top deck is the connection for the

converter is a matter of plug and play—but

optional CyberSync CSXCV module, an optical

turn off the modeling light for any sort of

slave eye, and a microSD media slot. Installing

decent shoot capacity.

firmware updates and storing custom parameter

The only problem I encountered with the

settings is done via microSD media. The open-

Einstein happened with the first unit I

end tube running the length of the top deck

received, one of the first ones built—the

accommodates umbrella shafts up to 9mm in

reflector and light modifier attachment

diameter. The stand mount on the bottom deck

system jammed in the locked position—but I

is the largest and most rugged I’ve seen on a

gather the problem has been fixed. I’d also

Paul C. Buff light. A thermostatically con-

like the fan to be quieter, but then it’s quieter

trolled fan located in the middle of the Einstein

than several other fan-cooled heads I’ve

pulls air from below, and directs the airflow

worked with over the years.

around the electronic guts and out through upper vents. More air moves forward through


The Einstein really impressed me with its balance of light quality and performance. I’m

Get the free app for your phone at http://gettag.mobi Frontview of Einstein 640.

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TriCoast Photography’s Mike Fulton and Cody Clinton helm a thriving portrait and wedding business. They’ve developed lighting techniques that suit their need to be efficient and on the move. LIGHTING

By Jeff Kent

Fast and mobile

W

TriCoast’s signature lighting keeps business moving hen Mike Fulton and Cody

Clinton started TriCoast

Photography in 2001, their

primary goal was to get a foot-

hold in the Houston market. It

didn’t take long. As their reputa-

portraits. Fulton and Cody brought in two associates, Suzy Roberts and Cindy Williams, and the workload kept growing. To keep up, the photographers needed to be fast, effective and mobile, beginning with

tion grew, they landed international

the lighting. Fulton had been a crime scene

portrait commissions and destination

investigator, and photographing behind the

wedding coverage around the world, and

yellow tape was part of the job. He developed

awards for their work started piling up.

a flash technique in which he used one flash

TriCoast expanded into new markets,

on the camera, a second on a slave, and

including school photography and senior

metered through the lens (TTL). He could

All images ©TriCoast Photography

“With TTL metering, no matter what I set my camera to, it will keep up. I don’t need to stop the action and meter all the time. I can let events unfold as they happen.”

work quickly, adjusting the light level as needed, without contaminating the scene with additional equipment. Weddings and portraits are a far cry from that kind of work, but Fulton and Clinton figured they could adapt the technique for their use. Wireless flash would enable them to travel light to location shoots, and be unconcerned with power sources when they arrived. They experimented with camera-mounted flash, then with mounting the flash on a monopod or light stick instead. With an assistant holding the off-camera flash, the duo could shoot together, triggering the light wirelessly, and come up with multiple images with different looks. They mastered the TTL off-camera technique, and could travel the world carrying only Canon DSLRs, lenses, and a couple of Canon Speedlite flashes. The TriCoast technique relies on TTL metering and TTL flash metering. With TTL metering, the photographer uses the camera to measure the light in a scene through the lens, then lets the camera calculate the correct exposure. TTL flash metering takes into account the amount of light produced by the flash and adjusts the power to the flash to produce the correct amount of light for the exposure. The sequence goes like this: Fulton and Clinton use both an on-camera master flash and a slave flash held by an assistant and synced wirelessly. One of the photographers presses the shutter button, and before the shutter curtain actually opens, the master flash sends coded commands to the slave flash that direct it to begin emitting a pre-flash at about 1/32 power. The light bounces off the subject and back to the camera lens, where the camera’s TTL metering system measures the amount of

LIGHTING

“With this system [TTL], I am in control of my art. I empower myself to be a better photographer. Our philosophy offers complete freedom. This lighting system is portable and easy. The only limit is what you bring as an artist.” 68 • www.ppmag.com

light produced by the pre-flash, then determines the correct flash exposure for a fullpower flash. If there are multiple slave flashes, the camera computes the amount of light that each slave flash needs to produce to attain the proper exposure. After all of these calculations, the master flash sends firing instructions to each slave flash. All of this happens within a couple milliseconds. By the time the camera shutter opens, the master flash has sent firing instructions to each slave, dictating the right amount of light for a good exposure. The TriCoast system relies primarily on off-camera light. The on-camera master flashes, turned off most of the time, are used primarily as wireless transmitters to fire the off-camera slave flash. “By using an external flash as my main light, I can see my flash compensation all the time,” explains Fulton. “I can change it with a turn of the dial. I don’t have to take my finger off the trigger, just turn the dial and keep shooting. That may not sound like much, but in a fast-moving situation like a wedding or even a senior shoot, you always have to be ready.” TriCoast photographers meter for the subject, set their cameras to aperture priority, and let the camera determine the shutter speed. From that starting point, they typically reduce the aperture to underexpose by one or two f/stops, depending on the situation. They also shoot with a high-speed flash sync, which produces effectively continuous pulses of light all the way through the exposure, rather than one big flash. The result is an evenly lit frame that looks more sunlit than lit with fill flash. “With these exposure settings, if I take an outdoor shot with no flash, I will have a nice blue sky, but my subject will be underexposed,”

LIGHTING

events unfold as they happen. I can get within an acceptable exposure range with every image. We always shoot in raw, so if something is slightly off, we have the digital information to fix it with a simple adjustment in Photoshop.” By balancing out the ambient light in their camera settings, the TriCoast photographers can produce a traditional look with their lighting. By adjusting the settings in one direction or another, they can create different lighting effects and different styles. “With this system, I am in control of my art,” says Fulton. “I empower myself to be a better photographer. Our philosophy offers complete freedom. This lighting system is portable and easy. The only limit is what you bring as an artist.” �

For more information on TriCoast Photography, including the studio’s in-depth lighting seminars, visit tricoastphoto.com.

explains Fulton. “That’s where TTL metering comes in. It meters my subject so my flash illuminates him perfectly. So I’m getting the best of both worlds— perfectly illuminated background and foreground.” Fulton and Clinton love the artistic freedom of their system. First, they don’t have to carry around a light meter. They do everything in camera. Second, they can photograph successfully at any time of day, in any lighting. “With TTL metering, no matter what I set my camera to, it will keep up,” says Fulton. I don’t need to stop the action and meter all the time. I can let


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Photographer Dan Forer specializes in three-dimensional looking images on a two-dimensional plane. Michele Winter Johnson interviews him about the challenges of shooting architecture and interiors. ARCHITECTURE All images ©Dan Forer

D

By Michele Winter Johnson

an Forer travels on assignment throughout Latin America and the Caribbean. His work has

had been published in

architectural magazines

such as Architectural Digest,

Interior Design, and Architectural Record. Most of his clients are interior designers

and architects, as well as magazine editors. Michele Winter Johnson, an accomplished architectural and interior photographer in her own right, recently talked with Dan about his passion for architectural photography.

Michele Winter Johnson: How did you become a photographer? Dan Forer: I began my career as a theatrical lighting designer working for the great Broadway lighting innovator, Jo Melziner. Turning to commercial photography in 1965, I was intrigued by the challenges of shooting architecture and interiors. After moving to Miami in 1972, I began specializing in that field.

How would you describe your particular style? What makes your architectural photographs stand out from the rest? I place an emphasis on composition, balance and lighting, and I’m not afraid of using shadows in a scene. Introducing planes of dark and light to a subject gives the image a sense of depth, a third dimension in a twodimensional format.

Light and shadow Q&A with prize-winning architectural photographer Dan Forer 72 • www.ppmag.com

What time of day do you prefer to shoot? With film, I always scheduled interiors for dusk or dawn to get the most interesting balance

How do you handle mixes of tungsten and fluorescent lighting? If the fluorescent lighting has a different Kelvin rating than the tungsten, I’ll adjust the image in Photoshop using Color Balance, Selective Color, and Hue & Saturation.

How do you frame and compose interior shots? What details do you look for in the room? I’m responsible for rendering and communicating sites to people who will never actually go there. I try to cover both the overall effect and the details, like artworks, collections, architectural features, special views and vistas. of window light and effective interior lighting. Digital allows me to shoot interiors almost any time of day, [so now] it depends a great deal on the subject and the space. I prefer to shoot exteriors early in the morning until about 10 a.m., and then mid-afternoon until dusk.

Do you find it necessary to add lighting for interiors or exteriors? Yes, but not as much or as often as with film. If I need additional interior lighting, I use hot lights such as Lowel DPs or MoleRichardson clip-ons, all used with dimmers and sometimes gels. For strobes, I prefer the Dynalite, sometimes with gels to affect the color temperature. If I need to highlight shadow areas in exteriors, I use my Lowel DPs with 1,000-watt lamps and dimmers.

What photo editing techniques do you use when the natural window light overpowers the artificial lighting of the interior? I process the RAW image files in Photoshop and use layers to control density in specific areas. Then I blend the different lighting levels and color balances to look natural. To correct color imbalance from artificial lighting, I often use Rosco color correction filters on the lights themselves, then perfect the changes in Photoshop.

A RC H I T E C T U R E Each approach has to have intrinsic value in both content and composition. I try to make each image a visual artwork in its own right.

Do you use props in your interior photographs, or shoot the room as-is? I require settings to be fully styled and propped by either the designer or a stylist brought in for the shoot.

I notice you like to use open doors or other architectural details to frame the shot. What challenges do you face in composing these shots? Having the maneuvering room to back up

far enough to use the right focal length lens to allow me compose the scene as I wish.

Do you prefer tight shots or wider view? No preference. Whichever serves the purpose of storytelling. I will always use the longest lens possible for the particular composition. I don’t like the artificiality and distortion that comes from getting in too close with a too-wide lens. I’ve just started using a Canon 17mm tilt-shift, and it’s now my principal lens. I often use it with the 1.4X Canon telextender, which effectively makes it a 24mm lens. I also use the Canon 14mm, 16-35mm zoom, 24-70mm zoom and a 70-200mm zoom.

What camera do you use primarily? The Canon EOS-1Ds Mark III. With film, I used the Sinar P 4x5 system with Schneider and Rodenstock lenses. �

See more of Dan Forer’s work at forer.com. Michele Winter Johnson of MW Photography is a professional commercial photographer, specializing in architectural and advertising photography (mwjphotography.com).

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Architectural photographer Norman McGrath shares his expertise on shooting interiors. He discusses lenses and lighting equipment, and how to supplement ambient daylight and make it all look natural. ARCHITECTURE

I

By Norman McGrath

n some respects, digital capture has made photographing building interiors easier because you have so many expedient options to control the exposure—ISO settings, custom white balance, unlimited test shots that you can evaluate right away, Live View with the capacity to zoom in on your focus

area and confirm sharpness. These advantages can free your time for more creativity on the job. I always use manual mode with interiors, so I have full control. I use the magnification feature in Live View on my DSLR to sharpen adjustment. It’s surprising how much a little focusing will affect the sharpness of a particular area or object in a scene. For critical work, consider shooting interiors with the camera tethered to a computer to take advantage of the monitor’s larger screen size. Avoid shooting on the diagonal if possible. CAMERA AND LENSES. I’m shooting interiors with a Canon EOS 5D Mark II, a truly terrific camera for architectural work, both inside and out. With a 24- or 17mm tilt/shift lens mounted, I can make very fine adjustments to my composition without tilting my camera, and so tackle just about any subject. I also use a 17-35mm zoom lens and a fixed 14mm, although the latter is wide for most interiors. For long shots, I use a 24-105mm lens. When you start tilting the camera, you

All images ©Norman McGrath

Inside job Tips on photographing interiors 76 • www.ppmag.com

This is the final tone-mapped image from a series of HDR exposures of an architect’s office using Photomatix. The exposures were captured with a Canon EOS 5D Mark II and TS-E 24mm f/3.5L II tilt-shift lens, f/8 at ISO 200.

McGrath photographed this Cape Cod home interior with a Canon EOS 5D Mark II and a TS-E 24mm f/3.5L II tilt-shift lens. The scene was lit by a Comet 1,200 watt-second strobe bounced into an umbrella. Exposures, top to bottom: 1/5 second at f/8, ISO 100; 1/125 second at f/8, ISO 100; and 1/30 second at f/11, ISO 100.

immediately notice your verticals are no longer parallel to one another. By shifting, you have the advantage of being able to adjust the composition to include just the right amount of ceiling and floor without adjusting the height of your camera and keeping it level. For interior photography, you’ll rarely need to use the tilt capacity of the lens, since that’s used to control the plane of sharp focus. With a wide-angle lens, the depth of field is substantial and you usually want the subject to be sharp. On occasion, you might want to shoot through a flower arrangement or foliage in the foreground, but in such cases a little softness is often desirable. Avoid using a wider-angle lens than you really need to, because it will not only expand the appearance of the space, but may also introduce distortion, even with the camera leveled. Though Canon doesn’t encourage it, I continue to get good results with the 24mm tilt/shift Canon lens and my 1.4X Extender II. This combination yields the equivalent focal length of 33.6mm, but with plenty of shift capability. I’ve yet to see any lack of sharpness, although there is a onestop loss of lens speed. With static subjects, that’s usually not a problem. LIGHTING. If the interior has substantial ambient daylight, you can supplement it with strobes. With strobes, the aperture determines the amount of power you need; previously, I might carry over 3,000 wattseconds (WS) of output power. Studio strobes easily supply that amount, but they’re not highly portable. You might prefer to carry two or three 1,200WS units (or more) with

A RC H I T E C T U R E the units remotely—they need to be in line of sight, so you have to be careful setting them up. With white or neutral-colored ceilings, color bouncing is not a problem, but a color ceiling will introduce unwanted color shifts. The most tricky interior shots are those where you have to capture the exterior view. The range of brightness can be considerable, and I might need to use a lot of supplemental interior lighting to balance with the exterior. The aperture will determine exactly how much strobe lighting is needed. The brightness of the exterior will determine the shutter speed needed to yield a pleasing balance. Because the duration of the strobe light is so short, it’s unaffected by shutter speed. By varying only the shutter speed, you change the ratio of inside to outside lighting. Changing the This is the camera and lighting setup for the image below. Using wireless trigger, McGrath bounced flash from two Canon Speedlite 580 EX strobes off the ceiling.

aperture affects the overall brightness. If no strobe lighting is available, you may have to wait until the outside light level drops to a recordable value closer to that of

several heads. Lately, my setup is two Comet

Comet 1,200 unit at the lowest setting, and

the interior. That’s a last resort. Except at

units (one 2,400WS and one 1,200WS),

at times even that’s too much. Canon’s 550

sunrise or sunset, the exterior should look

three heads, and an 800WS as backup. It’s

and 580EX strobe units are usually all I

brighter than the interior.

expensive and somewhat tedious to set up.

need. I have a wireless transmitter to trigger

Rather than using direct strobe light, I bounce it for a softer, more natural look. When somebody’s looking at my photographs and asks if I lit the scene, I feel I’ve accomplished my objective. I do not subscribe to the “theatrical” style of photography with shadows appearing in unlikely places. I don’t want the lighting to be what draws the viewer’s attention. I shoot between f/5.6 and f/8.0, typically the latter, as the Mark II can produce excellent files at even high ISO, and I don’t need nearly so much strobe power. I frequently use my

McGrath’s New York City living room, captured with a Canon EOS 5D Mark II and Canon TS-E 24mm f/3.5L II tilt-shift lens, 1/10 second at f/8, ISO 200. Lighting setup shown above.


HIGH DYNAMIC RANGE. Digital

Norm McGrath captured this photo of his Patterson, N.Y., living room, designed by architect Myron Goldfinger, with an Arca-Swiss Rm3d with a 35mm Schneider lens and a Leaf digital back, using only available light.

capture gives you the ability to use high

repeat the process. Do not change the

need to make further adjustments. You will

dynamic range (HDR) light techniques, and

aperture. Examine the third exposure

be amazed at the results. If you’re really

with no supplemental lighting. Beware of

carefully to see if there’s sufficient detail in

good at Photoshop, you might be able to

overdoing it because it can look awful. Set

the darkest area of the composition. If you’re

produce similar results with layers, but it

your camera on a tripod. Adjust the shutter

unsure, open up two stops more and make a

will take time as well as expertise. �

speed, not the aperture, until the highlight

fourth exposure. Then using a program like

alert stops blinking; at that point you’ll have

Photomatix, Photoshop or FDR Tools,

detail in the brightest part of your

process those three or four exposures.

composition. Make an exposure, lengthen it

Always use raw files. Sometimes the results

by two stops, make a second exposure, and

will be right on the money, sometimes you’ll

Norman McGrath gives an annual workshop in Rockport, Maine at The Maine Media Workshops. See more of his work at normanmcgrath.com.


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EOS Flash System (USA) 220EX ......... $99.95 270EX ......... $149.00 430EX II .........................................$280.00 580EX II .........................................$445.00 MR-14EX Ringlight..........................$495.00 EF-S Lenses For Digital Only (USA) Note: Compatible with the 20D, 30D, 40D, 50D & Digital Rebel only 60/2.8 USM Macro (52ø).................$422.00 10-22/3.5-4.5 USM (77ø) ...............$770.00 15-85/3.5-5.6 IS USM (72ø) ...........$720.00 17-55/2.8 IS USM (67ø)...............$1,060.00 17-85/4-5.6 IS USM (67ø) .................. CALL 18-55/3.5-5.6 IS (58ø) ...................$170.00 18-135/3.5-5.6 IS (67ø) .................$450.00 18-200/3.5-5.6 IS (72ø) .................$595.00 55-250/4.0-5.6 IS USM (58ø) .........$255.00 EF Lenses (USA) 15/2.8 ...........................................$649.00 28/1.8 USM (58ø) ...........................$459.00 35/2 (52ø) ......................................$299.00 50/1.8 (52ø) .....................................$99.95 50/1.4 USM (58ø) ...........................$349.00 50/2.5 Macro (52ø).........................$265.00 85/1.8 USM (58ø) ...........................$379.95 100/2.8 USM Macro (58ø)...............$529.00 28-135/3.5-5.6 IS USM (72ø) .........$409.95 28-200/3.5-5.6 USM (72ø) .............$375.00

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70-300/4-5.6 IS USM (58ø) ............$549.00 75-300/4.0-5.6 III (58ø) ..................$159.95 75-300/4.0-5.6 III USM (58ø) ..........$200.00 EF “L” Lenses (USA) 14/2.8 USM II ..............................$2,120.00 24/1.4 II (77ø) .............................$1,699.00 35/1.4 USM (72ø) ........................$1,399.95 50/1.2 USM (72ø) ........................$1,479.00 85/1.2 USM II (72ø) .....................$1,970.00 100/2.8 IS USM Macro (67ø) ...........$949.00 135/2.0 USM II (72ø) ......................$999.00 180/3.5 USM Macro (72ø)............$1,370.00 200/2.0 IS USM (52ø) ..................$5,300.00 300/4.0 IS USM (77ø) ..................$1,269.00 300/2.8 IS USM (52ø rear) ...........$4,340.00 400/5.6 USM (77ø) ......................$1,209.00 16-35/2.8 USM II (82ø) ................$1,520.00 17-40/4.0 USM (77ø) .....................$750.00 24-70/2.8 USM (77ø) ..................$1,300.00 24-105/4 IS USM (77ø)................$1,059.00 28-300/3.5-5.6 IS USM (77ø) ......$2,420.00 70-200/4.0 USM (67ø) ...................$639.00 70-200/4.0 IS USM (77ø).............$1,210.00 70-200/2.8 USM (77ø) ................$1,300.00 70-200/2.8 IS USM (77ø).................... CALL 70-200/2.8 IS II USM (77ø) ................. CALL 100-400/4.5-5.6 IS USM (77ø) ....$1,610.00 1.4x II Teleconverter ........................$309.00 2x II Teleconverter ...........................$309.00

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50/1.4 D (52ø)..................................... CALL 50/1.4 G AF-S (58ø) ............................ CALL 60/2.8 D Micro (62ø) (1:1) .............. $469.95 60/2.8 G AF-S ED Micro (62ø) ......... $539.95 85/1.8 D (62ø) with Hood ................ $449.95 85/1.4 D IF (77ø) ......................... $1,229.95 105/2.8 G AF-S ED-IF VR Micro (62ø) ..$889.95 105/2.0 DC D with Hood (72ø) ..... $1,079.95 135/2.0 DC D (72ø) ..................... $1,299.95 180/2.8 D ED-IF (72ø)..................... $899.95 200/4 D ED-IF Micro (62ø) ........... $1,649.95 300/4.0 D AF-S ED-IF (77ø) ......... $1,484.95 300/2.8 G AF-S VR (52ø-R) .................. CALL 14-24/2.8 G AF-S ED-IF............... $1,799.95 16-35/4.0 G AF-S ED VR (77ø) ..... $1,259.95 17-35/2.8 (77ø) .......................... $1,764.95 18-35/3.5-4.5 ED-IF (77ø) .............. $599.95 24-70/2.8 G AF-S ED-IF (77ø) ...... $1,739.95 24-85/2.8-4.0 D (72ø) .................... $699.95 24-120/3.5-5.6 G AF-S VR (72ø) .......... CALL 70-200/2.8 G AF-S ED-IF VR II (77ø)..... CALL 70-300/4.0-5.6 G (62ø) .................. $154.95 70-300/4.5-5.6 G-AFS VR (67ø)...... $539.95 80-200/2.8 D with Collar (77ø)..... $1,099.95 80-400/4.5-5.6 D VR (77ø) .......... $1,649.95 200-400/4 G AF-S ED-IF VR (52ø) ........ CALL TC-14E II (1.4x) Teleconverter ............... CALL TC-17E II (1.7x) Teleconverter ............... CALL TC-20E II (2x) Teleconverter .................. CALL

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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2010 B & H Foto & Electronics Corp.

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• RAW/JPEGs & 720p HD Video @ 24fps • Full-Frame CMOS Sensor • In-Camera RAW Processing • 3" LCD with Live View • Uses Nikon AF Lenses • Buffers Up to 48 RAW or 130 large JPEGs • Built Tough, Fully Weathersealed • ISO 102,400 • Dual CF Card Slots • Nikon Inc. limited warranty included Mega Pixels

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212-239-7770 Flash System FL-36R Flash ......................................................... $229.95 FL-50R Flash ......................................................... $499.95 Zuiko 4/3 System Digital Lenses 35/3.5 Macro ED (52ø) .......................................... $229.95 50/2.0 Macro ED (77ø) .......................................... $499.95 7-14/4.0 ED (72ø) .............................................. $1,799.95 11-22/2.8-3.5 ED (72ø) ......................................... $799.95 12-60/2.8-4 ED SWD (72ø).................................... $999.95 14-42/3.5-5.6 ED (58ø) ......................................... $249.95 18-180/3.5-6.3 ED (62ø) ....................................... $499.95 EC-14 1.4x Teleconverter ....................................... $439.95

AF Flash System AF-360FGZ ........................................................................ AF-540FGZ ........................................................................ SMCP-DA Digital AF Lenses 21/3.2 AL Limited “Pancake” (49ø) ...................................... 40/2.8 Limited “Pancake” (49ø) ........................................... 70/2.4 Limited “Pancake” (49ø) ........................................... 10-17/3.5-4.5 ED IF (77ø) .................................................. 16-50/2.8 ED AL IF SDM (77ø) ............................................ 18-55/3.5-5.6 AL II (52ø) .................................................... 50-135/2.8 ED IF SDM (67ø)............................................... 50-200/4-5.6 ED WR (52ø) .................................................

Flash System HVL-F42AM........................................................... $299.99 HVL-F58AM........................................................... $499.99 Digital Lenses 50/1.4 (55ø) .......................................................... $369.99 100/2.8 Macro (55ø).............................................. $679.99 500/8 Reflex ......................................................... $749.99 16-80/3.5-4.5 DT Carl Zeiss (62ø) ......................... $749.99 11-18/4.5-5.6 DT (77ø) ......................................... $699.99 18-200/3.5-6.3 DT (62ø) ....................................... $529.99 70-200/2.8 G APO (77ø) ..................................... $1,799.99 75-300/4.5-5.6 (55ø) ............................................ $249.99

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622 Super Handle Mount Flash with Zoom Head

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285HV Professional Auto Shoe Mount Flash

• Guide No. 138' • High-speed flash sync • Zoom Head (28-105) • Bounce and Swivel Head • Weight 12.5 oz

• TTL with appropriate module • Guide No. 200 • Bounce & swivel head • Zoom range 28-135mm • Auto f/Stops f/2.0, 2.8, 4.0, 8.0, 5.6, 11 & 16 • Vari-Power

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Digital SLRs and Accessories............. #64 Lighting Kits and Backgrounds ............#78

Page 2

062010

A former architect turned photographer strives to show the ideal version of each location—an image that reflects the spirit and function of the space, as well as the lifestyle of the people it serves. ARCHITECTURE

By Jeff Kent

Form meets function

B

Composition is key in the way Jaime Ardiles-Arce brings out the sculptural qualities of structures efore he became one of the world’s premier architectural and interior photographers, Jaime

When Ardiles-Arce suffered an accident that ended his career in architecture, he looked

another. An image from the second shoot made the cover of the magazine. Assignments have been flowing in ever since.

Ardiles-Arce was an architect

to photography as a career alternative. As he

A careful practitioner who personally

himself. As he traveled the

considered his future, one of his photographs

oversees every element of the shoot, Ardiles-

landed on the desk of the editor of Interior

Arce accepts only a handful of projects each

Design magazine. Impressed, the editor

year. Over the years, he’s cultivated a diverse

commissioned him for a project, and then

clientele, ranging from magazines to private

globe for work and pleasure,

he developed a habit of record-

ing the sights, or “sketching”

All images ©Jaime Ardiles-Arce

them, as he called it, with a camera.

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ARCHITECTURE presenting them to patrons. Composition is everything, he explains. He enjoys complicated shots with multiple and disparate parts that need to be assembled into images of welcoming and orderly interiors. “A good composition will make anything look good,” he says. “We have done shots of bare bones interiors where the lighting, the shape and intensity of the shadows, and the unusual camera position did the magic.” Composition is equally important for exteriors. Always shooting head-on is the mark of an amateur, says Ardiles-Arce. Professionals find ways to view buildings that accentuate the marquis features, yet realistically portray the whole of them. “The thing to do is to find the angles where the work is striking. Good photographers bring out the sculptural quality or massing of the buildings, the deliberately designed interaction of various textures, the play of mass and void, the nobility of the materials, the reflections and the contrasts, among other elements.”

collectors to major corporations. He focuses primarily on notable properties and has traveled the planet many times over. For interiors, Ardiles-Arce tries to create an idealized version of the space, without negating its actual function. “I have always fussed about the look of the interiors,” he says. “The key is not [making] a record of objects, but unveiling a lifestyle. I never cared to show rooms or spaces with the furniture and objects all neatly arranged but without spirit. That would be photography for inventory, as you would do for insurance. What I show is a special, positive lifestyle—glamorous, inviting and elegant. Although you do not see people in my images, you feel that everyone connected to the image is healthy in body and mind.” Ardiles-Arce shoots intuitively. He likens himself to a chef tasting his dishes before


ARCHITECTURE

As with most photography, architectural

Arce shoots for a median Kelvin. “For interior

your best—only the images that are worthy of

and interior photography is defined by light-

photography, if the interior is a tad warm and

your vision,” he says. “If what you have in mind

ing. The lighting techniques, the interplay

the exterior a tad cold, the perception of the

cannot be achieved, explain it to your client and

between light and composition, often signify

mixed lighting is not disturbing,” he says.

walk away. To be published editorially is

a particular photographer’s style. “My lighting

One of Ardiles-Arce’s favorite cameras is

important; it’s a form of guaranteed advertising,

style has been described as ‘embellished natural

the Ebony, a 4x5 wooden film camera made

a seal of acceptance and recognition. Another

lighting,’” says Ardiles-Arce. “When I apply

in Japan. He has a series of Schneider and

thing: Never undersell your services. Charge

light to a building, I do it from angles that

Rodenstock lenses, which he likes for their

what you are worth. If you sell your work

reinforce the existing light to make it suffi-

lack of distortion and the color consistency

cheaply, you’ll soon be assigned to that

cient for capture. But I do it subtly and care-

from lens to lens. For digital capture, he

category and eventually be abused.

fully. When I face a bland interior, I give it a

packs Phase One backs for his medium-

dash of drama, using light in unexpected places.”

format cameras, or works with top-end Canon

architect or a designer, remember that every

and Nikon DSLRs. The faster DSLRs are

shot is more than a pretty picture; it must be

window light, Ardiles-Arce follows basic prin-

particularly useful outdoors in places like

a potent sales tool. The message needs to be

ciples, exposing for the exterior and using fill

England, where fast-moving clouds can

clear and convincing. If you can accomplish

flash to match it on the interior. If the exterior

complicate long outdoor exposures.

that, clients will call again and again.” �

With an interior scene flooded with natural

light overwhelms the interior lighting, he’ll

“When commissioned by a company, an

To other photographers interested in his

use additional flash, but softened by umbrellas

specialty, Ardiles-Arce’s advice is to never com-

to preclude shadows. If there are color

promise on the work. “It’s important to be sure

balance issues and he can’t use flash, Ardiles-

of yourself and never release anything that’s not

To see more from Jaime Ardiles-Arce, visit ardiles-arce.com.

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“Lighting is an emotional, intuitive process. When I share that, it frees people up. Throw out all that technical stuff—lighting ratios and schematics—and just build from your intuition, and you will explode as an artist.” —Joel Grimes

LIGHT M

O

V

E

S

For Joel Grimes, great lighting has little to do with fancy equipment, and everything to do with who you are as an artist.

BY STEPHANIE BOOZER

All images ©Joel Grimes

sk Joel Grimes how to get great lighting, and he’ll tell you straight away to use your intuition. “I haven’t used a flash meter in over 20 years,” says Grimes, who splits his time between a 4,000-square-foot studio in Los Angeles and his home in

based on adapting his eye to discern the

wired for that,” says Grimes. “But I’d say a

Tucson, Ariz.

kind of light that expresses his vision.

good two-thirds of us just want to take great

Not that Grimes denigrates the use of light meters. His lighting philosophy is

“There are those engineer-type people out there who love schematics, and are

images. [When] I take the mystery out of that, it’s like a huge weight falls off. I love that.”

Having mastered the single cross-light style, Grimes has been in the game long enough to earn a reputation as a leading commercial photographer. His body of work spans a galaxy of stellar clients, such as AT&T, National Geographic, Sony, and the Discovery Channel. Besides his innate talent, Grimes says his success owes at least a little to a seemingly innocuous general art history class he took while earning a fine arts degree at the University of Arizona. “At the time, I thought the class was a huge bore, but when we got to the Baroque and Renaissance painters and how they developed from flat lighting to sculpting with light, I was completely fascinated,” he says. “That stuck with me, and the minute I got into a

studio environment, the first thing I tried to

one-light king,” says Grimes. “As you get older,

that when I went back to sports and musicians,

do was emulate the cross-light Rembrandt

you’re supposed to make things simpler, but

I had an even greater sense of lighting.”

look. I had to explore and experiment from

I was going to three lights.”

Grimes doesn’t use a lighting diagram or

scratch, and in doing that, developed some

Discerning that the edgier look he got

even a “typical” lighting setup for his three

lighting techniques that nobody was doing.”

with three lights lent itself to sports portraits

lights. He talks instead about taking visual

—he’d been photographing the Colorado

cues from the subject and the setting and

one light, offsetting it slightly to create a

Rockies and the Denver Broncos for several

modeling the lights as a painter would. “The

gradient wrap around the subject’s face. It

years—Grimes sought out additional sports

key to it all is knowing how much light to

was a simple technique that took no more

subjects. To further test the technique, he

apply on the overhead,” says Grimes. “The

than 20 minutes to set up, but it was the

carried it into beauty and fashion photography.

overhead beauty dish, octagon or umbrella

look that made his work instantly recog-

“I shot about 15 models over two days and

For the next 20 years, Grimes used only

nizable, and launched his successful career.

is critical. Edge lights are easy to get, and

produced some really fun stuff,” says Grimes.

they’re usually one stop over what we’d

“It was a challenge for me to switch and think

consider the correct exposure. I fine-tune

look had had its run,” says Grimes. He began

in terms of beauty and fashion, which is

the light where the side lights meet the

experimenting with multiple lights, and even-

some of the hardest lighting to get right. In

overhead light. I have to learn that, and then

tually found perfect harmony in a set of three.

doing that, I forced myself to switch it up,

shoot it 100 times, so that my eye sees it.”

which really increased my lighting skills, so

Grimes now teaches students about

“About five years ago, though, I realized the

“My friends all laughed because I was the

using visual cues rather than technical

professor was skeptical of his approach.

technicians. Good photographers are artists

readings. He starts them off with a single

“I told her to go back and ask what a

and they create something we respond to. I

light and encourages them to experiment

perfect exposure is as it relates to the crea-

emphasize that in all my teachings. I’ve

with distance, position and light modifiers

tive process,” says Grimes. “You can say that

never once doubted that I’m an artist.”

until they see the light they want. Grimes

there is a correct exposure as it relates to a

has a story about a student at a prominent

scientific perspective, but as an artist, what

trate his point. He’s making a portrait of an

photography school with whom he’d been

is the correct exposure? In the end, it’s about

African-American man in a black t-shirt

swapping e-mails. She wrote that her

the image. We generally do not immortalize

who is poised before a black background. “If

Grimes uses a particular example to illus-

I use a light meter or go from the camera’s histogram, the exposure would be technically correct—my camera would try to find the exact spot between black and white, an 18 percent reflective gray,” and the same with light meters, he says. “But that would be an extremely boring picture. His skin tones would be way too light. So instead, I underexpose by a couple of stops, then in Photoshop I make it look a bit moody. There’s really no ‘correct’ exposure if you approach it from an artistic perspective.” That’s the fundamental behind every one of Grimes’ tutorials and workshops—that every one of us is unique, and all the technology and gadgetry in the world will not define who one is as an artist. “That’s a breath of fresh air for so many people,” says Grimes. “But the foundation of it all is that there is nobody on the planet like me or you. That’s our greatest single asset as artists.” Thus Grimes dismantles the mysteries of photography and lighting: by reminding students that they are artists. “Lighting is an emotional, intuitive process,” says Grimes. “When I share that, it frees people up. Throw out all that technical stuff—lighting ratios and schematics—and just build from your intuition, and you will explode as an artist.” � See more of Grimes’ work and get the scoop on his latest shoots and workshops at joelgrimes.com.

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Affiliate Schools

Professional Photographers of America members receive service merits and the best-published rates for registration.

June 6-10 Kansas Professional Photographers School Newton, Kan., www.kpps.com

June 20-25 West Coast School, San Diego, Calif., prophotoca.com/wcs

July 18-23 PPSNYS Photo Workshop, Geneva, N.Y., www.ppsnysworkshop.com

June 6-10 Mid-America Institute of Professional Photography, Cedar Falls, Iowa, www.maipp.com

June 21-24 Great Lakes Institute of Photography, Traverse City, Mich., www.glip.org

August 8-11 Carolina Art & Photographic School, Winston Salem, N.C., www.capsartschool.com

June 13-16 Winona School of Photography, Nashville, Ind., ppofi.org

July 11-15 Image Explorations, Shawnigan Lake, British Columbia, Canada, www.imageexplorations.ca

June 13-17 Illinois Workshops, Grafton, Ill., www.ilworkshops.com

July 12-15 Lamarr Williamson School of Professional Photography, Columbia, S.C., www.ppofsc.com/school2.html

June 20-24 PP Oklahoma School, Shawnee, Okla., www.pposchool.com

July 17-22 East Coast School Photographic Workshops, Raleigh, N.C., www.eastcoastschool.com

August 1-6 Georgia School of Professional Photography, Clarksville, Ga., www.gppaschool.com August 2-5 Long Island Photo Workshop, Long Island, N.Y., liphotoworkshop.com Send all additions or corrections to: Affiliated Schools, Professional Photographers of America, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303.

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“I WOULD NEVER PHOTOGRAPH A WEDDING WITHOUT THE PROTECTION OF THE INDEMNIFICATION TRUST.” Daniel Doke, Cr.Photog. / Daniel Doke Photography

NOT A CHANCE We’ve heard photographers say they wouldn’t dream of shooting without the backing of the Indemnification Trust. Why? Because no matter how hard you try, sometimes things go wrong and when they do, the Indemnification Trust protects PPA members (U.S. and Canada) against alleged negligence, including digital image data loss, equipment malfunction and other mishaps. It’s an exclusive benefit and it’s only available from PPA — the trade organization that’s in business to help professional photographers succeed at business.

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Professional Photographers of America | 800-786-6277 | [email protected] | www.ppa.com

© Ralph Romaguera, Sr., M.Photog.Cr., CPP, API, F-ASP

PRESIDENT’SMESSAGE Louis Tonsmeire, Cr.Photog., API :: 2010-2011 PPA President

This

spring the PPA Board of Directors stormed Capitol Hill in Washington, D.C. Our sole purpose was to meet face to face with legislators on two major issues facing professional photographers: health care and copyright. Our health care discussions focused on premiums, coverage and the effects they have on our businesses and lives. Being there in person made our explanations more effective than any e-mail or phone call. After all, health care is both a personal matter and a business matter if you own a studio! And as we sat with congressional leaders and their staff, we were able to show them the faces of the largest group of copyright holders in this country. Photographers produce thousands of copyrighted images a year, and PPA is routinely called to testify and give knowledge in this arena. Yet we all know that copyright infringements against photographers still aren’t viewed as strongly as we’d like. That’s why we went

JUNE 2010

to these meetings—to give our elected ofcials a good look at how their votes affect our livelihood. Rest assured, this is not a one-time event. PPA will continue to be at the forefront of any legislative issues affecting our industry. Your PPA Board of Directors is committed to making this industry the best it can be and, more importantly, helping make it better for each of you, our members!

© Mary Mortensen, M.Photog.Cr., CPP, API

INMEMORY Mildred “Mille” Totushek Mildred “Mille” Totushek, M.Photog.Cr., F-ASP—known to some as the “Matriarch” of Wisconsin Photography— passed away April 11, 2010, at age 82. An award-winning photographer, Mille earned both her Photographic Craftsman and Master of Photography degrees from Professional Photographers of America (PPA), where she’s been a member since 1954. In fact, she was honored as a Life Member of PPA. In addition, she earned her Fellowship from the American Society of Photographers and was a strong member of the Wisconsin Professional Photographers Association, from whom she received the PPA National Award for outstanding service. Known for her open heart, humor and willingness to share her knowledge and creativity, Mille was a mentor to photographers throughout the United States. She was even honored with PPA’s 2007 Harold Bovee PPA Juror Meritorious Service Award. Our hearts go out to her family, friends and the many lives she has touched.

PPA TODAY | JUNE 2010

The Power of

COMPETITION H

appy New Year (competition year that is)! PPA’s International Photographic Competition is the gold standard for photography competitions. Having an image “go loan”—chosen for inclusion in the world’s most prestigious photo exhibit—is an achievement pro photographers cherish. The 2010 competition is wrapping up this month, so while the calendar says the year is only half over, it’s time to start fresh with a whole new view on how competition can help you grow your photographic skills and your business.

New Rules and Procedures

Along with PPA’s board of directors, the Photographic Exhibition Committee (PEC) manages the rules and procedures to ensure they are the best they can be, while protecting the integrity of PPA competitions. In 2009, PPA’s board also appointed a task force to consider important changes, based on a PPA membership survey. “The goal with these modications is to provide what PPA members want in their photographic competition while keeping it as strong and viable as ever,” notes PEC Chairman Dennis Craft, M.Photog.Cr.Hon.M.Photog., CPP, API, F-ASP. While we’re waiting for the 2010 results, peek ahead to see some exciting changes coming your way.

Districts, Not Regions

Five competition districts replace the twelve regional competitions, starting this fall. “We hope that this change makes the afliate competitions less burdensome on each association group,” says Craft. The only effect this has on photographers is in where you submit your district competition entries. “We all should be taking advantage of competing at this level,” Craft adds. It’s a great way to test-run your images before the International Photographic Competition. Every PPA member is assigned to a district based on where they live (or the address in their PPA member record), and a map is available here: www. PPA.com/community/afliates.php. Contact your afliate association or Jim Dingwell (jdingwell@ppa. com), PEC Administrator, if you have questions.

Size (Almost) Doesn’t Matter

Starting with the Southwest District competition in the fall of 2010, all photographers can submit different sizes of print images in all PPA photographic competitions— they won’t be restricted to a 16x20 presentation. Keep in mind, though, that while your images’ shapes and sizes have more exibility in the 2011 competition, there will still be some requirements. The presentation must be a minimum of 80 square inches to a maximum of 480 square inches, with the largest dimension no longer than 24 inches.

The Category You’ve Been Waiting For

© Ellen LeRoy

© Arline Beets, M.Photog., CPP


In the 2011 International Photographic Competition, the Photographic Open category will be split in two: Photographic Open and Illustrative. This category split will allow for images of similar subject types to be judged together. The new Photographic Open category will accept wedding images, portraits, etc. The new Illustrative category is for

Association. Education. Inspiration. — www.PPA.com

© Robin Spencer

© Stephanie Clark, M.Photog.Cr.

© Jerry Ghionis, M.Photog.

landscapes, owers, nature images, creative digital composites, etc. “This is something that many photographers have asked for, and PEC listened,” Craft says.

Digital Submission Makes Its Debut

In the 2011 International Photographic Competition, people can enter digitally in every category. Digital submission was introduced in the 2010 competition, with a few categories allowing digital or print entries. In 2011, every category will have that choice. Why? Well, 70 percent of PPA members said they would be more likely to enter photographic competitions if they could submit digital les. “No longer will PPA tell you what format you must submit,” says Craft. “Print or digital… you decide what’s best for your image.” Just remember that how you submit is how the image will be displayed at Imaging USA (if you earn a spot in the exhibit). Prints will be displayed as they’ve always been in the traditional International Photographic Exhibit. If you enter a digital le that qualies for the exhibit, your image will be rotated on large monitors with other award-winning digital entries.

Digital Judging Details

In fact, that is how the digital images will be viewed by the jurors. Two 30-inch NEC monitors will be set up in a room of six jurors, and

RIGHT NOW: Start prepping your entries for district competition—it’s a great place to start! In the process, you might find colleagues who are willing to critique and offer suggestions for making your images even better. Don’t forget to join the competition conversation on the OurPPA Forum as well.

© Jackelyn Haggerty, Cr.Photog., CPP

the image will come up on both screens. Jurors are already being trained on this new entry option. Those trained jurors will then help other jurors in district competitions, and PEC will hold refresher courses to keep everyone up to speed. “In a sense, we actually started the digital judging transition years ago with Adobe® Photoshop® software,” Craft comments. At that time, PEC had to train jurors to look for errors like banding, cloning tracks and chromatic aberration. “In the past, we had to train jurors to see these aws in prints. This time, we had to make sure they are comfortable viewing an image and catching those aws with light coming from behind (via the monitor), rather than reected off it (when viewing a print).”

Thinking of Entering Digital?

If the digital entry option captures your interest, remember these important points: » Use the Technical Excellence and Print Presentation elements. As Craft points out, “Those elements are still part of an image, whether you’re viewing it as a print or on a monitor.” So don’t forget the key lines, borders or any of the presentation touches. » Read and follow the parameters set by PEC for entering the correctly sized les. You don’t want your image to be pixilated or stretched-out on the judging monitors. So just how good are you? Make this the year to nd out.

THIS MONTH: Watch for the announcement of the results from the 2010 International Photographic Competition (June 13-16 in Atlanta, Ga.). Want to learn more about how images are judged? Start by reviewing the 12 Elements of a Merit Image (found on www.ppa.com).

THIS YEAR: Look for upcoming articles in the magazine and online newsletters about PPA competitions, merits and degrees and some real-life inspiration from PPA members who see competition as an effective way to improve skills.

The Power of

INSPIRATION AN-NEAWARDSPOTLIGHT Trevor & Tourine Johnstone

Johnstone Studios – Best Wedding Campaign – www.JohnstoneStudios.com

© Johnstone Studios

“S

erendipity” is a happy mistake. It’s great when it happens, but don’t base your marketing on it! Instead, do as Trevor and Tourine Johnstone in Reno/Lake Tahoe, Nev., did—using research to set themselves apart while getting more organized with their marketing, which won the 2009 AN-NE Marketing Award for Best Wedding Campaign.

“Broadening your horizon is important in marketing to destination brides,” says Trevor. “Even if just one or two past clients come from an area, try marketing there.” They also re-evaluated their online advertising, deciding to nd a website that highlighted high-end services without showcasing a sea of other photographers. The end result? A pre-qualied, higher-end bride, from placement on Style Me Pretty, “the ultimate wedding blog.” “We can’t just pay and let it be,” notes Tourine. “We have to track our advertising and nd out how it’s working.”

The Connection

That attention to detail carries through to clients. You can see it in the letter they send to each couple, giving detailed advice for the big day. And it’s not all talk. The Johnstones make themselves readily available to any prospective bride that comes into the Tahoe area, thanks to being about 10 minutes from the airport. “We want to be the rst and the last vendor a brideto-be talks to during her visit,” Trevor says. “We’ll give food recommendations, provide directions, discuss what she saw and reiterate what we can offer.” With their cohesive look, smart placement and attentiveness, it’s no accident that Johnstone Studios has been enjoying higher-paid bookings and increased destination clients.

The Look

One goal was to become an easily recognized brand for Lake Tahoe destination brides, essential to stand out against the many photographers available. “Some market themselves as Lake Tahoe photographers, but they don’t even live nearby,” says Tourine. “We do, and we wanted a look to showcase the area.” To them, Tahoe has an organic, romantic, old resort feel, and the understated elegance of their simple design resonates. The linen paper, matte pieces and rafa connect to the vintage romance vibe. The paper choices and chocolate, green and ivory colors reect organic tones. Every move in the new design was a conscious decision, and every piece works together.

PPA members can get more details by reading the full article at www.PPA.com/Resources (click on the AN-NE Marketing Awards Spotlight category).

The Outreach


© Cheryl Pearson

The best design in the world won’t INSERT YOURSELF IN YOUR win clients if you can’t nd them. DESTINATION BRIDE’S LOCAL MARKET. The Johnstones treat the Lake Tahoe and Wine Country areas as local venues, but they weren’t booking that many Wine Country weddings. Looking at where their clients originated, they thought, “If one came from there, why not more?” They decided to advertise in Today’s Bride, a publication with a circulation of 400,000 in the San Francisco Bay area—where some of their past Wine Country clients lived—with great results.

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Denny Novelty (photonovelty.com) .....................................42 Diversified Lab (diversifiedlab.com)...................................106 Dury’s (durys.com) ..............................................................6 ESS Data Recovery (datarecovery.com) ..............................126 Expoimaging (expodisc.com)...............................................57 GP Albums (gpalbums.cm)................................................125 Glamour Workshop Tours (tour4glamour.com) ....................113 Graphic Authority (graphicauthority.co)...............................43 Group Photographers Association (groupphotographers.com).103 H&H Color Lab (hhcolorlab.com) ................................Cover III Hardwood Frames (hardwoodframes.com) .........................106 Herff Jones (hjpro.com)....................................................106 Hollywood Fotofix Digital Studios (retouchup.com) ..............21 Interfit Photographic Ltd. (interfitphotographic.com) ...........111 JD Photo Imaging (www.jdphotoimaging.com) ...................107 Kelby Training (kelbytraining.com).......................................71 Lustre Color (lustrecolor.com) ...........................................106 Manfrotto (manfrotto.us)...................................................35 McKenna Pro (mckennapro.com) .......................................103 Meridian Professional Imaging (meridianpro.com) ........Cover II Miller Professional Imaging (millerslab.com) ............22-23,104 MPIX (mpix.com) ...................................................28-29,107 National Direct Marketing Services (ndmservices.com)........110 North American Photo (naphoto.com) ...............................105 Onediscmore (onediscmore.com)........................................113 Onlinephotofix.com (onlinephotofix.com/magpp) ................113 OnlinePictureProof.com (onlinepictureproof.com) ..................3

OnOne Software (ononesoftware.com/50pn) ......................55 PCL West Imaging (pclwest.com) ......................................107 Pacific Mount (pacificmount.com)......................................110 Photographer’s Edge (photographersedge.com/PRMAG).............42 Photoshop User-NAPP (photoshopuser.com/learn-photoshop ...97 PickPic (pickpic.com)..........................................................41 Pictobooks (pictobooks.com) .......................................109,111 PocketWizard (pocketwizard.com)..............................Cover IV Portrait City Lab (customcolor.com) ..................................105 Portrait Professional Studio (portraitprofessionalstudio.com).......5 Pro Photo (prophotoimaging.com).....................................107 ProPicsExpress.com (propicsexpress.com) .........................107 Quantum (qtm.com) ..........................................................37 Reedy Photo (.reedyphoto.com) ........................................103 Renaissance Albums (renaissancealbums.com) ..................109 RightHook Media (bigblackbag.com)...................................111 Simply Canvas (simplycolorlab.com/Freetrail) ......................25 Speedotron (speedotron.com) ............................................24 Styla•Mount (stylamount.com).........................................109 Successware (successware.net)...........................................95 Taopan (taopanmag.com; b--studio.com) ..........................109 Tyndell (www.tyndellphotographic.com) ............................109 United Promotions Inc. (upilab.com) .................................104 Wacom (wacom.com/cintiq) ................................................27 White House Custom Color (whcc.com)................10-11, 38-39 White Glove (wgbooks.com)...............................................111 Publisher not responsible for

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


CLASSIFIED ADS CAN WORK FOR YOU! Place a classified ad in the August issue of Professional Photographer by June 23rd to reach over 50,000 qualified buyers. For information contact:

Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200 Atlanta, GA 30303 800-339-5451, ext. 221


Buyer’s Gallery 2010 ad rates:

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


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

COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800-593-3767 or visit our Web site www.SuccessWare.net. NEED HELP WITH PRICING? The Business Savvy Photographer can help! Easy to use software that can help with pricing your weddings and/or portraits, starting at $59.99. Instructional DVDs by Canon Explorer Ken Sklute also available. Visit our site at HowMuchDoICharge.com 602-546-7777.

EDUCATION/WORKSHOPS Visit WWW.PROPHOTOBUSINESSFORUM.COM—A private online community of business conscious wedding and portrait photographers just like you. YOU’LL NEVER BE THE SAME. YOU’LL BE BETTER!

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

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

DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW & USED, FACTORY AUTHORIZED. INSTALLATION AND TRAINING. FINANCING—$300 UP. DELIVERY—INSURED. WWW.DIRECT-RESOURCES.COM; 877-318-3015

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. Email John at [email protected]. TRAVELING PHOTOGRAPHER. Company: Club Services of America. Description: Family portrait photographer. Full-time travel. Great earning potential for excellent family photographer with quality portrait and sales experience. Photograph and sell to country club members throughout the United States. OK to travel with spouse. PPA Certified or Master of Photography are preferred. See our website at: www.clubservicesofamerica.com. Email resume and sample portraits to [email protected]. Requirements: Must have tools of the trade and a dependable automobile.

IMAGING SERVICES

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 AVE., NORFOLK, VIRGINIA 23508; 757-4401147 (phone); 757-440-1149 (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, 11760 Berea Rd., Cleveland, OH 44111. www.NPDBox.com

INCORPORATION SERVICES

RETOUCHING

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.incorporate.com today!

PORTRAIT PHOTOGRAPHERS You can retouch quickly with superior results. Guaranteed. WWW.3DLIGHTMASTER.COM

INSURANCE Instant Online Photography Insurance. Quotes. Tom C. Pickard Insurance. www.tcpinsurance.com 800-7263701, ext. 117. Lic. 0555411

100% LINT-FREE COTTON GLOVES, Archival 100% Lisle Cotton, great for handling negatives and equipment in heavyweight, lightweight, and 14”. www.archivalgloves.com

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


PHOTOS WANTED VINTAGE PHOTOGRAPHS from 1860’s-1970’s: Movie Stills, Celebrity Candids, Music, Sports, Crime, War/Political, Wire Photos, Negatives, Glass Slides, and Transparencies. WILL BUY ENTIRE COLLECTIONS! FINDERS FEES PAID! Ralph 800-392-4050 or [email protected]

WWW.H-BPHOTO.COM The Source for Professional Presentation Packaging for Photographers. Buy direct from mfg for better value, quality, and branding. Home of print your own. Call 866-570-8915 toll free, or visit our webstore www.h-bphoto.com. H-B Packaging Group, Central Falls, RI

LAB SERVICES

CANVAS MOUNTING

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.

Let us do your PHOTOSHOP IMAGING. Save your valuable time to find new clients. We also build and host still photo music video. Email us at [email protected] to find out how.

BLANK MEDIA

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

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

Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd., Beverly Hills, CA 90211 310-274-3445 • www.goldencolor.com

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); 888440-1146 (toll free). www.aufengerbox.com 5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com • $10 off /with ad

STUDIOS FOR SALE TURNKEY PORTRAIT STUDIO in South Florida. Est. 25 years. High traffic retail location. Affordable Lease. Very Profitable. $50k in weddings under deposit. Extensive props and equipment. $175,000. Call Ken at 772-220-4455. www.acquisitionexperts.net High quality portrait studio for sale in WESTERN NEBRASKA. Owner retiring after 33 years. You can buy with or without real estate. It has been an excellent business through the years. Gross is 200-250K per year. Call 308-762-1291 or e-mail: [email protected] for details. AWESOME DALLAS AREA PHOTOGRAPHY STUDIO: A well established, newly remodeled, state of the art studio for sale. In business over 20 years with a great reputation and large client base. Big, spacious studio, with lots of equipment, backgrounds, props, specialty scenes, and big screen protection room. Owner wants to slow down. Will assist with the transition. Call 214-837-5823. 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.

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

32 miles SE OF ATLANTA GA. Established for 25 plus years, owner retiring, will help with transition. 2000sq.ft. retail space, rent is $610.00 mth. Good location. Great client base, turn key ready. First 29K gets it all. Call 770713-9553 or 770-786-7356. ask for Donna.

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

ProductMall

SOMETHING HERE YOU NEED.

LOOKING FOR A DALLAS, TEXAS LOCATION? Custom built 10,000 sf. Photography/Video Studio for lease or Triplex Building for sale. Two of three private studios feature 25’x25’x14’ Cyclorama with top return, additional 25’x25’ Cyclorama, five private offices, client lounge fullservice kitchen, outdoor/indoor loading docks, oversize studio doors, lighting rail system, 14’ clear height, patio deck, plentiful parking. Or you can purchase the 15,561 sf. Triplex building. contact Ed Zahra: 214-688-1255; [email protected] FOR SALE: Elegant high-end portrait studio in wealthy Northern California community. Established 40 years, this superbly located, downtown studio is a local treasure known for premium sized canvas portraits prominently displayed in 10 large gallery windows. With the areas moderate climate and proximity to Napa, San Francisco and the Pacific Ocean, the studio is perfectly situated for year round environmental portraits, weddings and commerical work. The owner is a nationally recognized photographer and speaker and will assist in training and transition. Sale price $300,000.00 does not include building. The building has an excellent lease available at below market rates. Contact: David Peters, M.Photog.Cr., Fellow, A.S.P., 800-443-4861; email: [email protected] 32 miles SE of ATLANTA, GA. Established for 25 plus years, owner retiring, will help with transition. 2,000 sq.ft. retail space, rent is $610.00 month. Good location. Great client base, turn-key ready. First 29K gets it all. Call 770-713-9553 or 770-786-7356. Ask for Donna. Photography company for sale in SANTA MONICA, CALIFORNIA. Specializing in children and family portraiture outdoors on location. Servicing over 20 private school accounts each year with School Portraits. Orders online. This business makes a growing profit every year with huge potential for added Sales and Marketing. Partners asking $500 thousand or buy out one partner for $250 thousand. Call 310-569-5984. CENTRAL MASSACHUSETTS studio and home, in separate buildings for sale. Walk to work in this unique property. Studio established 25 years. Home is 8 room, 3 bedroom cape with 2917 sq. feet, plus sunroom, inground enclosed pool. Large camera room, sales room, parking for 10 plus autos, on professionally landscaped yard. Property has gazebo, arbor, stone pathways, and English garden. Seniors, weddings, portraits. Owner will assist with transition. $450,000 for both buildings, studio furniture, backgrounds and some home furniture. Please reply to [email protected] to box 108 in subject line.

CLASSIFIED ADS CAN WORK FOR YOU! Place a classified ad in the next issue of Professional Photographer to reach over 50,000 qualified buyers. For information contact: Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200 Atlanta, GA 30303 800-339-5451, ext. 221


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.

©Sea Grandon

enthusiastic,” says Grandon. “We chatted away about their plans for the future, and they asked me lots of questions about my education, career path, business and family.” The print packages included large wall prints for parents and grandparents, and a generous mix of smaller prints of the seniors’ and parents’ favorites. Grandon hopes that the images will remind each young woman what she’s already accomplished and inspire her to pursue her goals undaunted. “I love that photography can be not only a luxurious treat, but also a method of empowering young women,” she says. “One of my goals in portraiture is to capture the convergence of who the person is now and the person she hopes to become. I view my work not only as documenting the present,

Beating the odds

I

COMPLIMENTARY SENIOR PORTRAITS TO AWARD ACHIEVEMENT

but also as capturing my subject’s aspirations and offering a glimpse of the future.” The 2009 project was such a success that Grandon has decided to continue with the Class of 2010 and beyond. To other photographers interested in pursuing a

n inner city Chicago, as in many urban areas

among the center’s participants is nearly

goodwill project, she says to find a cause

in America, school-age girls face a host of

double that of their inner-city peers. Last

and make it happen. “These senior sessions

societal challenges on the way to high school

year, every one of Metro’s senior participants

exceeded my wildest expectations,” says

graduation and adulthood. Through a col-

graduated from high school and was accept-

Grandon. “It was so gratifying to see these

laboration of parents, teachers and volunteers,

ed to college. To celebrate the achievement,

women get excited about the portrait

the Chicago Metro Achievement Center for

Chicago photographer Sea Grandon offered

process, and to create images they will

girls provides supplemental education for

complimentary senior portrait sessions and

treasure for years to come.” �

individuals who are at risk of dropping out

print packages. She set up a special portrait

of school. Metro’s programs combine aca-

day and held individual sessions for each

demics and lessons on life to help girls

participant. Grandon wanted the experience

become successful, well-rounded adults.

to be special, so she had lunch catered and

The center requires the participants and their guardians to make a firm commitment of their effort and time toward high school graduation. So far, the graduation rate


To learn more about the Metro Achievement Center, check out midtown-metro.org. Visit Sea Grandon online at seagrandon.com.

planned fun photo sessions that made the girls feel like models. “All of the young women were poised, smart and gorgeous, and they were so

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

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