Professional Photographer November 2008

©Heather Smith NOVEMBER 2008 Isn’t it Time to Start Saving Money? “Received my prints today, and they are beautiful. ...

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©Heather Smith

NOVEMBER 2008

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P RO F E S S I O NA L

EDITORIAL

director of publications

Questions answered A SPECIAL ISSUE DEVOTED TO BETTER BUSINESS The publication of this month’s Professional Photographer is truly an event. We’re presenting a super special “How to Do Everything Better” section. If you’re having trouble making sense of a particular matter, more often than not, others are too. So we combed through our archives, pored over reader requests, and took note of PP’s mostread online articles to gather a few of the ongoing questions everyone seems to be asking. In some instances we merely covered the basics, to help you bone up on the essentials, in others, we tackled more complicated questions, like how to land that first wedding assignment. It’s a question I’ve wondered about for years—as a bride, would I entrust my wedding images to someone who had never photographed an event before? How does a wedding photographer get his first break? We asked the talented David Jay, who launched his now booming career just a few years ago; his answer finally helped us understand how it’s done. Turn to p. 35 and see if there aren’t a few things we can help you do better. Have any suggestions for next year’s issue? E-mail me your confounding questions and let’s see if we can find the answers.

CAMERON BISHOPP [email protected] senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

LESLIE HUNT [email protected]

KARISA GILMER [email protected]

editor-at-large

sales and marketing 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

eastern region ad manager

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

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

editorial offices

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

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

AND THE WINNER IS… Our first-ever cover photo contest started simply enough. For three months last spring, we threw open our doors to host a sort of open house, giving photographers at all skill levels a chance to see their work gracing the cover of Professional Photographer magazine. As the entries rolled in, and the numbers mounted, we realized just how many photographers were willing to line up for that opportunity. More than 5,000 photographers entered more than 50,000 images. But this wasn’t a photo contest; it was a cover photo contest. We held the entries to the high standards of our regular cover selections, so we had to roll up our sleeves and get to work. The selection process took a full four months of careful deliberation. My absolute favorite part of the judging was working alongside our guest judge, past PPA president Helen Yancy. Her photographic resume is legendary. Both Debbie Todd, the magazine’s art director, and I enjoyed hearing Helen’s evaluations of the images, and having the opportunity to see photography through her exceptionally gifted eyes. ! Cameron Bishopp [email protected] Director of Publications

4 www.ppmag.com

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

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CONTENTS PROFESSIONAL PHOTOGRAPHER NOVEMBER 2008

35

A Special Super Section

42 HOW TO READ A HISTOGRAM

By Ellis Vener

52 HOW TO POSE KIDS

By Sandy Puc’

60 HOW TO GET CREATIVE WITH FLASH

By David Hobby

68 HOW TO BALANCE YOUR LIFE

By Sarah Petty

CONTENTS PROFESSIONAL PHOTOGRAPHER | NOVEMBER 2008 | WWW.PPMAG.COM ©George Hurrell

Norma Shearer in “The Divorcee”

14

FOLIO

73

IMAGING USA

106 CALENDAR 111

PPA TODAY

130 GOOD WORKS

Departments C O N TA C T S H E E T 20 Profiles in history 22 The trial of the tilted tiara 24 David Hobby teaches

small-flash lighting by Curtis Joe Walker 26 Green marketing 28 Getty, Time open Life Collection 30 Win a portfolio review with

Anne Geddes

C OV E R C O N T E ST 92 Talent Rising

The 2008 Professional Photographer Cover Photo Contest draws talent from every corner of the world By Jeff Kent

20

The vintage portrait above (of Norma Shearer by George Hurrell), recently

sold at auction for $19,500. It’s part of a collection of historical images from the Golden Age

of Hollywood that are being auctioned at record prices by art dealer Profiles in History.

8$ www.ppmag.com

ON THE COVER: Heather Smith of Cumming, Ga., took first place in the 2008 Professional Photographer Cover Contest with our cover image, a portrait of her youngest daughter. This image was chosen from more than 50,000 entries. Says contest guest judge Helen Yancy, “It’s a studio shot that was executed perfectly with excellent lighting. The composition is perfect.” In addition to the landing the cover, Smith was awarded a valuable prize package of products from Bogen Imaging, Canon, Miller's Professional Imaging, Kodak Professional and Microsoft. Smith has been a professional photographer for five years. She and her husband, Steve, operate Smith Photo Design. See a collection of super entries in the feature beginning on p. 92.

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Mind. Body.

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

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

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

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

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

directors DON DICKSON M.Photog.Cr., CPP [email protected]

DOUG BOX M.Photog.Cr., API [email protected] DON MACGREGOR M.Photog.Cr., API [email protected] industry advisor KEVIN CASEY [email protected]

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

legal counsel Howe and Hutton, Chicago

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

PPA staff DAVID TRUST Chief Executive Officer [email protected]

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

SCOTT KURKIAN Chief Financial Officer [email protected]

SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected] TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected]

CAMERON BISHOPP Director of Publications [email protected] DANA GROVES Director of Marketing & Communications [email protected]

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

Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! < Web Exclusives: Fresh stories, tutorials and reviews you’ll ONLY find online! < Archived features,organized relevant to your specialty. < Photo Gallery < Profit Center < An in-depth product review library < Online Classifieds < Buyer’s Gallery FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter: http://ppmag.com/email.php 12< www.ppmag.com

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.

©Ray Haskell

RAY HASKELL Fascinated by wildlife, Ray Haskell, CPP, of Perfect Image Photography in Jaffrey, N.H., captured these tom turkeys performing an age-old strutting ritual. With a Canon EOS 20D and Canon 75-300mm f/4-5.6 USM EF lens, Haskell exposed “Duel at Dawn” for 1/200 second at f/5.6, ISO 400. Postcapture, Haskell burned in the rump feathers of the bird seen from behind, and used a LucisArt filter for a painterly effect. “There’s a real challenge recording wildlife on its own terms,” says Haskell. “You have to be prepared, go unnoticed and anticipate their next move.” (www.perfectimage1.com)

14 www.ppmag.com

58: Number of lenses in the legendary NIKKOR family. 58: Number of legendary NIKKOR lenses you’ll want.

Over 45 Million NIKKOR Lenses Produced. ®

For more than 70 years, the NIKKOR family of lenses from Nikon has been recognized for its superb image quality and exacting standards. And it’s a tradition of excellence that continues today, with many of our lenses equipped with proprietary ED glass to help limit chromatic aberration. When you consider some of their other remarkable new features (see opposite page), you’ll understand why all 58 of our NIKKOR lenses remain in such high demand. Learn more at nikonusa.com Upload, organize and share your pictures online at mypicturetown.com Nikon and NIKKOR are registered trademarks of Nikon Corporation. ©2008 Nikon Inc. ®

®

®

folio

Decisions, decisions. ©Jeff Williams

The NIKKOR family of lenses from Nikon offers an astonishing range of creative options designed to fit your photographic needs perfectly. These four lenses are a great example:

A 14-24mm f/2.8, that sets a new standard for fast-aperture zoom performance.

A 60mm AF-S Micro, engineered for close-up performance enhanced by Nikon’s exclusive, glare-reducing Nano Crystal Coat.

A 16-85mm DX VR, remarkably compact with high-performance zoom and wide-to-portrait versatility.

A 24mm PC-E, with creative tilt, shift, and rotation perspective.

JEFF WILLIAMS

Now, for the tough part: Deciding which one you should get. Learn more about these and other legendary NIKKOR lenses at nikonusa.com

This bridal portrait is all about the mood set by the abundant window light. Jeff Williams, CPP, of JS Photography in Gainesville, Fla., captured “Waiting for the Moment” with a Nikon D2X and Nikkor 28-70mm f/2.8 D IF-ED AF-S Zoom lens, exposing the image for 1/30 second at f/5.6, ISO 100. In Adobe Photoshop, Williams performed minor dodging and burning, and removed a distracting chair rail from the background. (www.jsphoto.com)

Nikon® and NIKKOR® are registered trademarks of Nikon Corporation. ©2008 Nikon Inc.

Cody Clinton & Mike Fulton | TriCoast Photography KODAK PHOTOGRAPHERS TO WATCH 2008

7E!RE4RI#OAST0HOTOGRAPHY 7E!RE!RTISTS It takes two or three photographers to make one great image. We do not worry about who captured the image. We do not worry about who created the final product. When we and our clients are happy, then we have succeeded in doing our job and our art correctly. Teamwork is truly the foundation of TriCoast, just as it is with Miller’s. 7E!RE6IVID#OLOR. Without a doubt, TriCoast is about color and unique angles. We LOVE color. When we see it, we grab it, absorb it, and create something out of it. We push every color to the point of breaking.

7E!RE5NIQUE. We try to create an enjoyable environment in everything we do and plan on making lifelong friends with our clients. Believing that the more information a client has about us, the better he or she can decide if we are the right artists for them. If TriCoast is not the “right” artist, we gladly share a cup of coffee and do everything in our power to find what is right.

7E!RE#HANGING And that’s what is so great about Miller’s. They are doing the same thing. Always growing, always changing, always helping the professional photographer, even if they are not a client of Miller’s. By leading the market, in many aspects the other labs follow with the products which Miller’s develops, making the entire professional photography world stronger and better for everyone. 7E!RE-ILLER´S Our lab is Miller’s Professional Imaging because we Expect More.

%XPECT-ORE

To see how Cody & Mike use Miller’s to grow their studio, please visit www.millerslab.com/TriCoast.

CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc. ©Clarence Sinclair Bull

“Five years ago, there was no such thing as a $5,000 photograph in this particular market. Now we sell $5,000 to $50,000 photographs by the hundreds.”

Profiles in history Historical portraits sell at record prices BY JEFF KENT

Jean Harlow

During the so-called Golden Age of Hollywood, roughly from the 1920s to the late 1950s, some of the nation’s leading portrait photographers plied their trade among the Hollywood royalty. While the movie studios cranked out copious machine-made commercial prints, these photographers created commissioned portraits for private display. Long secluded in private collections, many of these portraits are now emerging, and selling at unprecedented prices. At a recent auction held by Profiles in History, a leading dealer in historical documents and photographs, upwards of 100 prints from the early to mid-20th century sold for more than $5,000 apiece, grossing a total of about $1.2 million. A George Hurrell portrait of Johnny Weissmuller (the original Tarzan) went for $27,000, a record for a Hurrell photograph sold at auction. Portraits by Otto Dyar, Ernest Bachrach, Eugene Robert Richee and Clarence Sinclair Bull, depicting Carole Lombard, Louise Brooks, Norma Shearer, Marlene

©George Hurrell

Johnny Weissmuller

Dietrich, Jean Harlow and other Golden Age stars, sold in the high four-figure range. For Joseph Maddalena, Profiles president

digital technology … you can’t copy those historical photographs. It’s an art form that

and CEO, these sales indicate a growing

no longer exists. So many images are not going

appreciation for historical photographic

to be saved. That’s why these are treasures.”

portraits, fast approaching non-photo-

This appreciation of historical portraits is

graphic fine art in value. “I’ve seen it change

evidenced by Profiles’ sale of an 1858 portrait of

dramatically just in last year,” he says. “Five

Abraham Lincoln, at a record price for a print

years ago, there was no such thing as a

of that particular signed Lincoln image. Created

$5,000 photograph in this particular

for Lincoln’s presidential campaign by photog-

market. Now we sell $5,000 to $50,000

rapher Roderick Cole, the portrait is one of the

photographs by the hundreds.”

best recognized images of the 16th U.S. presi-

Maddalena asserts that the spike is due to the realization that these portraits are true originals, unique in today’s world of digital imaging. “Take a negative from

dent. Signed by Lincoln himself and in excellent condition, it fetched an astounding $209,000. Profiles in History hosts another auction in December, during which the dealer will sell

1930,” says Maddalena. “It was hand-

an enormous trove of Hollywood memorabilia,

touched. A contact print was made from the

as well as a collection of high-end historical

negative with perfect clarity. We can’t make

photography. For more information, visit

that same print now. Even with our amazing

www.profilesinhistory.com. ©Roderick Cole

November 2008 Professional Photographer 21

CONTACT SHEET

The trial of the tilted tiara Clients contended it was up to the photographer to correct a misaligned headdress The matter of a bride’s tilted tiara became a photographer’s nightmare when a PPA member in Texas became embroiled in a 15month legal battle over an accessory mishap. “What am I supposed to know about tiaras? I’m a professional photographer, not a tiara expert,” says Dwayne Lee, M.Photog.Cr. Lee got a quick lesson in bridal jewelry when his wedding clients sued him for photographing the bride without correcting her skewed tiara. Lee first saw the tiara in question on the day of the ceremony as the bride and her attendants exited the limousine. Lee took pre-ceremony photographs of the bridal party,

©Dwayne Lee

An expert witness stated that the placement of the tiara can vary drastically based on the event, the bride's hairstyle, ethnicity and personal preference.

friends and family, including one of the bride and her mother gazing at each another.

protection program that helps PPA members in

supporting evidence in the form of a

The skewed tiara went unnoticed by all.

cases of allegations of photographer negligence.

wedding album filled with pictures of the

Out of Lee’s sightline, as the bride was about

The attorneys at Howe & Hutton offered

bride in question, standing close to her mother and surrounded by her attendants.

to walk down the aisle, a family member

Lee the option of settling the case with the

noticed the tilted tiara and straightened it.

clients, with PPA covering the costs. Lee

Last, the expert witness took the stand.

Lee continued to document the day for the

would pay only the Trust’s per-incident

Rubin cited her 32 years of tiara experience.

happy couple, never hearing a word about

deductible of $200. Lee firmly turned the

Under oath, she stated that the placement of

the skewed headdress.

offer down. He wasn’t willing to have this

the tiara can vary drastically based on the

customer tarnish his reputation further, or

event, the bride’s hairstyle, her ethnicity, and

to Lee’s studio for the previews, he imme-

let someone else pick up the tab for an

above all, her personal preference. For a

diately pointed out the tilted tiara in the pre-

unreasonable lawsuit.

photographer to suggest repositioning a

Two weeks later, when the groom came

ceremony images. Then the bride and groom

Representing themselves, the plaintiff ’s

sued Lee for $1,500, their reckoning of the

sole witness was the bride. Lee came in with

price of those images. The bride and groom

10 witnesses, comprising photographers,

contended that it was Lee’s responsibility to

hairdressers, wedding consultants, and tiara

correct the misaligned tiara before shooting.

expert Cheri Rubin. After the groom

bride’s tiara, Rubin testified, would be offensive to many women. The jury ruled in favor of the defendant after a 5-minute deliberation. “People started coming out of the wood-

The small claims court date was set for

questioned his witness, Lee called on his

work to help me out,” Lee says, commenting

September 15. As a PPA member, Lee called

supporting witnesses, all of whom opined

on PPA’s assistance throughout the ordeal.

on the PPA Indemnification Trust, which

that it was not the responsibility of the

“I don’t see how photographers who aren’t

provides legal counsel from the law firm of

photographer to alter the placement of the

members of PPA can sleep at night. It’s peace

Howe & Hutton, specialists in legal matters

tiara. That detail was in the purview of the

of mind—and you can’t put a price on that.”

concerning photographers. The

hairdresser, the bridesmaids, and the

Indemnification Trust is a unique malpractice

mother of the bride. Lee provided

22 www.ppmag.com

—Anne Mahaffey, PPA Membership Coordinator

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CONTACT SHEET

Strobist.com

not to dissuade photographers from using

David Hobby teaches small-flash lighting and inspires photographers

economically. Certainly it’s inadvisable to

professional gear, but to free them to experiment with new techniques position clients who pay hundreds for a portrait session in front of gear cobbled

BY CURTIS JOE WALKER

from tinfoil and cardboard, but using that homemade gear to pull off an excellent portfolio image is another story. It might help you land a job that will pay for the professional version, or at least a rental. In 2007, Hobby produced a set of eight instructional DVDs, which sells for $139. In keeping with the spirit of Strobist, the selffunded production favors content over polished production values. Hobby has also begun teaching lighting seminars. Despite these various Strobist projects, Hobby finds time to shoot for and give private instruction to clients such as the U.S. Military Defense Information School. Local Flickr Strobist groups are springing up in metropolitan areas, meeting to share their knowledge and collaborate on projects. Find links to Strobist projects mentioned in Professional Photographer’s Web Exclusives at www.ppmag.com. Curtis Joe Walker is a freelance writer and photographer in Las Vegas.

All images ©David Hobby

David Hobby’s Strobist.com has demystified

Hobby uses his own real-world experience,

off-camera flash for seasoned pros and

and also keeps a close eye on what other

ambitious amateurs alike. The Strobist’s

pros and up-and-comers are doing.

primary tool is the versatile yet unsung hot-

Flickr.com is his best friend in this endeavor.

shoe flash, a relatively low-cost, portable and flexible location lighting solution. Strobist started as a hobby in April 2006.

The Strobist group on Flickr is bursting with photos and discussions of new gear and how-tos. Hobby culls the best and posts them

After 20 years as a newspaper photographer,

on his site. One of the hottest recent topics

Hobby was able to retire from his day job at

is a do-it-yourself beauty dish to replace a

The Baltimore Sun thanks to income from the

costly ready-made light modifier. Enterprising

site. Despite its tiny budget, the site has become

Strobists have devised a DIY version that

successful with a readership of around 200,000.

takes less than $20-worth of supplies. With

Explaining and illustrating the techniques,

an assemblage of a plastic flower pot, CD

equipment, and principles of photographic

spindle, a length of rain gutter, a convex mirror

lighting through photographs, videos and

and spray paint, you can achieve top-notch

diagrams is nothing new. What’s novel is doing

results. Made with care, this sturdy beauty

so for free with a focus on getting professional

dish won’t even look homemade.

results without huge gear expenditures.

24 www.ppmag.com

The underlying goal of Strobist.com is

CONTACT SHEET

Green marketing

empty claims of big business, so you have to

Consumers the world over want to do

your business policies are genuinely green

drawer stuffers, while you imprint your

something to heal our ravaged ecosystem

spirited, by all means, trumpet the fact in

message on items that won’t contribute to

even if it’s simply patronizing businesses

your marketing.

the wasteful overuse of natural resources.

Show clients you care about the earth

that are environmentally conscientious. If

Consumers have been inundated by the

put your biodegradable packing peanuts where your Styrofoam used to be. Let the other guys hand out plastic-coated junk-

Make your studio’s imprint on one of these environmentally conscious items: / Re-usable shopping bags made of polypropylene cloth or recycled materials. www.ameripromo.com / Mars M&M candies with custom

Hurricane, flooding, torrential rains...

words, photo images, logos and colors, packaged in tins, wedding-worthy organdy gift bags, and more. www.mymms.com

DriveSavers to the rescue!

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800.440.1904 drivesavers.com ©2007 DriveSavers, Inc. DriveSavers Data Recovery, We can save it! and the life-ring logo are registered trademarks of DriveSavers, Inc.

26 www.ppmag.com

/ Herb, vegetable or flower seeds in packets made of recycled paper and tied with ribbon or herb seed bookmarks. www.promotionsforsuccess.com / Dove chocolates in custom imprinted mini-boxes tied with ribbon. www.mydovechocolate.com / Water bottles made of recycled materials or metal. Matchbook forget-me-not seed sticks, 866-661-9696. www.earthimprints.com. Visit www.greenerphotography.org for more ways that you can consider the environment in your business and connect with other like-minded photographers.

CONTACT SHEET

Getty, Time open Life Collection Time Inc. and Getty Images are jointly preparing for the early 2009 official launch of Life.com, giving public access to the largest collection of images in the world. In addition to the vast collection of historic images from the Getty archive—which are pouring onto the new site at the rate of 3,000 images daily—the site is acquiring new images daily, in the realms of news, entertainment, sports, celebrities, travel animals and more. Life.com will also feature millions of images from Life magazine, many of them previously unavailable for public viewing. Consumers will be able to search and view the Life.com image bank as well as print select images and share them with friends and family. They can also create personal image collections based on their interests, and purchase albums of their selections.

26 www.ppmag.com 28

Photo by: Margaret Bourke-White ©Time Inc. 2008

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

Experience Pictorico GEKKO for yourself.

s GEKKO Green has the look and feel of traditional

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

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

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

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

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

CONTACT SHEET ©Anne Geddes, 2008. All rights reserved.

Win a portfolio review with Anne Geddes Interested in having your work critiqued by a legendary photographer? The Anne Geddes Portfolio Review Contest,

international audiences, and revolutionized

sponsored by Epson America, has just been

children’s portraiture.

announced. Sign up at ppmag.com to win

To enter the contest, you’ll be asked for a

the chance at a one-on-one portfolio review

link to an online portfolio containing 10 or

with legendary photographer Anne Geddes

more of your images. In addition to artistic

at Imaging USA 2009.

and technical excellence, your body of work

New York Times best-selling author and photographer Geddes will be speaking at Imaging USA, being held this year in Phoenix, January 11 to 13. The Australian photographer became

should include a majority of portraits or images featuring people. Epson America will choose randomly 300 Web sites from the total pool of qualified entrants. Once 300 finalists have

an international phenomenon in the 1990s

been drawn, image collections will be judged

with her remarkable images of babies.

based on both technical and artistic merit.

Geddes’ latest book, “A Labor of Love”

Judges are seeking images that exhibit

(Andrews McMeel Publishing), is a

proficiency in professional photographic

personal account of her life.

lighting, composition and portrayal of

A Geddes photograph is instantly recognizable. Her unique perspective enthralled

30 www.ppmag.com

subject matter. Go to ppmag.com for information.

WORDS OF WISDOM What judges are looking for 1. The best you: Your collection should exhibit your own singular style. 2. Keep it photographic: Your body of work should not be dependent upon heavy post-production techniques, but photographic excellence.

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TRAVEL LIGHT, EVEN WHEN YOU’RE ON ASSIGNMENT My photographer friends were

camera and the attached lens snug-

spare battery

amazed to hear my husband and I

ly, providing protection within my

and a small case

were heading to Europe for three

lightweight day bag, and adding

holding a polariz-

weeks of travel photography with

almost no weight.

ing filter. Another

no checked baggage. Each of us

I was worried about neck strain

zippered pocket held

took just one carry-on suitcase and

after hours of carrying the camera

two extra memory cards

a small day bag. Here’s how we

around my neck. I needed some-

and a lens-cleaning cloth.

did it:

thing to help support the weight,

With the pack around my

yet allow me to be quick on the

waist and the camera

a practice pack to see what fit.

draw. I envisioned something like a

strapped around my neck, I

The tripod had to go—our travel

front-loading baby carrier, but

had everything I needed for a

style doesn’t allow time to set it up

couldn’t find such a product for

day of shooting.

every time I want to shoot some-

photographers. (Manufacturers,

thing anyway.

take note!)

We made a packing list and did

I took only one lens, a Nikon 18-

For flash on this trip, I used my D200’s onboard flash. Next time I’ll

My solution was a small nylon

take my Nikon SB-400 flash. It’s

200mm, which covers most of the

waistpack worn unzipped. I placed

small and lightweight, and it will

focal range I’d need and has built-in

the camera lens down into the pack,

improve my indoor shots.

vibration reduction—a good feature

and handily pulled it out when I

to have sans tripod.

needed to shoot. The long lens hood

era’s battery charger and a plug-in

languages, the tag said there'd be

and a UV filter protected the lens,

adapter for European outlets. I car-

a reward for the finder if he'd

The next consideration was storing, viewing and sorting 21 days-

even when I didn’t replace

worth of images. In lieu of a laptop,

the cap. The camera

I took an 80GB Epson P-4000

body itself stuck up

Multimedia Storage Viewer, which

above the waist-

comes with a snug-fitting neoprene

pack, and tended

case. The P-4000 has more than

to flop around a

enough space for the estimated

little, but with

3,000 raw + JPEG images I'd cap-

the camera strap

ture with my Nikon D200.

around my neck,

I didn’t want the weight and bulk of a typical camera bag or case. An Op-Tech neoprene pouch was the perfect solution. It held my

I understand.

ried them in a plastic bag in my suitcase, along with

MAKE A DETAILED PACKING LIST & DO A PRACTICE PACK TO BE SURE IT ALL FITS.

there was no danger of its falling out. The waistpack had a small zip-

leave it with the local police for owner pickup. As for how my husband and I

adapter. With two

packed our clothes and daily neces-

adapters, I could

sities, that’s another article.

have a battery

Ricksteves.com is a terrific resource.

charging while I downloaded images

Our trip to Italy, Switzerland and Austria was full of amazing

in the evening.

photo ops (examples at www.four-

I took along two feath-

windsphotoart.com/gallery), and I

erweight necessities, a sturdy plastic bag to protect the camera from rain, and a laminated luggage

AVOID NEGOTIATING WITH YOUR CLIENTS

m 2. Learn about your subject before the day of the session. m 3. Be enthusiastic about what you’re creating. Clients who feel your excitement are less likely to haggle. m 4. As soon as the session’s over, book a viewing session for the following week. You need time to narrow the selection to 15 or fewer perfect images. The fewer images you show, the better your sale. m 5. Present images in an emotional way. Clients’ emotions are strongest when they first see images.

LAY THE GROUNDWORK: m 1. Build rapport. Ask emotional questions; listen to the answers.

I misplaced the camera. In three

the Epson viewer and

pered pouch in front that held a

NO-HAGGLING GROUND RULES: m 1. Do not lower your fees or give away photography for free. It will only damage your business in the long run. m 2. Not everyone who tries to get something for free actually expects to get it.

36' www.ppmag.com

Another necessity was my cam-

tag on my camera strap in case

had no occasion to make good on that reward. —Elaine McDonald

MANAGE THE BARGAIN HUNTER: m 1. Listen carefully and quietly to the request. m 2. Cushion your reply, “I understand exactly how you feel.” m 3. Look the person in the eye and inform him you just can’t do what he asks right away. m 4. Tell a little story or use an example from the client’s line of work to illustrate the outrageousness of his request. m 5. Redirect the negotiation conversation to an emotional discussion about the photographs,

PET PHOTOGRAPHY

KEEP THE FUR FLYING 7 Even if you have experience handling animals, it’s wise to learn all you can from an animal obedience trainer, even to attend classes. Animal shows—dog, cat, horse—are a fine place to observe how various animals are handled, and to

$

become familiar with the breeds. 7 Make your camera room animal friendly. Indoor-outdoor carpeting saves flooring and is easy to clean up. 7 The animal should be allowed to

COMMERCIAL PRICING

PROTECT YOUR VALUE 9 Never sell a photo-

roam the camera room and become

graph—sell usage rights,

familiar with the surroundings.

based on the time span

7 You’ll need a main light, a fill light, a hair light, and sometimes a reflector. My lights are mounted on stands with casters, so if an animal bumps into one, the light will roll instead of falling over. 7 To market your animal portrait

of the usage, how, where

©Keith A. Howe

and for what purpose the image will be used. 9 There are two parts to any estimate: the

BE A DIAMOND PHOTOGRAPHER OF THE YEAR WITH FOUR IMAGES IN THE PPA LOAN COLLECTION

services, post display ads in veterinarian

creative fee (depending

offices, pet stores, grooming shops and

on the photographer and

performs at the top of his game with a once-

nary subject, or an ordinary subject

animal events.

the advertisement

in-awhile effort, so photograph voraciously.

rendered extraordinarily well. Different

1. Practice, practice, practice. No one

involved), and the produc-

for the sake of being different is not

tion expenses (time, sets,

yields constructive feedback. Ask the

enough. Past Loan Collection books can

travel, etc.). Don’t scare

judges to be specific about how they arrived

inspire, but don’t copy the images.

away buyers by pricing

at your score. The judges’ critiques in

Review the 12 elements of PPA’s print

below their expectations.

national print competitions are a tremen-

merit criteria (go to www.ppa.com).

Buyers are well aware of

dous resource. Be a print monitor at

the costs involved in shooting high-end and low-end jobs. —Debrah H. Muska, M.Photog.Cr., “Animal Pet Photography,” PP Archive

2. Enter every print competition that

way unique. It could be an extraordi-

—Jack Reznicki, Cr.Photog., Hon.M.Photog., API, “A Bid for Success,” PP Archive

Imaging USA and keep your ears open. 3. Before you enter, ask photographers whose skills you admire to comment on

5. Everything about your images should contribute to the message you’re conveying. 6. Don’t stop working until every-

your prints. Be judicious about whom

thing about the image is excellent. With

you ask—too many cooks spoil the broth,

that and a little luck, you’re in!

too many opinions sully artistic vision. 4. Choose images that are in some

—2008 Diamond Photographer Keith A. Howe, M.Photog.M.Artist.Cr.

©Juli Cialone

how beautiful they are, how much they’ll mean to the family through the years. EXAMPLE 1: Mom clearly loves your images but Dr. Dad says, “What are you really going to charge us? What deal can you make me?” You: “I understand exactly how you feel, but there’s nothing I can do about the price. It’d be like asking you to discount your surgery fee. Of course you wouldn’t. You love these photographs! Think how much enjoyment you’ll get out

of having these beautiful portraits in your home for years to come!” EXAMPLE 2: Dad says, “If we buy these, will you throw in two 8x10s as gifts for our parents? It would cost you hardly anything to do that.” You: “As much as I’d love to, I just can’t. Here’s what I can do: I’ll include them for 20 percent less than if you purchased them separately. How does that sound?” We do that for clients who invest in a portrait of a particular

size, as long as they order the additional print the same day as the rest of their order. EXAMPLE 3: You’ve totaled up the order, and the dad says, “I’ll tell you what. I’ll give you $X for all of the photographs,” a figure well below what you’d actually charge. You: “I understand exactly how you feel, but I can’t lower the investment for you. But just look how terrific everyone in your family looks in this portrait. It’s wonderful! I’ll tell you what. Let’s put this

on a six-month payment plan. No extra charge at all. Is that fair enough?” Let him know the only way he can lower the investment is to eliminate something he truly wants. I would rather get the sale that day, even if it’s less than we anticipated, than risk losing the sale altogether. And we don’t want the client to lose out by not going home with portraits they simply love. —Charles J. Lewis, M.Photog.Cr.

November 20080 Professional Photographer0 37

4 WAYS TO IMPROVE YOUR LIFE WITH WORKFLOW AND IMAGING SOFTWARE

REGISTER A COPYRIGHT WITH THE U.S. COPYRIGHT OFFICE

1. PORTRAITURE PLUG-IN BY

2. PROSELECT BY TIME EXPOSURE

3. LUCISART BY IMAGE CONTENT

IMAGENOMIC

The secret is finally out about this

Photographers have been using

This easy-to-use Photoshop or Aperture

easy-to-use presentation and slide-

LucisArt for years to jazz up prints

plug-in smooths out smile lines, small

show making software. If learning one

for competition, shows and sales.

blemishes and other imperfections

more piece of software is likely to

LucisArt can turn an ordinary image

of registration: online,

without altering the contrast or high-

make your head explode, make just a

into something that makes photogra-

contrast areas of your image, as other

little room in your brain for this one,

phers look twice and clients say things

Form eCO; by mail,

filters do. Particularly good on acne,

even if you have to jettison valuable

like, “That looks like a painting!”

the plug-in has several sliders to control

celebrity trivia.

the application of the filter. For even

If you dial back the controls a bit,

ProSelect lets you make slideshows

LucisArt works as an everyday appli-

1. Visit www.copyright.gov. 2. Select a method

Form CO or Form VA 3. Complete the application online or on paper. 4. Upload your

more precise control, make the alter-

with dissolves and music, in literally

cation. In moderate amounts, the filter

ations on a separate layer in Photoshop,

just a couple of clicks, and it uses very

makes portraits that appeal to a

were you can adjust the opacity.

little memory and hard drive space.

younger generation looking for some-

your images and mail

That alone would justify the cost,

thing new. Light application of a filter

with application to the

after doing basic touch-ups with the

but there are plenty of other excep-

such as Sculpture can add just enough

Copyright Office.

Healing Brush or any of your preferred

tional features. You can show clients

sharpness or contrast or texture to

Photoshop tools. It will also help those

projections at exact sizes and crop the

make a wedding candid pop or add a

fee: $35 for eCO, $45 for

with less than perfect technique.

projected images. You can instantly

nice feel to a studio portrait, especially

Form CO or Form VA.

Portrait photographers will recoup the

make composites and framing exam-

a black-and-white image.

cost in just a few sessions.

ples with the built-in templates, or

This is a fine finishing tool to use

Price: $169.95; free demo at www.imagenomic.com.

With such a range of control for

make your own. If you need printed

each filter, the possibilities for practi-

proofs, one click and a simple slider

cal use are endless.

adjustment let you

images or burn a CD of

5. Pay the application

6. Look for the arrival of your Certificate of Registration.

Price: $595; upgrade $100 at lucispro.com.

create custom labeled proof

4. TIME MACHINE BY APPLE.

sheets.

Time Machine is built into the latest

When the

Leopard. It makes backing up your

ProSelect

files simple as can be, with one click,

allows you to

performed one time. Connect an

enter the

external drive to your Mac, and you’ll

order infor-

get a prompt asking if you want to

mation, then

make it your backup drive. When you

computes the

click yes, Time Machine takes over.

bill. You can

Every hour, it makes an incremen-

How to take a picture? “You look through

even print the

tal backup of your entire machine. It

invoice with a

saves the hourly backups over the past

the viewfinder,

thumbnail of

24 hours, daily backups for the

each image

month, and weekly backups for every-

and when your

ordered.

thing older. You can return to any of

Price:

those states to see how your machine

open in awe,

looked on a particular day.

you click the

$362; free demo available at www.timeexposure.com

38' www.ppmag.com

Mac operating system, 10.5, a.k.a.,

client is ready,

Price: $129 for Mac OS 10.5, including 299 other new features. —Michael Brantley, M.Photog.Cr, CPP

mouth drops

shutter.” — Harold Feinstein, “Urgent Purpose,” PP Archive

“How can we make your life easier?” It’s the busiest time of the year. Are your vendors making your life easier? If you’re working with Collages.net, the answer is yes. Our knowledgeable customer service team has been trained extensively in every aspect of our product lines. We can help with your workflow. Most of all, we can offer live, friendly assistance when you need it most. Don’t get lost in the shuffle this season. Call Collages.net today, and we’ll have you smiling in no time. Contact Collages.net at (877) 638-7468 or [email protected] to experience the industry’s premier one-stop solution. You’ll quickly see why 98% of our customers would recommend Collages.net to another professional photographer.

Albums | Press Printed Books | Professional Printing | Online Presentation | High-End Cards Check out Collages.net’s comprehensive product line at www.collages.net/products. ©2008 Collages.net Inc. All rights reserved. Photos ©2008 Stephanie Post.

LAND YOUR VERY FIRST WEDDING JOB

EMBRACE THE LIGHT

Embrace the lighting conditions you find.

“Yeah! I’ll shoot it!” I screamed, when

Look for opportunities rather than situations.

my friend Deyl Kearin asked if I ‘d

I look for areas with backlighting. I look for

shoot a wedding on a day he’d already booked. I’d just

reflected light. I look for how I can manipulate

dropped out of college

the existing light. I look to discover areas that

and the $1,000 I’d make sounded like a jackpot. I’d

can make a portrait work. I look at

never even assisted a pho-

unique situations. Most important, I look for a fresh way to use light.

tographer at a wedding before, and had no idea

—Michael Glen Taylor, M.Photog.Cr., Hon.M.Photog.Cr., CPP, API, F-ASP, “All the World’s a Studio,” PP Archive

what to do. But this was my start, my first big job. Since then I’ve shot more than 100 weddings, and my prices have

THE BABY PLAN

risen to more than $15,000 per job. I’ve

CASH IN ON THE FACTS OF LIFE

done no advertising, never gone to a

Babies go through so many changes in just one year. When you market to

bridal show, displayed no sample mate-

that check? It isn’t great wedding

rial other than on my business card and

pictures—you haven’t shot their wed-

my unique Web site. What I do have is

ding yet. The only thing you give them

an army of customer-evangelists. You

at that moment is a promise, a com-

can get your business rocking, too, with

mitment, a feeling of security that

four simple steps.

their wedding will be captured in

1. FOCUS. Before you do anything else,

incredible photographs. You are the

families with new babies, you can have year-round business. Our Markle Studio plan offers four portraits over baby’s first year—3 months old, 6 months old, 9 months old, and baby’s first birthday. Mom can be included in one of these sessions. At the conclusion of the series, the client gets a custom photo mat with openings for one portrait from each session. Get creative with variations on the plan, like adding special album

choose a specialty and believe whole-

source of their feeling of security. Sales

packages. Our plan requires a payment up front that covers all four portrait

heartedly that you can actually do it.

in wedding photography are the trans-

sessions plus the panel composite at a discount on our studio’s regular

fer of emotion.

pricing. We also offer packages from each session at a discount. The discount

2. BUILD RELATIONSHIPS. Take advantage of word-of-mouth marketing

4. INVEST IN OTHERS. The busi-

and get the message spreading through-

ness of wedding photography is a lot

out your immediate network. Stop sit-

like high school—the most popular kids

ting behind your computer editing your

win. The people with the most friends

pictures and get out there and meet

and biggest networks usually come out

people!

on top, so spend time getting to know

Build a relationship with other wed-

people. As Dale Carnegie wrote, “You’ll

ding photographers. Photographers have

go further in two months by becoming

been my largest source of referrals. Other

genuinely interested in just two other

photographers aren’t your competition,

people than you will in two years of try-

they’re your colleagues, and the biggest

ing to get other people interested in you.”

pipeline to your first clients. 3. MAKE AN EMOTIONAL

—Valerie Markle, M.Photog.Cr., “Growing Babies: Year-Round Cash Flow,” PP Archive

Right now, visit the Web site of a photographer in your area, find some-

CONNECTION. Emotion is a magic potion.

thing you like about him or her, and then

We do everything for one reason—the

let that person know it . Bestow some

feeling it gives us. It’s true of the restau-

encouragement and start a relationship.

rants we choose, the clothes we buy, and

Join professional groups like PPA and

the people we hire to perform such

your local affiliate, and hop on free

services as photographing our wedding.

forums like opensourcephoto.com and

What are your clients really buying

OurPPA.com. It’s business and pleasure.

when they book your services and sign

is a reward to our clients for repeat visits and loyalty to our studio.

—David Jay ©Richard Marchisotto

Continued on p. 48 40- www.ppmag.com

Why am I passionate about my pen? This may sound crazy, but the pen allows me to achieve perfection. What can I say? I’m a perfectionist. I like things to be exact. I’m Alex. I’m a Photo Retoucher. I’m all about the details. It’s my duty. People come to me and ask: “Can you just Photoshop this?” And I know they don’t have a clue what that means. Their eyes don’t see the details the way mine do. Do they even know what dodging, burning, cloning and healing mean? And then there’s compositing… Small details are huge things. With my pen, I can work at the pixel level, creating masks and selections with speed and control. Making everything just right. At the Pen Collective, I’ve found people who understand my obsession. Listen. Share. Learn. Come to Grips with Your Pen Love.

www.PenCollective.com © 2008 Wacom Technology Corporation. Wacom is a trademark of Wacom Company, Ltd. All other references to third-party software are recognized as trademarked property of their respective owners and used with their permission.

All images ©Ellis Vener

read a histogram HOW TO

Demystifying a challenging tool BY ELLIS VENER

m

Editor’s Note: This article by Ellis Vener first appeared on PPmag.com’s Web Exclusives in December 2007. Since then, it has become the most popular story on our site. We asked Vener to update his story for publication in this special issue.

What does a histogram tell us about a photograph? A histogram is a bar graph that shows

capture, the compression level. The data being sent to the preview is based on a highly compressed, low-

how the luminance values in a digital

resolution JPEG, using an 8-bit-per-channel

photograph are distributed. But you can’t

version of the color space you’ve chosen, and

actually see the individual bars, unless one

possibly incorporating the tone settings in

appears as a singular spike or is missing

the camera’s processing parameters.

altogether, leaving a visible gap. The histogram displays a scale of light, from

With raw capture and with large color spaces (e.g., ProPhoto’s 16 bits per channel),

black to white. Except with a histogram of a

the image file contains more information

scanned negative, the scale reads from black

than the histogram displays. Bad thing: the

at the left to white at the right. Almost every

image might actually have a lot more detail

photographic histogram has 256 increments,

in the upper highlights or near-black shadows.

corresponding to an 8-bit scale of zero to 255.

Good thing: you know the image is at least

Simple histograms map the total distribution of the recorded luminance values. More

as tone-rich as the histogram indicates. The late Bruce Fraser articulated a key con-

complex histograms display the luminance

cept, “Tonal differences are detail.” Histograms

values as a layered composite of each of the

show where those differences are, and where

red, green, and blue color channels, or, in

there are problems, such as clipping.

the histograms of certain cameras and one

Clipping appears as a peak at the ends of

viewing option in Photoshop, luminance

the histogram. Unless there are detail-free

values of each color channel individually.

areas of black or white of a significant size in

A histogram’s horizontal scale measures

the photograph, the problem is likely that

exposure latitude. The vertical scale measures

your exposure setting is destroying (clipping)

quantity as a percentage—how much of the

the differences that define detail at the extremes

image has a specific luminosity value. The

of your exposure (aperture + shutter speed +

horizontal scale measures in absolute values

ISO setting + in-camera processing settings

(0 to 255), but the vertical scale’s measure-

if you’re shooting JPEGs). Remedy—

ment is affected by several factors: the color

shooting raw and processing the capture

space, the bit depth, and with JPEG

with a raw processor gives you more latitude

A Photoshop layered composite histogram.

A camera histogram showing individual channels.


than shooting in-camera-produced JPEGs. A rule of thumb when using a histogram to evaluate exposure, expose to the right. There is a sound reason for doing this,

photo site (pixel) is capped with either a red,

states it can be in. Obviously, the more states

green or blue filter. A full set of color values

the smoother the transition will be between

for each point is created when the photo is

one shade of gray and the next.

processed from its raw state to a demosaiced

To keep this simple, I’ll use a 12-bit-per-

and it goes back to how the CMOS and CCD

RGB file, whether by the camera or by an

channel model. Devices record light in a linear

sensor arrays in digital cameras and scanners

external raw processer. A 1-bit device is like a

manner, but the pixels do not evenly share the

work. Linear arrays record more data at the

light switch: it has two states—it’s on (white)

wealth of detail. The brightest stop of exposure

higher bit levels. You can tease those

or it is off (black). A 2-bit device has four

contains half of the available states, or levels

differences apart with a good raw processor

states (or 4 shades of gray: white, light gray,

of detail (2,048 in 12 bits). The second

or in Photoshop and find those details.

dark gray, black). A 3-bit device has 8 states

brightest stop down contains a quarter of

It’s important to understand that each

(white, six shades of gray, and black), a 4-bit

the total (1,024) the third brightest contains

pixel in a camera’s array is a separate mono-

device has 16, and an 8-bit device has 256 (2

512 levels, the fourth brightest 256, etc.

chrome device. It does just one job: record

x 2 x 2 x 2 x 2 x 2 x 2 x2). A 12-bit device

The farther to the right you expose without

the total amount of light striking it. Each

has 4,096 and a 14-bit device has 16,384

clipping the highlights, the greater the differ-

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ences you’re recording. Post capture, you can start teasing it apart to see the differences in tone. On the other end, in the shadows, you start to run up against the signal-to-noise threshold—a lot of what looks like shadow detail may actually be electronic noise. That’s another reason to expose to the right: the more signal recorded, the lower the percentage of noise. When you start with an underexposed image and have to lighten it during processing, you create gaps between the steps, because the image data has fewer and cruder gradations. This shows up as banding, abrupt changes in tone. Noise begins to become more apparent as well. You can reduce noise with software, but at the expense of image detail and time. As with film, exposing well in the first place results in both better image quality and time savings. With many cameras, you have the option of viewing a simple composite luminance histogram or a precise exposure level for each color channel. If you believe that the more information you have, the sounder your decisions, go for the latter view. What a histogram does not do: Tell you what colors are out of gamut. One more reason to shoot raw! When processing, use a large color space like ProPhoto or Adobe RGB(1998) at 16 bits per channel. After making all adjustments, you can convert a version of the master image to the color space or profile and bit depth required for the intended output. It’s all about the wise control of the tangible portions of your work. Be aware that there’s no such thing as a standard shape for a histogram; the shape of the histogram depends on the content of the individual photograph. A photograph of a white dog against a black backdrop will have a U-shaped histogram with very few midtone values. A histogram for a photograph of a gray-haired man in a gray flannel suit against a mid-gray backdrop will have a hump and very little data on the ends. !

Adobe CS4: Photoshop and Bridge

Continued from p. 40

PHOTO EDIT WITH TWO FINGERS Open Adobe Bridge CS4 and navi-

down key to eliminate images from

gate to a folder of images.

the selection. You can continue

If the folder includes JPEG +

repeatedly dumping with the down

raw captures, Review Mode will dis-

key. Cmd/ctrl-Z will restore the

play both files. You can use the fil-

last photo you dumped if you

ter panel (Window > Filter Panel)

haven’t used the arrow key again.

to show only the file type you want

Cmd/ctrl-[ or ] will rotate a photo

to work with.

90 degrees.

Hit cmd/ctrl-B to see the Review Mode (View > Review Mode). Put your right middle finger on the right arrow key and your index finger on the down arrow key. Use the right key to advance and the

Continue through the carousel view until you’ve narrowed the selection to your best. Click the Collection icon on the lower right corner. Name the collection and click Save. Bridge will revert to a review

Review reverts to your workspace, where you can compare and remove images. of your new collection. Here you can compare images in pairs or

TOSS AND TILT YOUR IMAGE WITH A WACOM PEN Photoshop CS4 capitalizes on powerful modern graphics processors to enhance image viewing. You can toss and tilt your image as if it were a photo on a table in front of you. It works with a mouse, but if you’re using a graphics tablet, it’s great to control this function with your pen. Access your pen control preferences. On a Mac, choose System Preferences and click on the Wacom Tablet icon under the Other category. Windows users, find the tablet preferences in the Control Panel. Choose the Pen tool. Select the menu for the upper half of the Pen button control, choose Keystroke, hit the space bar (Hand tool shortcut), click OK. Choose Keystroke

48/ www.ppmag.com

from the menu for the lower half of the pen button and type R (Rotate View shortcut). Close System Preferences. In Photoshop, all you have to do now is access the Hand tool with the top side of the Pen button. Touch pen to tablet and flick to toss the image, making it glide across the screen. The motion stops with its own momentum or as soon as you again press pen to tablet. Clicking the lower half of the Pen button now keys the Rotate View tool. Tilt your image to any angle non-destructively to make the action of painting and drawing much more natural than ever before. —Joan T. Sherwood, Senior Editor

Your original images remain

more if you need to make further

untouched in their original loca-

refinements. Select an image and

tion. This set of images now exists

click the space bar to see it in a full-

as a Collection. Choose Window >

screen view; click the space bar

Collections Panel if you don’t see

again to return to the Bridge inter-

the Collections tab in the Bridge

face. Select an image and click the

interface.

Remove from Collection button just Click the Collection icon to create a new collection from the Review Mode.

delete it from your selection.

above the thumbnails panel to

—Joan T. Sherwood, Senior Editor

WORKFLOW

MENUS AND KEYBOARD SHORTCUTS : Hide menu items you never use: Window >

EXTEND DEPTH OF FIELD m 1. Take several exposures of a still subject, extending the focus to a more distant point with each frame. Cmd/ctrlclick the images you want to blend in Bridge CS4. Go to Tools > Photoshop > Load Files into Photoshop Layers.

Workspace > Keyboard Shortcuts & Menus >

m 2. A new Photoshop file opens with the images

select the menu or panel,

imported into layers. Shift-click to select all the layers in the

click the Visibility button.

Layers palette.

. Choose your own keyboard shortcuts: Window > Workspace >

Step 1

m 3. Choose Edit > Auto-Align Layers, choose Auto, click OK.

Keyboard Shortcuts & Menus > select the Keyboard Shortcuts tab, click

m 4. Choose Edit > Auto-Blend Layers, choose Stack Images, and Seamless Tones and Colors; click OK.

on the menu command. An open field will display.

m 5. Photoshop blends the selected layers according to

Type in your shortcut. The

content, creating a layer mask for each layer, isolating the best

interface will warn you if

information for the blend.

your shortcut is invalid, or if it is in use for another

Step 3

command, giving you the option to change it. . Show Keyboard Shortcuts: opt/alt + shift + cmd/ctrl + K : Browse in Bridge: opt/alt + cmd/ctrl + O or shift + cmd + O : Close and Go To Bridge: shift + cmd/ctrl + W : Save for Web & Devices: opt/alt + shift + cmd/ctrl + S

Step 5

Step 4 First layer

Last layer

Ten layers blended All images ©Joan T. Sherwood

: New Layer: shift + cmd/ctrl + N : Merge Layers: cmd/ctrl + E : Merge Visible Layers to a New Layer: opt/alt + shift + cmd/ctrl + E : Layer Via Copy: cmd/ctrl + J : Modify Feather: shift + F6 : Last Filter: cmd/ctrl + F : View Gamut Warning: shift + cmd/ctrl + Y : Proof Colors: cmd/ctrl + Y

November 2008: Professional Photographer: 49

LAUNCH YOUR BUSINESS

START ME UP - Begin with research and a business plan. - Check local zoning regulations and get appropriate business licenses. - Get a tax ID number and find out what taxes you’re required to report and when. - & business liability insurance. Home-based businesses need coverage specifically for business property, professional liability, personal and advertising injury, loss of business data, crime and theft, and disability. - The Small Business Administration suggests purchasing business interruption insurance to cover lost revenue due to natural disasters, fires or other catastrophes that temporarily halt business. - Every state save Texas requires businesses to carry worker’s compensation insurance for employees (in some states you’re exempt if you have fewer than a specified number of employees). - If you have substantial personal assets, it can be smart to safeguard them by setting up your business as a limited liability corporation (LLC) to keep your business and personal identities separate. —Lorna Gentry, “Taking Care of Business,” PP Archive

PROTECT YOURSELF AND YOUR BUSINESS FROM MALPRACTICE SUITS Join Professional Photographers of

Indemnification claim is filed, you must

or film due to an employee delivery is

America and take part in PPA’s

work with the attorneys of Howe &

also ineligible.

Indemnification Trust (for members in

Hutton. The Trust will not provide

the United States and Canada), a fund

monetary compensation for negotiated

established to protect photographers

settlements or resolutions completed

against alleged negligence on assign-

without the consultation and assistance

or guarantees of the quality of film,

ment in the case of:

of Howe & Hutton.

products, or services otherwise pro-

9 Data loss (e.g., corrupt media card or hard drive failure); 9 Equipment failure; 9 Failure of the photographer to

9 Liability suits in cases of dishonmalicious acts, libel, slander, defamation of character or reputation, breach of confidentiality or invasion of privacy,

rendered during an assignment or as

injury or mysterious disappearance,

contracted.

loss of or damage to tangible property. 9 The actions and work of independ-

one occur, the Trust will intervene to

ent contractors hired by PPA members.

represent your interests, and provide

9 Business interruptions, loss of profits,

legal counsel and advice in resolving a

lost or damaged property, or casualty loss.

dispute. Unlike traditional error and

(You might be required to ship damaged

omissions or professional malpractice

digital media for data recovery services, but

insurance, PPA members will not incur

any business disruption caused by the

rate increases or loss of coverage when

damaged media is not covered.)

a claim is filed. Coverage for the above allegations

9 Contract disputes that arise due to the client’s intended breach of contract.

could include the payment of damages and

Trust attorneys and the PPA

judgments, fees charged by an attorney

Copyright & Government

designated by The Trust, and reasonable

Affairs staff are always avail-

costs and expenses resulting from the

able to provide advice about mem-

investigation, settlement, defense, or

bers’ legal options in resolving dis-

appeal of the initial claim. The attorneys

putes or misunderstandings

assigned to file claims work closely with

with clients.

the professional photographer to find an acceptable, expedient, and equitable solution.

9 Claims of invasion of privacy 9 Lab loss of film 9 Lawsuits based on

HOW TO FILE A CLAIM:

breach of contract, or mat-

The first step is to call PPA at 800-786-

ters that may be criminal

6277. A team member will ask you for

or viewed as intentional,

information regarding the incident,

as opposed to negligence

and file the claim. A representative from the law firm

9 Loss or damage of photographic property

of Howe & Hutton, specialists in pho-

that is in transit, with

tographer indemnification, will call you

the exception of film that

to discuss your options and next steps

is shipped with a tracking

in resolving the issue. Once a Trust

number. Loss of property

Continued on p. 56 50% www.ppmag.com

9 Expressed or implied warranties

party for film or pictures that subsequently fade.

esty, intentional fraud, criminal or

specified time;

Should a lawsuit or the threat of

bers or others

vided by the member or any third THE TRUST DOES NOT COVER:

be at the event or assignment at the 9 Client dissatisfaction with services

9 Copyright infringement by mem-

The Trust has seen a spectacular increase in data recovery and damaged media claims. Back up your work as soon as possible on removable media, and in multiple locations!

pose kids All images © Sandy Puc’

HOW TO

Sometimes it’s OK to break a few rules and have fun BY SANDY PUC’,

M . PHOTOG . CR ., CPP

Perfecting children’s portraiture requires

or a hair be out of place, and make the most

still be there every time. After posing a child’s

patience and a great attitude; many of the

of the limited time left me.

head, I walk back to the camera without

“Law of the Jungle.” I do try to follow the

HEAD TILT. The general rule is that girls

child to stay still, then snap! I’ve got my shot.

rules, but success depends to a large degree

tilt their head toward the lower shoulder, boys

on the child’s attitude and willingness to listen.

toward the higher shoulder. At about age 3,

ARMS AND HANDS. There are many

Sometimes we should settle for fun, and let

children start to take direction on tilting their

formal rules for posing arms and hands.

go the idea of perfection. I have a good time

head. Understand, though, that children are

For instance, never crop a body part at a

with the kids, knowing that mom and dad

quite literal—if you say “tilt,” they’re going to

joint, as it makes the image disquieting.

won’t see what I didn’t get, as long as I got a

really tilt. Often, you’ll need to physically posi-

And fingers and hands should not be

great expression. If the child is nearing the

tion the subject’s head. And when you get

pointing toward the camera. That’s one I

end of his patience, I’ll let a shirt go untucked

back to the camera, don’t rely on the tilt to

try hard not to break.

rules of photography are thrown over for the

taking my eyes off him. I gently coax the

One of my pet peeves is not using a proper support arm. You must find poses that do not seem forced or uncomfortable. Having an arm stiff or in an awkward position is not only a distraction in the final image, but will also result in an unfortunate expression reflecting the child’s obvious discomfort. For arms or hands, I always prefer a natural, informal approach with children. With more than one child, the oldest child’s arms and shoulder should be positioned behind the younger children’s. I want to show the siblings closeness, but without hiding the little guys. This pose also reflects the appropriate ratio of the subjects’ sizes.

LEGS AND FEET. I generally use two leg poses with children. The boy pose is a seated position with the legs to the side, with one knee bent. (It’s important that boys not be seated flat on their bottom, as it draws attention to the groin area.) The boy places his elbow on the raised knee and makes a slight fist. Be sure his trouser legs are covering his socks. The girl pose is similar, except with both legs extended slightly. The palm of the girl’s support hand should be flat on the ground, fingers pointing away from the camera. The other hand can rest across the leg, although I prefer to place it on the lower thigh. From there you can create many simple variations. The one pose we almost never use is what we all know as “Indian style” (or “criss-cross applesauce” for the younger and more politically correct). This pose flattens everything out, and makes it impossible to get dynamic head, shoulder, and body tilts. Of course, every once in a while, a child just sits in that position naturally and it’s adorable —even my strictest rules can be broken. EXPRESSION. Controlling all the variables that go into making a perfect image isn’t always easy. Looking back at my

early work, I sometimes cringe at the lighting, exposure, and composition I used, because now I recognize my mistakes. But whatever little mistakes you might make, I’ve found that if you capture the real expression of the child, one that will emotionally move your client, minor flaws will be overlooked.

‘‘

A child’s smile or laugh can melt hearts, but that doesn’t mean that the subject needs to be all smiles all during the session. Sometimes a soft look or even a sad pout will stir the same emotional connection. When the subject isn’t smiling, the eyes are at their fullest, most wideopen shape. Warm and inviting, they, too, can capture the viewer’s heart. I typically provide an even mix of these expressions.

I have a good time with the kids, knowing that mom and dad won’t see what I didn’t get, as long as I got a great expression.

’’

personality. When I select images for

Your clients trust that you’ll capture

studio samples, I’m always drawn to the

the whole essence of their child, and that

images where the subject is not smiling.

includes a full range of emotions and

But I understand that my clients’

expectations include a healthy balance. ! Excerpted and condensed from the book, “The Sandy Puc’ Guide to Children’s Portrait Photography” (Amherst Media).



MEASURE YOUR FINANCIAL HEALTH IN 30 MINUTES OR LESS * ahead, and exit with a

start? See below on downloading a

quick financial health

list of categories from ppa.com.)

*ACTUAL TIME MAY VARY, DEPENDING ON THE STATE OF YOUR FINANCIAL SHOE BOX.

diagnostic tool. Remember how to

In a healthy photography business,

ence of a circle? You mul-

the benchmark for annual owner’s

expenses; home-based—35 percent

tiply the diameter of the

salary plus net business profit is 35

to cost of sales, 30 percent to general

circle by pi (!). Easy as

percent of the total amount of sales

expenses. So in a sense, the “!” in man-

you-know-what if you

(gross profit). Altogether, the owner

agerial accounting, the benchmark

know the measurement of

keeps 35 cents out of every sales

for retail-based studios is 25-40-35,

the diameter and that the

dollar coming in.

and for home-based studios, 35-30-35.

magic number ! = 3.14159.

The remainder of the gross prof-

True, applying the formula will

Determining your

it, 65 percent of the money taken in,

take some thought, commitment, dis-

studio’s financial health

goes to paying two kinds of business

cipline, maybe belt-tightening, even

is much the same. The

expenses: the cost of sales, which is

hardship, and professional advice. But

magic numbers used in

the cost of producing the “products”

after doing a reality check through

the formula for photo-

sold; and general expenses, which

managerial accounting, you’ll know

graphic business suc-

include business administration costs

what questions to ask. Best of all, you

cess—one for home-

(among them equipment, office sup-

will be in control of your business. You

based businesses, anoth-

plies, outside legal and accounting ser-

will be able to support your inner artist.

er for retail location

vices, taxes and license fees) and over-

businesses—have been

head costs (employee expenses, mar-

able for PPA members online in a

determined for you by

keting, capital expenditure, building

downloadable PDF document. Go to

maintenance, rent, utilities, insurance).

www.ppa.com, click the Studio

Bookkeeping, budgeting, pricing,

the photographers and SMS

financial forecasting—ugh, who

accountants who authored the PPA

needs it; there’s money in my busi-

Studio Financial Benchmrk Survey.

ness account, I’m paying my suppli-

YOUR MAGIC NUMBERS

determine the circumfer-

Home-based businesses and retail

The Benchmark Survey is avail-

Management Services tab, then click

location-based businesses have dif-

SMS Resources. You’ll also find tem-

The formula is the benchmark,

ferent overhead expenses (there’s more

plates for categorizing expenses,

ers, and my accountant keeps my

the standard, against which to diag-

overhead for retail spaces), so there

cost-based pricing, and building

tax reports up to date. I don’t see

nose the financial health of your busi-

are separate benchmark allocations

your annual projections.

how this managerial accounting

ness. Applying the formula, created

of that 65 percent for each model:

thing could help my business suc-

especially for the business of pho-

retail-based benchmarks—25 percent

tography, to those numbers is man-

to cost of sales, 40 percent to general

ceed, even if I knew what it was. That’s a prevailing sentiment

agerial accounting. Managerial

among professional photographers,

accounting will pinpoint any prob-

says accountant Bridget Jackson,

lems and clarify the remedy. And

manager of PPA Studio Manage-

get this—PPA has automated the

ment Services. That’s why Jackson’s

“crunching the numbers” part.

enthusiasm on the subject catches

For more information, check out Studio Management Services at ppa.com, or call Beth Moore at 800-339-5451 ext. 244.

The numbers you need for man-

LIGHTING OBJECTS

ALL THAT GLITTERS Use tent lighting for small, shiny objects, completely enclosing the object in a

one off guard. “I love showing

agerial accounting are right there

diffused light chamber. You can construct such an environment from a simple

clients that something as important

in your shoebox, the actual amount

matte acetate cylinder, though the opening at the top of the cylinder could

as managerial accounting is almost

of your gross sales, cost of sales and

cause dark reflections. You could also use a cone that would extend from the

as easy as organizing your closet!”

general expenses. Get past the hurdle

camera lens to the shooting table. For the setup to be light fast, you’ll have to

You’ll find this hard to believe, but

of sorting these into categories on

take care in cutting the bottom of the cone so it sits flat on the table. For a

she witnesses financial epiphanies on

a spreadsheet, says Jackson, and

cheap and easy option, cut out the bottom of a frosted plastic gallon water jug

a regular basis. Photographers enter

you’ll know how your business is

and place it over the object on a light table or white surface. Place a light out-

with a shoebox of jumbled receipts

doing. Moreover, you’ll see exactly

side the jug, and shoot through the mouth of the jug.

and vague hopes for the months

where any problems lie. (Where to

56) www.ppmag.com

—Al Francekevitch, “Lighting Small, Shiny Objects,” PP Archive

Bay Photo Has the Holiday Cards Your Clients Have Been Looking For!

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WE’RE HERE FOR YOU!

.com

©Mark Garber

HOLD A GREAT HOLIDAY SPECIAL In just two days of shooting and fewer than 10

MAKE WEDDING ORDERS STICK

hours of production time,

! Collect a substantial deposit the day you book the wedding. ! Record the names, phone numbers, e-mail addresses

Barbara Yonts’ Christmas special grosses $13,000

and complete street addresses of the bride, groom and both

bride to say you’re looking forward to working with her, and reit-

to $15,000. Partner with

sets of parents.

erate the date and time of the session.

a kids clothes boutique—

! Send a personal note to both sets of parents. Introduce

! Immediately after collecting the deposit, book an

a shop with great décor—

engagement session at locations important to the couple. These

yourself, and say you’re looking forward to photographing the

and do the portraits there.

will be presented in a romantic slide show at the reception. It

couple. Engaging the parents is a powerful sticking strategy.

Let the store book the

! One month after booking, mail another handwritten note

further cements the agreement, and gets the couple too excited over the upcoming session to suffer buyer’s remorse.

! Mail a handwritten thank-you and a small pertinent gift

minutes apart, from 9 a.m.

Bride Magazine. This tells the couple you care about them.

to 7 p.m. Forget showing

! Two weeks later, send another note with a box of gour-

immediately after your first meeting.

! Next day, mail another personal letter recommending wedding vendors whom you know and trust. This positions you

rapher’s choice. After each

about the big day coming up.

mini session, let an assis-

If you think this is too much trouble because you so seldom have cancellations, I’m pretty sure your prices are way too low!

! One week after booking, send a casual e-mail to the

coating. “The easiest method of finishing

without being exposed to

on your canvas to be sure it’s compati-

a canvas is to spray it with a preservative,

dust or other airborne particles.

ble with your printer’s inks.

usually acrylic-based,” says Alan Zarter

Look into building a DIY spray

of Lawrenceville, Ga. “The spray adds

booth. Follow the product’s appli-

durability and display life to the print.

cation guidelines.

I use PremierArt Print Shield, which

I’ve painted on self-fixed canvas

doesn’t alter the look of the print.”

prints with good results, but the pro-

occasion help customers

You can also use Krylon matte,

In just two days of shooting and fewer than 10 hours of production time, Barbara Yonts’ Christmas special grosses $13,000 to $15,000..

select a print package and collect payment in full. In addition

fessional finishes have an extra depth

to a nominal session fee

satin or glossy finish sprays. Read the

because of the additional steps the

per child, Yonts’ packages

specs for the coating you’re consider-

pros take after applying the first pro-

range in price from $35

ing to make sure it’s compatible with

tective coat, from multiple coats of

to $165. Customers can

your canvas and inks. It’s a good idea

lacquer to silk-screened photo-poly-

add photo products and

to test the finish on a sample print.

mer UV coating hardened and poly-

prints to any package. They

merized in a UV reactor.

get eight free wallets if

Choose a product with UV inhibitors to lessen the long-term effects of exposure to light, because the canvas will

©Karen Sperling

tant hired specially for the

—Charles J. Lewis, M.Photog.Cr., “Wedding Orders—Make It Stick!”, PP Archives

LEARN TO PROTECT YOUR CANVAS PRINT 1. Check the manufacturer’s specs

proofs; it’s strictly photog-

met cookies or fine chocolates, and tell them you’re excited

as an expert on the specialists in the community, and the bride will truly appreciate the helpful information.

appointments, all of 5

with yet another appropriate gift, such as a paid subscription to

not be displayed behind glass. Jack Duganne of Santa Monica, Calif., recommends a spray coating like

Once the canvas is coated, you

the child is photographed

have to stretch it on a frame, which

in an outfit purchased at

requires a whole other set of skills. The

the store. At pick-up

acrylic will flex with the stretching and

they get a 20-percent

protect the canvas.

store discount coupon toward their next clothing

2. Let the print cure—dry at room

Krylon Workable Fixatif available at art

Your efforts will show in the

temperature next to a fan set to low—

stores, or water-based PremierArt ECO

results. If you don’t have the time or

purchase. Yonts delivers

for at least 24 hours. “This lets the col-

Print Shield, which you apply with a

patience to learn how to do a profes-

beautifully packaged orders

ors and tones stabilize,” says J Vee of J

foam roller. Duganne says spraying the

sional job, outsource it.

to the store for pickup in

Vee Graphics in Jacksonville, Ill., thus

canvas first makes the rolling easier.

preparing the surface to accept the next medium you apply. 3. After curing, apply a protective

Sprays smell and the vapors get into your lungs. Spray in a well-ventilated area where the finish can dry

—Karen Sperling, with contributors J Vee, J Vee Graphics, www.jveegraphics.com; Jack Duganne, Duganne Ateliers, www.duganne.com; Alan Zarter, Alan Zarter Fine Art, www.azfineart.com

about three weeks. — Barbara Yonts, M.Photog., CPP, “Children’s Christmas Special: Easy, Fun and Profitable”

Continued on p. 64 58( www.ppmag.com

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get creative with flash HOW TO

Learning to love your speedlight BY DAVID HOBBY

Over the last 20 years as a newspaper photojournalist, I’ve learned something important about big studio flashes: They work poorly when I’m on assignment and they’re at home under my bed. Awhile back, I decided to learn how to better use the speedlights that always go with me in my Domke bag. Like Crosby, Stills and Nash said back in 1970, “If you can’t be with the one you love, love the one you’re with.” My newspaper days over, I’ve moved on to corporate and magazine photography. I still love my speedlights, and have adapted my shooting style to rely heavily on these pintsized wonders. My current favorite is the Nikon SB-800. I like to think of it as a little monobloc, not such a stretch, really. It has full manual power, and as a bonus, wireless TTL. It also features a PC sync jack and a killer built-in slave. That’s a lot of fun in a package about British photographer Ant Upton

the size of a hot dog. When I’m not shooting I publish a blog,

60 www.ppmag.com

All images ©David Hobby, Strobist.com

Marketing specialist Asif Somji of Dubai

The Hobbys at their Florida home

Strobist.com, which teaches lighting tech-

a 1/4 CTO filter to warm up the flesh tones

modifier of

niques. It has evolved into a sort of lighting

(Ant, after all, is British).

about 7x9

co-op, where a couple of hundred thousand

The environment was a classroom at the

photographers hang out to learn about flash.

University of London. The background was

gobo placed a little high between the box

We recommend getting your small flashes

a gray room divider. Ugh. To get some color,

and Asif kept the light off his forehead.

off your camera, and having a willingness to

I gelled a second speedlight with a blue CTB

try anything at least once. The result is a

gel and underexposed the background by a

second SB-800 in an ExpoImaging Ray

hyper-creative, peer-to-peer learning environ-

couple of stops.

Flash ringflash adapter. I set the fill about 3

ment where the next “pro tip” you pick up might

To create texture, I shot my background

inches. A cardboard

I filled the shadows with on-axis light, a

f/stops lower than the key light.

come from a 17-year-old kid busting a new

flash, positioned back, camera right,

lighting move on his skateboarding friends.

through a stack of drinking glasses. These

comes from a ring flash or an umbrella

Everyone can use a creative jumpstart

I love using on-axis fill light, whether it

created wavy diffractions on the back wall. I

behind the camera. The light reaches back

every now and then. To prime the pump,

picked up a little rim light from the blue

in there and reveals detail in a controllable

here are four quick ideas on lighting

flash on Ant’s face as a bonus.

way. And it doesn’t ruin the logic of the key

subjects with small flashes.

light by introducing another lighting direction.

RINGFLASH FILL DRINKING GLASSES BACKDROP

This photograph of Dubai-based marketing

SUNSET YEARS

This photo of British photographer Ant

specialist Asif Somji (p. 61) was shot with two

My parents are approaching the 50th anni-

Upton (p. 60) was lit with two speedlights. I

speedlights. The key light was an SB-800

versary of their first date, and I wanted to create

lit him with a single flash in a shoot-through

placed high and close in, mounted in a small

something special at their lakefront home in

umbrella, camera left. I gelled the flash with

LumiQuest SoftBox II, a folding light

Florida (above).

62 www.ppmag.com

I clamped a single SB-800 to the inside of the tiki hut roof and triggered it with a Pocketwizard. It was fitted with a dome diffuser and a CTO gel, to mimic a bare tungsten bulb. It may look like there’s a tungsten bulb in the hut, but I have far more lighting flexibility with the flash. A continuous light bulb will balance with the sunset for just a few minutes. By keeping the aperture constant and opening up the shutter speed, I can track the balance between flash and sunset all the way into deep dusk.

ROOFTOP PUPPETEER For this shot of puppeteer Patrick Zung

Puppeteer Patrick Zung

(right) in New York City, we worked well into dusk—as in near darkness—zooming the

We used three speedlights. The main

kicker light, back camera right. The third

camera during the long exposures to make

light was in a shoot-through umbrella,

flash, used as an up light, was placed on the

the city lights abstract.

camera front right. We used a bare-flash

ground under the puppet’s chin. !

PowerLight Accuracy. Consistency. Reliability.

FREE Product Offer Get up to $200 in Free product ... Soft Boxes, Umbrellas, Stands and More!

Go to www.Photogenic.com for details.



BE SMART ABOUT BUSINESS DEBT I

BY ANN K. MONTEITH, M.PHOTOG.CR., HON.M.PHOTOG., ABI

!

Excessive debt is the No. 1 business

cover these costs and earn a profit.

killer.

PPA’s Studio Management Services

BEFORE YOU DECIDE TO GO FULL TIME

Before I became a business

offers a Basics of Business workshop

Don’t quit your day job until you

PPA’s Studio Management

instructor and consultant, I learned

that provides this vital information.

either have worked part-time for

Services offers a one-time financial

this the hard way by incurring so

For dates and locations go to the

someone else or built your own part-

analysis that will help inform your

much debt in my first two years of

Studio Management Services page

time business at home or in a very

decision making.

business that I faced the real possi-

at www.ppa.com and click the link

low-overhead retail space. It takes

bility of losing my home, which was

for more information on workshops.

time to build a successful photogra-

pledged as security against a high-interest bank loan. It took several years of relentless, stress-filled, round-the-clock work to put our financial house in order so that we could grow what

Another important resource

DON’T SPEND IT UNLESS YOU CAN AFFORD TO SPEND IT.

turned out to be three successful businesses, with a fourth now in the works. In addition to the hands-on real-

is the PPA Studio Financial Benchmark Survey, which

phy business, as well as many long

al or borrowed funds to construct a business building or retail studio.

!

BEWARE OF DEBT WARNING SIGNS

hours learning to master all the

; Inability to pay down short-

complex and interrelated elements

term business debt within a 12-

of business operations. This can take

month period.

from two to five years.

provides finan-

Don’t quit your day job until you

; Borrowing to finance your living expenses.

cial standards

know you have sufficient resources (in

for home studios

the bank or from other family income)

equipment that your business can-

to cover your living expenses until

not fund.

as well as retail locations. PPA

your business shows a profit (yeah,

members can down-

you guessed it—two to five years).

load it from www.ppa.com. ; Budget your start-up expenses (cameras, lights, computers, soft-

!

DON’T GO FULL TIME UNTIL YOU’VE:

!

WHEN DEBT’S OUT OF CONTROL, REDUCE IT BY … ; Cutting back business expenses. ; Increasing sessions and sales

ity gleaned from the School of Hard

ware, props, furnishings, etc.) very

Knocks, I studied and learned the

carefully. Even if you have the cash

your target market (which means

financial and marketing success

to purchase them, make sure it is

gaining client referrals) and devel-

principles that govern many types of

money you can afford to lose, as no

oped consistent cash flow from your

that you draw less from the business

small businesses.

small business is a sure thing. If you

part-time business.

and accelerate debt repayment.

Photographers whose debt load is out of control often quote one of

; Developed a following among

; Borrowing to replace worn-out

must borrow to make these purchases, create a prioritized budget for

; Created an efficient workflow that will allow you to deliver orders on time.

those principles: You have to spend

equipment essentials as well as

money to make money. This is true,

funds for a few key marketing

marketing plan for the next 12

but I would add this important

pieces, professional association

months. Most experts agree that a

corollary: Don’t spend it unless you

membership, and fundamental

photographer should be gross-

can afford to spend it.

professional education.

ing between $50,000 and

But how do you know what is, or

; If you decide to borrow for your

; Created a realistic financial and

$100,000 annually before

is not intelligent use of debt? Here

start-up items, investigate lending

it is wise to consider a full-

are a few practical suggestions for

options. Avoid using high-interest

time home-based business, or

managing business debt:

credit cards. Cap your borrowing

$150,000 to $200,000 annually

budget at a level that you can pay

before considering a full-time retail-

back within 24 months using per-

location business.

!

IF YOU’RE JUST GETTING STARTED ; Don’t even start a hobby business

until you’re aware of all business costs (investment costs, costs for

sonal resources in case you do not have enough positive cash flow from the business to reinvest in the business. ; Once you have the essentials, a

!

BEFORE YOU BUILD OR LEASE A STUDIO SPACE

producing your product, and general

good rule of thumb is to purchase

expenses) and how many sessions or

only those extras that you can pay

you sign a lease agreement for

events you must photograph to

for within 12 months.

a studio space or invest person-

64) www.ppmag.com

Get professional advice before

through low-cost marketing strategies. ; Reducing personal spending so

; Selling personal or business assets if necessary. ; Taking part-time employment to pay down debt.

Excessive debt is the No. 1 business killer.

CLIMB OUT OF DEBT FAST

I BY FRANK DONNINO, CR.PHOTOG.

IN AMERICA, BROKE IS NORMAL. BE WEIRD.

REBOOT

TAKE A FRESH STEP

Too many Americans have incurred huge

We paid in full to build the new studio.

debts by spending more than they earn.

I was nervous, though, about uprooting

I’ve been there. After nine years in busi-

my family and renting while the condo

At some point in their

ness, in 1999 I got serious about the

was being built. I kept promising my

career, all photographers

financial health of my studio. I’d been

wife, “It will be okay. I will not let you

need to reinvent them-

moving money, not making it. With the

down, and you will be happy someday.”

help of mentors and PPA’s Studio

Our residential condo was ready in

We cut up our credit cards and used

selves. If you can afford

debit cards only. We cut out all non-

it, I recommend taking a

Management Services, I learned what I

April 2006, but I’d taken on a 30-year

vital spending and literally went on a

month off and getting

needed to do to turn it around. I did it,

mortgage, and was none too happy

rice and beans diet, as Ramsey calls it,

out of the shooting rou-

but not without hardship and sacrifice.

about it. As is the case with home loans,

to save money. We budgeted using an

tine. In that month, go to

envelope system. For example, $300

galleries and art exhibitions,

went into an envelope each month for

watch movies, MTV. Get

food; when the cash was gone, that was

immersed in anything visual

it. We’d play games to see how far we

save wedding photography.

could stretch that money. We felt we

When you come back to

In 2004 we were told to

I’d be paying more than double

vacate our rented studio

the cost of the condo

space within 30

over time. That did

days. The land-

not sit well with

lords were

me, and I

ousting all

immediately

had control over our money instead of

shooting, go out with one

eight tenants

began mak-

being controlled by it. I maxed out my

lens and one camera and

to establish a

ing extra

retirement savings while paying extra

force yourself to shoot

daycare cen-

payments on

on the mortgage principal.

outside your comfort zone.

ter. I’ll never

the principal.

forget my

That

son, Tony,

October I

looking at me

heard a Dave

with tears in his

Ramsey radio

eyes, saying plaintively,

broadcast that changed

“Dad, what are we going to do?” We heard of some live-work spaces

everything. Ramsey, who at one point had lost everything and filed

The following summer, I suspended my retirement deposits to pay off

— Jeff Ascough, “Inside Job,” PP Archive

the mortgage even faster. My investment broker thought I was crazy, but my accountant said I was smart— and weird. Fine. In America, normal is broke. According to Ramsey, only 1 per-

REFERENCE TARGETS

WHEN SAME-OLD, SAME-OLD IS A GOOD THING

for sale nearby, but I didn’t have the

for bankruptcy, subsequently learned

cent of America’s mortgage holders pay

Predictability is an impor-

money to buy anything. My only asset

how to handle money and became a

it off in three years. I did it in 25 months.

tant element in an efficient

was my home. On the other hand, sim-

millionaire by age 28. I realized I was

At age 52, I am officially debt free.

workflow, so photograph

ple math proved it would be cheaper to

an idiot to accept debt as a way of life.

buy a space than to rent another place

Following Ramsey’s principles, the 7

cent of my income into my retirement

time the lighting changes.

for the next five years.

Baby Steps, my short-term sacrifices

fund. We are enjoying our lifestyle,

The target can be a digi-

would pay off in long-term gain:

donating money, saving money, and

tal gray card, a collapsible

spending money in a responsible way.

digital target or an expo-

In 2003, my wife and I had put a down payment on a condo that had yet to be built. We’d planned to rent it out

Step 1. Start an emergency fund

a reference target every

If you’d like to be weird like me, try

sure using a white balance

until we retired someday. We decided

Step 2. Pay off all debt.

reading David Ramsey’s book, “The

filter like the ExpoDisc. If

to sell our home and use the proceeds

Step 3. Save three to six months’

Total Money Makeover.”

necessary, you can use

to buy a space for the studio. It was the hardest decision of our lives. We could

with $1,000.

This July I began putting 50 per-

worth of expenses. Step 4. Deposit 15 percent of your

downsize and live in a condo, but it

yearly household income into Roth

would be a big sacrifice for my family.

IRAs and pre-tax retirement fund.

We packed up the studio and put our house on the market. Against all odds and despite two hurricanes in the interim, the house sold in the softest of housing markets.

this target to color balance

Step 5. Start college fund for your children. Step 6. Pay off home mortgage early. Step 7. Build wealth, invest in mutual funds and real estate.

all files photographed Editor’s note: After a rigorous application process, Dave Ramsey recently accepted both Frank Donnino and his son Tony, 26, to become certified financial counselors. Donnino Gallery Portraits is in Boynton Beach, Fla. (www.franktheartist.com). For information about Donnino's January seminar, go to www.FranksBabyPlan.com.

under the same lighting conditions with a single click in post-production. —Robert D. Lloyd, Cr.Photog., Hon.M.Photog.CPP, APII “How to Work: Basics of a Safe, Efficient Digital Workflow,” PP Archive

November 20081 Professional Photographer1 65


Digital capture is less forgiving than film under mixed color temperatures. You’re particularly susceptible to unwanted color casts if you’re using a hodgepodge of lighting gear with different color temperatures. Try to use lighting units and modifiers from the same manufacturer.

CHECK LIGHTING THE LAZY MAN’S WAY Set your camera for raw capture.

slightly off, it’s okay to adjust it, but

(The in-camera image processing of

by no more than 1/3-stop. Use the

JPEG images could influence the

software’s eyedropper to find a point in

results.) Set the white balance for flash.

each file where the red measurement

Photograph smooth, white

is the same (below, left), then make a

umbrellas are getting warm, try

matte board, foam board or a gray

chart of the green and blue measure-

washing the fabric. If things are

card under each light source alone.

ments at that point in each file, along

going blue, two options: color cor-

Cover or turn off any ambient light

with the red (Light color test, below).

source. Set your exposure about a

The R, G and B measurements

half-stop under the point where the

might not be identical (maybe the test

camera’s LCD starts showing high-

card wasn’t exactly white), but no

light warnings. Start with the f-stop you use most in the studio, but

because I use it mostly as a main

rection gels or new fabric. For green

light, I’ll do a separate custom white

imbalances, the only easy fix is

balance in the camera.

gelling. When your lights are bal-

The general rule with slight

anced, do a new studio custom

problem. Your goal is to have the same

imbalances in your lights is to point

white balance for your cameras.

readings from light to light. I prefer

the bluish lights at the subject—and

bracket the exposure a bit so the

to have no more than 0.5 percent

do custom color balance only with

tion, test them as well. The more

images look consistently exposed.

difference among the lights. (Your

these lights—and use your warmer

consistent your lights, the better

Use the fastest shutter speed you

tolerance might differ.) In Table 1,

lights for accents.

your results.

can without losing flash sync.

the difference in the hair light is a

Open the raw files. I used the

big problem. Move up the color tem-

develop mode in Adobe Lightroom,

perature slider and you’d find the blue

but any raw processing program

reaches 95%, 650K higher than the

works. Do not use auto settings—

as-shot reading. That’s the equiva-

the files must be processed exactly

lent of using an 81c warming filter.

the same way. If the exposure is

Use the process of elimination to

SENIOR MARKETING

RUN A SENIOR AGENT PROGRAM 3 Limit the number

eight free wallets with

one fully understands

of agents to one for

any package ordered.

the program, fees, and

light with the bulb bare. If the results

every 40 to 70

For each card turned

deadlines.

are in line with the other lights, the

classmates.

in, the agent receives

it’s the light or its flash tube. The fix depends on your situation. My problem was the modifier, so I

3 Offer a free indoor

$20 cash; for five to

color session in April

nine cards, $30 each;

of the student agent’s

for 10 redeemed cards,

junior year.

the agent gets a $100

changed the soft box on the hair

3 To showcase your

bonus. This win-win

light. I also replaced the diffusion

work, do a free make-up

offer motivates both

material that had gone warm on the

enhancement session.

the agent and the

other light. I prefer my background

3 Give agents a $25

prospective senior.

light a little warm, so I left it alone.

credit toward an out-

The ring light is a little blue, but

door session (good

same minimum order

until early August).

requirement as all

3 Agents must place

LIGHT COLOR TEST R

— Tim Cameron, M.Photog.Cr., CPP

find the problem. First, re-shoot the

modifier is the problem; otherwise

Light

If your soft boxes, reflectors or

If you use other lights on loca-

G

B

Main

95

94.9

95

Fill

95

95

95.2

BG

95

94.7

94.4*

Hair

95

94.9

97.2**

Side Fill

95

94.8

94.7

Hair 2

95

94.8

94.5*

Fix

3 Present agents the

your seniors,

their orders by mid

but give

August to get package

them a

prices.

5-percent

3 Give the agents personalized digital

discount on the total order.

X

wallet portraits to

X

hand out. On the back

signatures of the

of the prints, place a

agent and one parent

sticker offering the

on your agreement

bearer of the card

form, to ensure every-

X

—Bruce Berg, M.Photog.Cr., “Portraits with Senior Reps,” PP Archive

3 Require the

©Kay Eskridge

664 www.ppmag.com

All images ©Sarah Petty

balance your life HOW TO

Build a successful photography business in 40 hours a week or less BY SARAH PETTY,

1. KEEP YOUR DAY JOB. It sounds

CR . PHOTOG ., CPP

closing your doors to clients on Mondays

it. Invest the time and money to get an

like a joke, but I’ve seen too many business

and use the time to do the retouching,

education in business management. You

owners bite off more than they can chew,

album designing, paperwork, whatever, to

can’t make business decisions if you don’t

and accrue sizeable debt. Desperate studio

clear your evenings and weekends. Or try

understand the numbers. I’ve seen new

owners make drastic decisions like deep

reserving every other Monday afternoon for

photographers with potential, but who can’t

discounting, which erodes their brand. Have

creative time. Throughout the week, save up

really afford the studio mortgage or rent

some income—and confidence—while you

ideas, clippings, art books, or anything that

they’ve taken on. Often, just waiting a year

build your brand and your business.

inspires you, to review during this time.

or two before taking on more expenses

2. SCHEDULE TIME TO WORK

3. UNDERSTAND YOUR BUSINESS.

makes the difference between success and

AND TIME TO BE CREATIVE. We all

Successful business owners talk about

failure. Read over the PPA Studio

need quiet time to foster creativity. Try

working on their business as opposed to in

Management Services Studio Financial

6. MARKET EFFECTIVELY. Use

Benchmark Survey Analysis to help you gain

campaign, believe me, you will get focused.

perspective. It truly clarifies your options.

Then, when you’re in your 15 shooting

slowdowns to stretch your marketing

(Members can download the survey analysis

hours, the creative juices are free to flow.”

muscles. Budget money annually for

from www.ppa.com).

Lori Nordstrom, M.Photog.Cr., of Winterset,

marketing education. Choose instructors

4. PLAN AND SCHEDULE. John

Iowa, agrees. “I have to schedule everything

who have similar philosophies, business

Hartman, M.Photog.Cr., A-ASP, of Stevens

into my calendar,” she says. “I plan everything

models and are successful. I recommend

Point, Wis., one of the strongest marketers

—shooting, image editing, sales appoint-

learning in small groups from someone

in photography, offers this advice, “If you

ments, order placement, packaging, marketing,

who’s where you want to be.

want to run a successful business working

networking, even the planning is planned.

40 hours or less, the first thing you need to

Everything has a place and someone

you’d rather not schedule weekend sessions,

do is determine what those hours will be,

assigned to the task, or it doesn’t get done.”

price to discourage requests. Charge a

then divide them into hours for planning,

5. AUTOMATE. For production tasks,

7. LEVERAGE YOUR PRICES. If

higher session fee or minimum order

public relations/marketing, photographing

maximizing your automation tools in

amount. If you’re giving up personal time

and business (bill paying, tax forms, meeting

Photoshop and other imaging software

on a gorgeous Saturday, make it worth your

with insurance salesmen). If you know you

is simple and efficient. Set up actions,

while. Gary Box, Cr.Photog., of Sapulpa,

have, say, only 10 hours to plan a marketing

use hot keys, use templates.

Okla., tells of a man who insisted that the

70 www.ppmag.com

‘‘

only day his entire family could get together for a portrait would be Sunday. Box replied, “Of course we can book you then. You know there’s a minimum order amount for Sunday bookings?” The man said, “Thursday is lovely.” You can also use valueadded incentives to get clients to do what you want. For example, if a senior keeps all of his appointments without rescheduling, throw in a few wallets, gratis. If the client orders at the first portrait viewing, reward

… even the planning is planned.

Everything has a place and someone assigned to the task, or it doesn’t get done.

’’

—LORI NORDSTROM

at the start of the study had amassed more

10. BUY TIME WITH YOUR MONEY.

wealth than the remaining 97 percent put

Recently, when I’d fallen into that working

together. At the very least, invest in some

nights and weekends trap, I brainstormed

that day only. It’s amazing how little things

planning and projections software and build

about tasks I could hire someone else to do.

like rescheduling and lagging on ordering

a goal spreadsheet of your own.

I outsourced a pile of accounting, tax and pay-

him with a gift or special pricing valid for

will erode your productivity. 8. WRITE DOWN YOUR GOALS. A

9. SET BOUNDARIES. If you’ve con-

roll tasks to our accounting firm, which bought

vinced yourself that nobody notices the

me about day a month. This isn’t a solution

Yale University 20-year study on goal setting

laptop in your lap during dinner and

if you don’t yet have the profits to afford to

among Yale graduates had astounding results:

family activities, you’re deluded. Set a finite

pay others, but if you do, go for it. !

At the end of 20 years, the 3 percent of the

time in the evening to your check e-mail,

subjects who had written down clear goals

then turn off the computer.

Sarah Petty Photography is in Springfield, Ill. (www.sarahpetty.com).

jkhdoekhki[ZYWc[hW[gk_fc[dj _dje 9Wi^ We pay top-dollar for used camera gear. Visit UsedCameraBuyer.com, get a free instant quote and print your pre-paid shipping label. We send a check when we receive your gear! Call toll-free 1.866.735.5444 or get your free instant quote at UsedCameraBuyer.com

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FINALIST: Catherine Leonard Catherine Leonard Photography Washingtonville, NY !"#$%&'()$*')+,$)#1$>')5,') "$/%):+&5,)2)A'#)(&5';

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

P3

TODAY AFFILIATE SCHOOL SPOTLIGHT DELTA SCHOOL OF PROFESSIONAL PHOTOGRAPHY

February 8 – 12, 2009 | Hot Springs, AR Contact: Gary or Kathryn Meek; [email protected]; 501-624-3195 Web site: www.deltaschool.com Tuition: $495 (for standard classes); $695 (for Advanced Painter) Course Information: Advanced Painter – Jim Cunningham Photoshop – Don Emmerich The Essentials of Photography: A PPA Certi!cation Class – Gary Meek

Basic Studio Operations – Bob Lloyd Advanced Portraiture – Rick Trummer Children – Ernie & Loraine Johnson Weddings: Let’s Kick it up a Notch – John Michael Hanna

EVERGREEN SCHOOL OF PROFESSIONAL PHOTOGRAPHY

February 8 – 12, 2009 Vancouver, WA Contact: Sam Gardner; [email protected] Web site: www.ppw.org Tuition: $775 for most courses (includes meals)

Course Information: Fundamentals of Photography – Study the essentials of portrait photography to prepare for the Certi!cation process. Topics range from controlling depth of !eld to digital !le management (emphasis on creating professional-quality images with dimension and light control). The Certi!cation exam will be offered Thursday, but this in-depth study of photographic skills and techniques will prove valuable for years to come, well beyond any test you take.

PPA News & Notes

WINONA COMES HOME Winona…if you’ve been in photography for awhile, you probably remember that name. For many years, it was the name of education in pro photography. The Winona School of Professional Photography ended up being the central location for all photography education by Professional Photographers of America. But it didn’t get its beginning with PPA, and it is going back home in 2009. To understand the birth of Winona School, you have to understand the movement behind it, according to Robert McCarty, Cr.Photog. In the late 1880s, a changing job market gave people more time to learn new skills and take vacations. Many in the New York area camped around Chautauqua Lake and heard from guest speakers about different subjects. These educational camps became known as “chautauquas.” At the turn of the century, several inventions contributed to a rising interest in photography. This led the

Winona Assembly, a Northern Indiana chautauqua (near a lake known as Winona Lake), to have a weeklong summer class on photography. As those classes became more popular, a structure was built to house them. When the chautauqua movement started to fade, a photography group called the Daguerre Club of Indiana put in $100 each to take over that building and keep the education alive. Under the Daguerre Club, the Winona School housed face-to-face critiques (peer judging) and peer-to-peer teaching, one of the !rst photography organizations to do so. As this school grew, the Daguerre Club turned to PPA, showing them how this school was something the entire association needed. The leaders of PPA agreed, and PPA took over the reins. What’s so great about the Winona experience, you ask? The students stayed in homes of residents, absorbed the intense classes until their minds were over"owing with information and ideas, and went to bars and

restaurants after classes to sit until midnight and talk about what they’d learned. And that’s just part of what McCarty himself remembers. “A week in Winona totally changed careers,” he says. Ask around… anyone who’s been can tell you their experience like it was yesterday. Later, Winona School was moved to Chicago, near the PPA Headquarters. When PPA moved to Atlanta, the Winona School followed. Then, about 1999, the school’s name was changed, and “Winona” was retired as the name of photographic education. But that’s about to change, too! The Daguerre Club and the Professional Photographers of Indiana petitioned to have the Winona name back for their Af!liate School. This simple name has a long, illustrious history. Will it live up to its name? Why don’t you go and !nd out? The Winona International School of Photography (formerly IPAS) takes place June 14 – 17, 2009. The Winona name is back in business.

ELECTRONIC IMAGING: CLEARING UP SOME CONFUSION Have you ever wondered exactly what should be submitted to the Electronic Imaging Competition portion of print competitions? Well, now there’s an article that can help clear up some of those questions! Kaye L. Frey, M.Photog.M.Artist.MEI.Cr., a PEC P4

Committee Member, wrote an article called, “Clearing Up Some Confusion about PPA’s Electronic Imaging Competition.” And we have it online! Full of detailed image examples and explanations about what, how, and where to enter, this is the article

everyone wanting to enter the EI competition needs to read. Go to www.PPA.com to view the entire article (visit the International Print Competition at the Competitions page).

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

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