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    Professional photographer 2008 02 Professional photographer 2008 02 Document Transcript

    • FEBRUARY 2008 | WWW.PPMAG.COM | $4.95©Louise Botticelli
    • g p a l b u m s i nt r o d u c e s ou r n e wOPTIMUS SELF-MOUNT ALBUM& FOLIO COLLECTIONOPTIMUS SELF-MOUNT ALBUM FEATURES:• High-end style• Repositionable adhesive (creates permanent bond within 2-3 days)• Thick mounting pages A Division of General Products, L.L.C.• 40 different cover material options• 10 album sizes & 7 folio sizes• Inset cover designs available on most sizes 800.888.1934 e-mail: inquiry@gpalbums.comYour Photos. Your Life.™ www.gpalbums.com
    • CONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008Features74 DOUBLE VISION Louise Botticelli’s booming bicameral business model by Jeff Kent82 SHOT THROUGH THE HEART Marcus Bell throws heart and soul into his photography, whether documenting a wedding or creating fine art by Stephanie Boozer90 9TH ANNUAL HOT ONE AWARDS Technology that works for you by Jeff Kent68 COMMERCIAL: FLIP SIDE Jason Lindsey forges a commercial career with a dual perspective by Jeff Kent IMAGE BY MARCUS BELL
    • 14 FOLIOCONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008 | WWW.PPMAG.COM 112 119 138 CALENDAR PPA TODAY GOOD WORKS©Jason Lindsey Departments C O N TA C T S H E E T 20 Inspiration Sundance style 22 Irving Penn exhibition 24 Dutchess of Carnegie Hall: Editta Sherman 28 Public lands and permits PROFIT CENTER 33 What I think: Louise Botticelli 36 The joy of marketing by Sarah Petty 40 Buying into books by Kalen Henderson 42 Do more in less time and prosper by Charles J. Lewis THE GOODS 45 What I like: Kerry Brett Hurley 46 Pro review: Nikon D300 by Ellis Vener 54 Pro review: Canon EOS-1Ds Mark III by Ron Eggers 60 Lighting: In the studio by Ed Pierce 64 Lighting: The Zeus System by Ellis Vener68 Commercial photographer Jason Lindsey of Champaign, Ill., is living proof of the value of having a dual perspective. His experience as an art director and designer enhance every shoot, and his clients appreciate the difference. ON THE COVER: Louise Botticelli photographed Cameron, age 3, at her Setauket studio. The image was captured using a Kodak DCS Pro Back 645 on a Contax body with a 140mm Zeiss lens, exposed for 1/125 second at f/8. The image was retouched in Photoshop, finished with Corel Painter, and titled “Sailing the Seas of Imagination.” 6 • www.ppmag.com
    • P ROF E S S I ONA LEDITORIAL director of publications CAMERON BISHOPP cbishopp@ppa.com senior editor art director/production manager To market, two markets JOAN SHERWOOD jsherwood@ppa.com DEBBIE TODD dtodd@ppa.com manager, publications and CATERING TO DISPARATE CUSTOMERS THE SMART WAY features editor sales/strategic alliances LESLIE HUNT KARISA GILMER Thanks to the hospitality of family friends who own a beach home lhunt@ppa.com kgilmer@ppa.com there, for the last 10 years I’ve been fortunate enough to vacation on editor-at-large sales and marketing assistant a very lovely and luxurious little island near Charleston. The JEFF KENT CHERYL PEARSON jkent@ppa.com cpearson@ppa.com exclusive summer enclave is brimming with million-dollar houses technical editors and the wealthy vacationers who enjoy them. ANDREW RODNEY, ELLIS VENER For years, the only place to buy groceries in the area was a mid- director of sales and strategic alliances range, practical sort of chain store right off the island, where both SCOTT HERSH, 610-966-2466, shersh@ppa.com western region ad manager year-round residents and wealthy summer vacationers bought their BART ENGELS, 847-854-8182, bengels@ppa.com milk—the kind of place where I normally shop, with a discount aisle eastern region ad manager SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com and half-price specials. circulation consultant One summer we returned to find that a gourmet grocery had MOLLIE O’SHEA, moshea@ppa.com editorial offices been built right on the island. It’s the kind of “shoppe” that sells $45 Professional Photographer imported olive oil. I couldn’t help but notice how the disposable 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 income went flying when we visited the store for our freshly ground Professional Photographer (ISSN 1528-5286) is published monthly dark-roast coffee. subscriptions Professional Photographer After check out, I glanced at my receipt. At the very bottom in P.O. Box 2035, Skokie, IL 60076; 800-742-7468; tiny print was the name of none other than the mid-range grocery FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com member services store down the road. How clever. The owners had opened a luxury PPA - Professional Photographer store directly targeting those monied vacationers, wisely choosing to 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, keep the two brands separate. 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Louise Botticelli, whom we feature this issue, has also embraced Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. this separate but equal concept. After years at the helm of an International: $39.95, one year digital subscription. upscale portrait business catering to customers happy to fork over Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. big dollars for art, Botticelli opened a second, more accessible studio Subscription orders/changes: Send to Professional Photographer, Attn: Circulation that targets customers looking for more affordable portraits and Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com. other photographic services as well. She gave it a moniker of its own. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. The way she and her team executed the expansion reinforces a Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 fundamental concept in professional photography: Your brand is Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. sacred. Botticelli’s savvy in opening a wholly separate storefront Article reprints: Contact Professional Photographer reprint coordinator at Wrights’s Reprints; 1-877-652-5295. protects the desires and comfort of both clientele. Turn to her story Microfilm copies: University Microfilms International, on p. 74 to learn more. I 300 North Zeeb Road, Ann Arbor, MI 48106 Cameron Bishopp 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, Director of publications GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. cbishopp@ppa.com 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 10 • www.ppmag.com
    • 7 Gallery Wraps 8 9 Thank you for helping us win our ninth Hot1 award!How did Collages.net win Professional Photographer’s Hot1 Award nine times? By listening to you, our customers, forthe past eight years. You told us how we could help increase your business and simplify your workflow, and we have listened.Now over 10,000 professional photographers are using Collages.net and reporting revenue boosts from our high-quality collagesColorTM + collagesDesktopTM products and time-saving workflow. 9 Build Your Brand Are your products hot? Sign up free at www.collages.net/signup and learn how your studio can start benefiting from the hottest products and services in the industry.Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online PresentationCheck out Collages.net’s comprehensive product line at www.collages.net/products.©2008 Collages.net Inc. All rights reserved. Photos ©2008 Brett Chisholm Photography and TriCoast Photography.
    • chairman of the board CAROL ANDREWS *MICHAEL GLEN TAYLOR M.Photog.Cr., ABI CAMERON BISHOPP M.Photog.Cr.Hon.M.Photog., candrews@ppa.com Director of Publications API, F-ASP cbishopp@ppa.com mtaylor@ppa.com SUSAN MICHALProfessional Photographers M.Photog.Cr., CPP, ABI DANA GROVESof America smichal@ppa.com Director of Marketing & directors229 Peachtree St., NE, Suite 2200 Communications RONNIE NORTONAtlanta, GA 30303-1608 TIMOTHY WALDEN dgroves@ppa.com404-522-8600; 800-786-6277 ABI, Qualified European Photographer, M.Photog.Cr., F-ASPFAX: 404-614-6400 twalden@ppa.com SCOTT HERSHwww.ppa.com Associate of the Irish PPA Director of Sales & rnorton@ppa.com Strategic Alliances2007-2008 PPA board industry advisor shersh@ppa.com LOUIS TONSMEIRE MICHAEL GREENpresident Cr.Photog., API mgreen@ppa.com J. ALEXANDER HOPPER*JACK REZNICKI ltonsmeire@ppa.com Director of Membership,Cr.Photog., API Copyright and Governmentjreznicki@ppa.com legal counsel DON DICKSON Howe and Hutton, Affairs M.Photog.Cr., CPP Chicago ahopper@ppa.compresident-elect ddickson@ppa.com*DENNIS CRAFT WILDA OKENM.Photog.Cr., CPP, PPA staff Director of AdministrationAPI, F-ASP SANDY PUC’ DAVID TRUST woken@ppa.comdcraft@ppa.com M.Photog.Cr., CPP, ABI Chief Executive Officer spuc@ppa.com trustd@ppa.com LENORE TAFFELvice-president/treasurer Director of Events/Education*RONALD NICHOLS RALPH ROMAGUERA, SR. SCOTT KURKIAN ltaffel@ppa.comM.Photog.Cr., API M.Photog.Cr., CPP, API, F-ASP Chief Financial Officerrnichols@ppa.com rromaguera@ppa.com skurkian@ppa.com *Executive Committee12 • www.ppmag.com
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    • folio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of award-winning photography by PPA members. The Loan Collection is a select group of some 500 photographs chosen annually by the PPA print judges from more than 5,000 entries.©Tim Ostermeyer TIM OSTERMEYER “The entertainment value of this image is that there are four long telephoto lenses with minimum focal length of more than 10 feet to photograph polar bears in the distance, but this bear was less than 3 feet away,” says Tim Ostermeyer, M.Photog.Cr., CPP, of Ostermeyer Photography in Allen, Texas. With a Canon EOS A2E 35mm camera and 100-400mm Canon f/4.5-5.6L IS USM EF lens, Ostermeyer exposed “Polar Paparazzi” for 1/125 second at f/8, ISO 400, on Fujicolor NPH 400 Professional film. Though the image didn’t originally merit, “The late, great photographer and wonderful person Buddy Stewart asked the judges to reconsider,” says Ostermeyer. “He saw the humor and challenges of getting this photograph.” 14 • www.ppmag.com
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    • ©Mollie Isaacs MOLLIE ISAACS Hired by an architect to photograph a series of model homes in the Outer Banks of North Carolina, Mollie Isaacs, M.Photog.MEI.Cr., of F2 Photographic Design in Kill Devil Hills, N.C., created “Simple Sophistication” for the client’s Web site. Shooting with a Canon EOS 20D digital SLR and 20-35mm Canon f/3.5 USM EF lens, Isaacs exposed the frame for about 1 second at f/22, ISO 400. Isaacs performed minor retouching, tinting the back window soft pink and removing distortion caused by the wide-angle lens.©Don Monteaux DON MONTEAUX “Contrary to popular belief, this image was not a composite made in Photoshop,” says Don Monteaux, M.Photog., CPP, of Virginia Beach, Va. While driving toward Hatteras, N.C., Monteaux saw this gaggle of geese walking single file along the dunes. He captured “Grounded” with a Canon EOS-1D Mark II digital SLR and 24-105mm Canon f/3.5 II USM EF lens, exposing the frame for 1/250 second at f/8. The only digital retouching Monteaux performed was minor enhancement of the sky in Adobe Photoshop. 16 • www.ppmag.com
    • 8,762 miles to the South China Sea. 179 feet up a limestone cliff. 4 NIKKOR lenses. ® 0 chances to re-shoot.©2007 Nikon Inc.
    • See Beth Wald’s killer shots at stunningnikon.com/challengeShooting in punishing conditions, Nikon® Pro Beth Wald asked a lot of her lenses: “Everything comes down, in anyshoot, to the glass of the lens. Everything is dependent on the sharpness, the clarity, the intensity of colors, thesaturation…it’s the glass that makes it all happen.” Every NIKKOR lens in the Nikon Pro System comes from glasswe make ourselves for people like Beth, who said,“It’s going to be hard to get back to Vietnam to re-shoot this.”
    • CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.Inspiration Five-star accommodations meet top flight talent at the 2008 Sundance Photographic Workshops Sundance style©Eddie Soloway
    • ©Brenda TharpThe popular Sundance Photographic Workshopkicks off the year with a series of travel,landscape, nature and portrait photographyclasses in three seasonal sessions. Set amidthe breathtaking scenery of Utah’s SundanceResort, the Workshops are headlined byaward-winning photographers NevadaWier, Eddie Soloway, Bobbi Lane, TonySweet, Brenda Tharp and Tom Bol. Founded by actor and environmentalistRobert Redford in 1969, the Sundance Resortlies in a canyon in the shadow of scenic Mt.Timpanogos, about an hour’s drive south ofSalt Lake City. With classes sizes capped at 15 students,there’s plenty of opportunity for one-on-oneinstruction. Between sessions, students arefree to roam the grounds of the five-starresort, one of Forbes magazine’s Top 10Coolest Resorts. The spring Workshops, May 7-11, emphasizetravel and landscape photography. The coursesare: “Photographing on the Move” with NevadaWier, and “A Natural Eye” with Eddie Soloway.The summer Workshops, August 25-29, offer ©Eddie Solowaytutorial-style training in nature and portraitphotography. The Workshops are: “ExploringYour Personal Vision” with jazz performerturned nature photographer Tony Sweet, and“Portraits on Location” with commercialphotographer Bobbi Lane. The fall Workshops,November 5-9, focus on travel and adven-ture sports photography. Outdoor and travelphotographer Brenda Tharp presents “TheArt of Travel Photography: Capturing theEssence,” and Tom Bol shares his sports andenvironmental portrait skills in “People inthe Landscape.” Evenings include a reception and dinnerwith presentations by the instructors. Tuitionis $1,100 with one scholarship available perworkshop. Meals and lodging are not included.For more information, visitwww.sundanceworkshop.com. February 2008 • Professional Photographer • 21
    • CONTACT SHEET Close encounters to the world, then Penn has succeeded admirably. He enters into hard negotiation Six decades of Irving Penn’s work at the Morgan Library & Museum with every personality that stops in front of his camera and, very often, he wins.” New York City’s Morgan Library & Museum His compositions not only helped define the More than one-third of the exhibition com- presents an exhibition of modern photography, look of the magazine, but established a ground- prises works from the 1940s, images that por- showcasing its first major acquisitions in this breaking aesthetic for modernist photography. tray the evolution and maturation of Penn’s field, through April 13. “Close Encounters: “Irving Penn’s incisive portraits illustrate style. In 1947, he began photographing subjects Irving Penn Portraits of Artists and Writers” a rich and defining period in this city’s seated on or before a draped rug, subjects such features 67 portraits of influential artists, cultural history,” says Charles E. Pierce Jr., as Salvador Dalí, whose persona generally authors, and performers of the 20th century. director of The Morgan Library & Museum. dominated whatever milieu he appeared in. Acquired in 2007, this rare collection of gela- “Many of Penn’s subjects are artistic and Yet on Penn’s rug, Dalí, if still stylish and tin silver prints is an extraordinary visual record literary icons whose own drawings, musical defiant, looks caught. of some of the greatest creative minds of the scores, manuscripts, and books are In 1948, Penn defined a corner of his studio period, including T.S. Eliot, Truman Capote, represented in the Morgan’s growing with movable walls, and directed sitters to Arthur Miller, Tennessee Williams, Aaron twentieth-century collections.” inhabit the restricted space. Among these Copland, Richard Rodgers, and Oscar “Each of these works is a vivid record of portraits is one of Marcel Duchamp, svelte Hammerstein II. the encounter between Penn and his subject,” and elegantly posed, who becomes a tall line A resident of New York City for more than says guest curator Peter Barberie. “If a funda- that echoes the lines of the corner itself; and 50 years, Penn (b. 1917) began his career as a mental task of portraiture is to capture sub- Georgia O’Keeffe, who as Alfred Stieglitz’s photographer in the 1940s at Vogue magazine. jects differently than they present themselves wife and model was acclimated to being photographed, looking wary standing unposed.© Irving Penn, gelatin silver print from an edition of 14, 1984 In the 1950s, Penn begin to capture subjects up close, sometimes cropping their forms to accentuate the two-dimensional design of the composition or filling a large frame solely with a bust or head. In Penn’s iconic 1957 image of Picasso, the artist’s face is cloaked in the shadow of his wide-brimmed hat, his body by a dark overcoat, leaving only the piercing stare of a single illuminated eye to glare from the center of the photograph. Penn is also known for his celebrated group portraits, such as the 1967 photograph “Rock Groups,” picturing Janis Joplin and Big Brother and the Holding Company alongside the Grateful Dead in San Francisco, both groups on the brink of frenzied stardom. If you go to just one exhibition this year, make it “Close Encounters” at the Morgan. For more information, go to www.themorgan.org Arthur Miller, New York, 1983 22 • www.ppmag.com
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    • CONTACT SHEET The Duchess of Carnegie Hall Photographer Editta Sherman is legendary Recently, 95-year-old portrait photographer Editta Sherman had little time to talk with a reporter on the phone. She was busy sav- ing Carnegie Hall of New York, her home of 61 years. At an up- coming gathering, she plans to auction some of her famous photo- graphs and sell copies of the book “Facades,” a 1978 collaboration of Sherman and New York Times photographer Bill Cunningham, Photo of Editta Sherman by Roberta Ciacci and donate the proceeds to the hall’s legal defense team.©Editta Sherman This isn’t a struggle to save Carnegie Hall Today the youthful faces of Golden Age from demolition, which she helped fight in celebrities gaze from frames covering the the 1960s when the city bought the 117-year- walls of Sherman’s studio, where the decades- old property. This time it’s Carnegie Hall vs. old sign, “Celebrity Camera Portraits,” still Carnegie Hall. The venue’s management hangs on the door. “Most of the people I intends to evict tenants who live above the photographed are dead now,” she laments. concert hall, many of whom, like Sherman, The dramatic lighting in those portraits is have been there for decades. They refuse to due in part to the graceful north light flooding go quietly. Tenants in some 50 studios have in through a skylight 40 feet overhead. “I filed a lawsuit. used to rent out my studio to Vogue magazine,” Carnegie Hall studio apartments have been she says. “It was in demand at that time, home to such arts luminaries as Isadora thanks to the skylight. It was annoying, Duncan, Marlon Brando, Leonard Bernstein because I had to stop my photography, but it and Martha Graham. In 1947 Sherman moved paid well and I had these five children to in with her ailing husband (who died in 1954) raise so I needed the income.” Some of the five children and an already antique 8x10 photographers turned the camera on her camera, with which she made portraits. (above), as evidenced in numerous pictures Back then the studios were advertised as displayed in the studio, often wearing places where artists could live and work for vintage clothes once worn by Gloria a philanthropically motivated low rent. In Vanderbilt’s mother. Andy Warhol both her five decades above the rapping of tap photographed her and made a short film of shoes and the discord of orchestral tuning, her at work in her studio. Sherman photographed inventors, poets and Sherman had learned photography from writers, including Carl Sandberg and Pearl her father, Italian-born portraitist Nunzio S. Buck, and Broadway and Hollywood Rinalo, who had immigrated to New stars, among them Yul Brynner (left), Tyrone Jersey. By age 10 in 1922, Sherman was Power, Boris Karloff and Henry Fonda. working with her father in the darkroom, 24 • www.ppmag.com
    • In her five decades above the rapping of tap shoesand the discord of orchestra tuning, Shermanphotographed inventors, poets and writers.and by 16 was helping him photograph moved in, he dubbed her the “Duchess ofweddings. “I didn’t have much of a Carnegie Hall.” The nickname is so aptchildhood because I was so involved in his that it stuck.photography,” she says. Sherman still does portraits occasionally, Photography remained a hobby until these days mostly of non-celebrities. “Backher husband’s illness made her the family’s in the day I was pretty well known, butsole breadwinner. She set up a studio in now the young ones are coming up and theMartha’s Vineyard to attract the wealthy older ones are dying off.” Nevertheless, shecrowd who vacationed there. She earned continues to get calls. “You know, there’s noenough referrals to relocate to the Carnegie difference between a celebrity and non-Hall studio, where she converted the celebrity as long as they pay the price!”kitchen into a darkroom. Many years laterwhen photographer Bill Cunningham Lorna Gentry is a freelance writer in Atlanta. ©Editta Sherman World’s first full-frame ultrawide angle medium format lens for film and digital backs 28mm AF Digital lens Aspherical lens element and low dispersion glass produce unsurpassed sharpness and color accuracy on today’s high resolution digital backs. • Rectilinear design produces ultrawide images with virtually no distortion. • All Mamiya Sekor Digital lenses are designed with large image circles and can be used with film and digital backs. • Ideal for architecture, landscapes, interiors, group shots, etc. Mamiya Sekor AF 28mm f4.5 D Aspherical T: 914.347.3300 WWW.MAMIYA.COM for Mamiya 645AFD/AFD II
    • CONTACT SHEET ments for the second time. MOTFB wants Public places to include Chapter 9, an ordinance requiring photographers, filmmakers and others to Photography permit rules need monitoring obtain a permit on a first-come, first-served basis before photographing, filming or How many photographers have made terms that remain in the proposed change. otherwise broadcasting on city property. photographs at a national park or anywhere For instance, photographers pay a location MOTFB released a revised draft on that requires a Special Use or Filming fee of $50 to $250, plus a varying cost recovery October 29 that’s more favorable to the Permit from the government? With high a fee for application processing and operating photographers. The ordinance now applies price tag, unclear definitions, and narrow expenses associated with the photo session. to causing “obstruction of daily activities”©Rita A. Bales application windows, seeking a permit can Having to pay the cost recovery component— rather than the number of people and kind be stressful. Several photographic associations whether or not a permit is granted—is likely to of equipment that will be used. are collaborating to redress the process. be a financial burden to many photographers. MOTFB also intends to offer an optional Professional Photographers of America PPA maintains that professional photogra- permit that would allow photographers to (PPA), Commercial Photographers Interna- phers covering a school class or family portrait, apply for a permit, even if the project doesn’t tional, the Society of Sport & Event Photogra- working with only a tripod and a reflector, warrant what’s now termed a “required phers, the Student Photographic Society and make less impact on a site than moviemakers permit.” The optional permit should enable Evidence Photographers International Council or commercial shooters, and should not have photographers to complete outdoor assign- are speaking with two entities, the Department to pay as much. PPA asked for clarification of ments on city property. of Interior and the New York City Mayor’s Office the department’s definition of “commercial While no final rule decisions have been of Film, Theatre and Broadcasting (MOTFB). photography,” “model,” “sets” and “props,” to issued by either the Department of Interior The Department of the Interior proposed stem confusion over how photographers are to or the MOTFB, PPA and its allied organiza- streamlining the permits that apply to land classify the work they plan to do, which influ- tions are vigilantly monitoring these and managed by the National Park Service, Bureau ences their decision to apply for a costly permit. other issues related to film and still pho- of Land Management and Fish and Wildlife In regard to the MOTFB proposal to tography permits. service. Laudable, yes, although the associations amend Title 43 of the Rules of the City of also want to address the high fees and loose New York, the associations submitted com- For more information, visit www.ppa.com. 28 • www.ppmag.com
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    • Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies What I think Louise Botticelli stays ahead of the game What’s the biggest business risk you’ve ever taken? About three years ago, I decided to expand the busi- ness to accommodate the clientele who were look- ing for more of a modestly priced, less elaborate pho- tography experience. It was risky, setting up my own competition within the same area. What’s the secret to running a successful photography business? Continuously evaluate and reevaluate what the market is looking for and figure out how to make it work for your business. Choose a lab that cares about the success of your business and gives you the support you need to grow. What’s your deal breaker? A long time ago, I had a client who kept negotiating and bargaining with me about the price of his portrait, and I felt uncomfortable. After the portrait was delivered, the client apologized, and said he and his family loved it so much that I couldn’t buy it back from him for any amount. Now I tell people, if you do not love your portrait, I will buy them back from you. Well, I don’t have a gallery of other people’s portraits in my house! What’s your motto? Look for the good in people, and it will show in your portraits and in your business. IMAGE BY LOUISE BOTTICELLI WWW.BOTTICELLIPORTRAITS.COM February 2008 • Professional Photographer • 33
    • Photography by Gregory Heisler.
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    • TMTHE JOY OF MARKETING S A R A H P E T T Y, C P P With a strong visual identity, you give your business a face. Repetition and consistency turn your logo and branding into a familiar face that your clients will grow to love. Identity crisis CREATING A LOGO AND BRAND Before you can think about generating your business forms, even your photography. desire for your brand, you have to create a Think of your logo as your face. A logo consistent identity. There must be a con- can be letters, symbols, graphic elements, sistent look to everything about your pictures or a combination of any and all of business that the public sees, including them. The key is to create a unique logo and your logo, the colors you use, your signage, stick with it. My best advice is to hire a pro- fessional graphic designer to help you create an identity package you can use for years. It is an investment in the future of your brand. Last February, after years of working in the family’s photography studio in Indiana, Jeff and Michelle Richardson decided to branch out and open a studio of their own in another Hoosier town, Bloomington. They agreed to spare no cost in creating a new identity for Richardson Studio Ltd., including engaging just the right graphic artist and brand manager. The Richardsons understand that the power of a brand depends on having a strong identity from the beginning, and braced themselves for the process to take as long as necessary. Building a brand identity takes consistency, not just in the usage of your logo, but in colors, style and the message of your marketing material. All photos ©Richardson Studio 36 • www.ppmag.com
    • Partnering with a local graphic designer, been consistently used from the start. If must exist early on to get people emotionallythey started with nothing more than a few you choose to use a symbol or your initials attached to your brand.words they liked and some sketches, and the in a shorthand version of your identity, it When you meet with your graphicidentity began to evolve. In addition to a must be done the same way each time. To designer, the more information you can passlogo and color palette, the Richardsons tie the two versions together, look for along about your vision, the better job thewanted to include sketches of people in their opportunities to use both versions in places designer will do. Show examples of yourbrand identity, but not in the logo itself. like your blog. photographic style and the style you wantThey’ll use the sketches in their marketing, Your logo must withstand the test of for your studio. If your photography styleand eventually people will automatically time. Coca-Cola has retained its logo for and your studio are both traditional, thenassociate any arty renderings of people with more than 100 years—I’m sure that over the your logo and identity should have athe studio. When creating wallets for high years graphic designers were clamoring for a traditional flavor. If you want to repositionschool seniors, they might print a sketch of a crack at creating a new logo for this high- your business as more contemporary, thengirl in the corner. For a promotional piece profile company. The company’s executives display contemporary images and style yourabout family photography, they could use had enough faith in the brand to resist. I’ve studio accordingly. Contrasting elements insketches of an entire family. heard small business owners say they’re your identity will only cause confusion. Another part of their identity includes a bored with their logo, but it isn’t until you’re Never let anyone who is reproducingshortened, initials-only version of the about sick of it that others actually start to something for you try to recreate your logo.company’s name, RS, which is imprinted notice it. Repetition and consistency are the Always give the printer a vector file of youron all of their images. It works because it’s keys to creating a successful identity. They logo, even if it’s in a standard font. It will The Future of Radio Slave Technology is Here. Skyport Other Radio Slave Skyport Mini Wireless Triggering System To locate a Elinchrom Premier dealer with products on display and in stock go2 www.bogenimaging.us Studio & Portable Lighting Systems. World renowned for superb quality of light. Swiss made. Elinchrom distributed by: Bogen Imaging Inc. 201 818 9500 www.bogenimaging.us info@bogenimaging.com February 2008 • Professional Photographer • 37
    • TM THE JOY OF MARKETING Richardson Studio imprints an abbreviated version of its company name, the initials RS, and a sketched figure on all of its images. guarantee the scale and the spacing between the letters is accurate. It makes me wince to see the names of prominent businesses set in a style other than their logo. Once you have your logo and detailed specifications figured out, put a copy of them in a folder on your desktop so they’re always readily available. To stay fresh in your business, you can use trendy fonts, colors and designs in your marketing and promotional materials. The key is to stay true to the face of your busi- ness, your logo. If you feel your logo is dated or needs to be changed to reposition your business, make a 100-percent commit- ment—including financial—and follow through with everything you use. If it’s handled well, it can create buzz that yourTIPS FOR FINDING A GRAPHIC DESIGNER business is growing and evolving. Replace • As with selecting a photographer, price • Ask if he met deadlines, and if he the old logo on everything, from signage, toisn’t necessarily a primary factor in choosing missed the mark, how he handle the business cards, to mailing labels. Even if youa graphic designer. Because it’s such a situation. have a huge pile of letterhead remaining, bemajor part of your business plan, the goal • Offer to trade professional services strong and take it to the recycling bin.is finding a designer who gets you. in-kind. Having your old logo anyplace will weaken • When interviewing candidates, ask • Start a design file for your designer. your brand in the mind of the consumer.tons of questions about their portfolios, The more direction you give regarding your Once you have a new identity, defineabout the kind of direction the clients gave likes and dislikes, the more efficiently the the usage parameters so you know how itthem, about problems they might have designer can pick up on your style. will look in color, black and white, onencountered and how they resolved them. • Stress that your logo needs to be your prints, in ads, everywhere it will be • Ask to see the first round of logos that strong in black and white as well as color. used. Finally, protect your identity as if it’shave been presented to a past client so you Ask your designer to show you both ways. your child. Iknow what to expect when it is your turn. • Discuss font choices. Because youAre they rough pencil sketches or are they should plan on keeping the logo for at leastdetailed computer-generated files? 10 years, don’t choose a highly stylized, • Ask how many proposed logos they’ll trendy font.show you and what happens if you don’t • There must be some chemistry betweenfeel the designs represent you. you and the graphic designer. You need to • Ask for references and call them to see be able to bounce ideas off each other and Sarah Petty Photography is in Springfield,how they liked working with the designer. come up with better ideas together. Ill. (www.sarahpetty.com). 38 • www.ppmag.com
    • PROFIT CENTER K A L E N H E N D E R S O N , M . P H O T O G . M E I .C R . , C P P, A P I One photographer offers a “Baby’s Life: Labs now offer gorgeous book lines hot off the digital offset Volume 1” book as part of a package clients press. How do you decide if this product is right for you? purchase before the birth of the child. The Buying into books package includes sittings at 1, 3 and 9 months old, and age 1, and the book can include sonogram images. Clients can also Labs throughout the industry are offering flattened JPEG files, and some require page opt to have photographs made on the day of high-quality, reasonably priced book lines, numbers and elaborate layout specifications. the birth at the hospital. The finished book printed on digital offset presses, with a If the lab has a ROES software ordering will feature images from every session. Of menu of binding and cover options. Would system for books, you don’t have to hassle course, this arrangement provides ample offering such books be profitable for your with tracking page numbers, and you can opportunities to make additional sales of studio? Considers these factors: adjust the layout without remaking the entire portraits and add-ons from each session. TIME. In a one-person studio, you can’t book. Once the images or pages are loaded The delivery of the Volume 1 includes a afford to invest countless hours designing a into the ROES software, you can check the coupon toward a Volume 2 package, a book book that may never sell. You can design the layout, and even render a printed image for with images from two sessions over the next individual pages in Adobe Photoshop and client approval. When the layout and design year, in addition to other images the parents many other programs, some of which provide are approved, uploading the book is easy. want to include. templates. You don’t have to compromise WILL IT SELL? Consumers know they High school seniors can be tempted into your creativity. Some of the applications have can have photographs printed on pillows, having a personal yearbook made with images stylish, attractive templates with ample choices mugs, cards, practically anything. Professional from the senior session and others they’d like for each page. You could do a complete book photographers should select only the to include. Printed just before graduation, design in as little as 30 minutes. products that will reflect the value of your the book can include pages for friends and Whether you use templates or custom work. You can develop and market high- family to write in personal messages. Photoshop layouts, the image file preparation quality books in many ways, from children’s Wedding albums produced as coffee is crucial to the finished look. Most labs want portraiture to seniors to weddings. table books are already popular. In most cases, clients can order a large-format book©Kalen Henderson with a designer cover, as well as smaller, less richly bound versions with the same layout. MARKETING VALUE. Though often considered an add-on, a press-printed book can have value for your studio beyond a one- time sale. Parents and newlyweds proudly show these books to everyone, giving you word-of- mouth endorsements from happy customers. A 20-page soft-cover book generally costs the studio less than $25, and a survey of studios shows it retailing for $49 to $69. There are volumes of stories out there just waiting for your creative touch to tell them. I Kalen Henderson is a photographer, studio con- sultant, and teacher (www.kalenhenderson.com and www.hendphoto.com). Her lab is American Color Imaging, a provider of press-printed books and free software to create and upload your own design (www.acilab.com). 40 • www.ppmag.com
    • PROFIT CENTER C H A R L E S J . L E W I S , M . P H O T O G .C R . Time is more valuable than money. Everyone has the home and work on your things-to-do list. same amount of time in a day, it’s a question of how Devote about 20 minutes to it every you organize, prioritize and invest it in growing. morning, and you’ll save yourself hours of wasted time. It keeps you focused on what’s Do more in less time and prosper most important, and helps organize your day, week and month to keep you on the path to success. To be begin, on a sheet of paper, draw a French novelist Victor Hugo wisely said, “He last 30-some years, and it’s truly one of my line drawn down the middle. On the left who every morning plans the transactions of secrets for success. More than a list, it’s a side, write everything that needs to be the day and follows out that plan carries a plan, and that’s why it is so effective. done; the order of the items doesn’t matter. thread that will guide him through the labyrinth If you use this tool every day, you will Keep the list with you throughout the day of the most busy life. …But where no plan is accomplish more than you dreamed and add tasks as they arise. The following laid, where the disposal of time is surrendered possible, and you’ll do it in less time and morning, review the list, then copy it onto a merely to the chance of incident, chaos will with less effort. You’ll also earn more new piece of paper, updating it and soon reign.” money with your photography. First thing reorganizing it, writing what you consider I’ve been using a things-to-do list for the in the morning, sit in a quiet place in your the most important things at the top of the 42 • www.ppmag.com
    • new list. Delete tasks accomplished the daybefore and add new items that have arisen. “I’ve been using a things-to-do list for the As you review the list, write an “A” next last 30-some years, and it’s truly one ofto items that are important to the accom- my secrets for success. More than a list,plishment of your long-term goals, a “B”next to items moderately important to your it’s a plan, and that’s why it is so effective.”long-term goals, and a “C” next to tasks thathave little to do with achieving your long-term goals. You know how important it is towrite down key goals for your life and yourbusiness, and prioritizing daily tasks thisway keeps you aware of what you’reworking so hard for. Look at the A items on the list, andconsider if there’s anyone you could delegatethese tasks to. Look at the remaining Aitems and prioritize them from 1 to 6.That’s all you’re going to worry about today.Just the top six. Now copy those top sixitems onto the right side of the paper, inorder of priority. When you get to work, begin with thetop item on the list. If the phone rings, andif you’re the one responsible for answeringthe phone, answer it. When you’ve takencare of the caller, go right back to workingon the task. If you have an appointment,keep it, then return to working on the task.When you finish it, proudly scratch it offthe list, and begin work on the second mostimportant task. Perhaps this sounds too easy, but if youadopt and use this simple system, you’ll beamazed at how organized and focused youbecome. The first few days or weeks will feelstrange, but you’ll soon see exciting improve-ment in your productivity and profits. IFor more information from Charles J. Lewis,visit www.cjlewis.com. February 2008 • Professional Photographer • 43
    • Professional Photographer P R E S E N T S Products, Technology and ServicesWhat I likeKerry Brett Hurleyfell hard for digitalWhat makes your workflow flow?Adobe Lightroom. When working withtight deadlines for my magazine I feelthat I can edit super fast.Whats the best equipment investmentyouve ever made? My first digital camera.I bought the Canon EOS-1DS Mark II andwas blown away with what I could do.What hot new product are you going togo out of your way to use? Larsons half-and-half reflector and BellaGraficasmarketing materials.Has a piece of equipment ever changedthe way you approach your photography?I love the Canon EOS-1D Mark III.I can do back to back beach sessions atnight and I dont have to worry aboutthe light falling because I can push theISO and basically shoot in the dark.Whats the one piece of gear theyd haveto pry from your cold, dead fingers? My70-200mm lens.IMAGE BY KERRY BRETT HURLEYWWW.BRETTPHOTOGRAPHY.COM February 2008 • Professional Photographer • 45
    • THE GOODS: PRO REVIEW Nikon incorporates the design and function improvements working photographers have been asking for in its new ASP-C class DSLRs. BY ELLIS VENER Amazing NIKON D300 Front view, Nikon D300All images ©Ellis Vener Rear view, Nikon D300 This image and the detail above show the impressive amount of detail and low noise level even in a long exposure in low light. Exposure: .4 seconds at f/8, ISO 200, -1 EV.
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    • THE GOODS: PRO REVIEW The theme of the advertisements for Nikon’s specs: Nikon D300 new ASP-C class DSLR is “The new Nikon D300 vs. compromise.” That’s a bold challenge. Since I’m both as hopeful for great things and as wary of hype as the next SENSOR: 3:2 aspect ratio, 23.6x15.8mm APS-C format CMOS guy, I had to test the D300 for myself, not in RESOLUTION: 12.3 effective megapixels (4,288x2,828 pixels) a lab but the real world. After a modicum of METERING: TTL full-aperture exposure metering, using 1,005-pixel RGB sensor: 3D testing under controlled circumstances, Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU most of this review is informed by simply lenses); center-weighted; spot metering going out and shooting photographs. SHOOTING SPEED: Continuous shooting up to 6 fps These days, the criteria for choosing a ISO SENSITIVITY: ISO 200 to 3200 in steps of 1/3, 1/2 or 1 EV, with additional 0.3, DSLR camera go beyond resolution; now 0.5, 0.7 and 1 EV (ISO 100 equivalent) under ISO 200 and 0.3, 0.5, 0.7 and 1 EV (ISO you have to weigh the whole package: the 6400 equivalent) over ISO 3200 accuracy and speed of the auto-focus system, SHUTTER SPEED: 1/8,000 second to 30 seconds in steps of 1/3, 1/2 or 1 EV, bulb the ISO sensitivity range, the dynamic range WHITE BALANCE: Auto (TTL white balance with 1,005-pixel RGB sensor), seven of the signal, the TTL flash control, the manual modes with fine-tuning, color temperature setting, white-balance bracketing range of compatible lenses, the ergonomics, possible (2 to 9 frames in 1/3 increments) and above all, the quality of straight-from- VIEWFINDER: SLR-type with fixed eye-level pentaprism; built-in diopter adjustment the-camera color to speed the workflow. (-2.0 to +1.0 m-1); approx. 100 percent coverage; about 0.94X magnification with a Clearly, Nikon has been listening to working 50mm lens at infinity photographers, and put that information LCD MONITOR: 3-inch, about 920,000-dot (VGA), 170-degree wide viewing angle, into the design and functionality of this 100 percent frame coverage camera and its much larger sister, the D3. LIVE VIEW: handheld shooting mode—TTL phase-difference AF with 51 focus areas (15 Built around a 15.8x23.6mm, 12.3-effective- cross-type sensors); tripod shooting mode—focal-plane contrast AF on a desired point megapixel sensor array, the D300 weighs 1.82 within a specific area pounds and is slightly larger than the D200. LENS MOUNT: Nikon F Mount with AF coupling and AF contacts The APS-C format (in contrast to the 24x36mm LENS COMPATIBILITY: DX AF Nikkor all functions; other Nikkor lenses with limited function format) is a boon for telephoto fans, but a FLASH: Nikon i-TTL Speedlight flash units; built-in Speedlight—manual pop-up with slight bane for ultra-wide-angle fans. As for button release; ISO 200 guide number (meters) about 17. X sync 1/250 second; flash the angle of view, a 200mm f/2.8 lens used sync up to 1/320 second with APS-C format equals a 300mm f/2.8 STORAGE: CompactFlash on the larger format, while a 20mm lens PRICE: $1,799 body only covers the angle of only a 30mm lens. The viewfinder magnification is a respectable .94X with 100-percent coverage of the frame, than full view, one tap of the OK button rarely used bracket button, located on the in contrast to about 95 percent with the D200. takes you back to the full view. A second tap far left of the viewfinder, becomes the image Even better is the larger new high-resolution opens a limited set of in-camera, post- review button on the D300, and the D200’s LCD display; 3 inches on the diagonal, it’s a capture manipulation options: D-lighting, review button at the top left of the LCD 920,000-dot (VGA) screen with a 170-degree trim (cropping), monochrome conversion, display is now the menu button. In the viewing angle, which translates into a full- filter effects, and color balance. location of the D200’s menu button, the screen 2.25x1.5-inch, full-format image display. Other improved handling characteristics D300 sports a control for three items: A tap of the zoom button gets you a full- include the relocation of the control buttons, image lock when you’re reviewing images, a screen, 2.375x1.8125-inch view. When now on the back of the camera, reflecting a large display of the camera settings when reviewing an image at any magnification other more natural set of options. The D200’s you aren’t, and info about the highlighted 48 • www.ppmag.com
    • THE GOODS: PRO REVIEW menu choice. When you’re reviewing Then, instead of broadening the dynamic images, navigating between a grid of range to show shadow detail, Active thumbnails or a magnified section of the D-Lighting applies contrast adjustments. frame is much simpler. The former Enter It takes some playing with to figure out button is now the OK button. With the when to use it and with which setting, but exception of the autofocus area switch, the the intention behind Active D-Lighting is to other controls remain the same. speed your workflow by handling a commonly The change in AF mode reflects a definite used processing step, exposure, before it upgrade in the autofocus mechanics of the needs to be addressed. Active D-Lighting is earlier Nikons, including the D2Xs. The no substitute for real HDR processing, but new Multi-CAM 3500DX autofocus module combined with the larger dynamic capture incorporates many of the advances in the range, it does seem to help. (Active D-Lighting 3500FX AF of the D3: 15 cross-type sensors differs from the standard Nikon D-lighting and 36 horizontal sensors, compared to 11 compensation that’s applied post capture in- in the D200 and D2Xs. By incorporating camera or in Capture NX.) color and brightness info from the 1,005- There are several post-capture processing pixel 3D Matrix metering system (as filtered options built into the D300 that I didn’t on the fly through Nikon’s Scene Recognition fully explore, but it’s fair to say there’s a mini System algorithms), the D300 does a better version of Capture NX onboard. Applying job predicting focus on moving subjects. these options creates a JPEG copy of the According to a technical analysis by original NEF, TIFF or JPEG. (Yes, you can kammagamma.com, in 14-bit per channel shoot 24-bit TIFFs if you like.) NEF mode, the D300 has an overall dynamic Live view on a DSLR is sometimes derided range of 8.6EV, a full stop greater than the as being like turning a DSLR into your great- D200. At a Sendai, Japan, press briefing I aunt’s point-and-shoot, but don’t be hasty to attended last August, Nikon engineers stated judge. The D300 offers both handheld and that depending on the lighting and the subject tripod-mounted modes. You can live-preview matter, photographers could expect a 50- to a frame on the camera’s LCD rather than in 150-percent increase in highlight dynamic the viewfinder. The handheld mode is useful range. Translation for wedding photographers: when you can’t hold the camera to your eye. Greater dynamic range means more fine detail The tripod mode is designed to help you in white-on-white wedding dresses and tux determine focus accuracy when shooting shirts and in black tuxedo jackets as well. still life, landscapes and architecture. It’s not If you’re shooting subjects with a large quite as good as shooting tethered with a dynamic range, like a man in a black tux 20-inch monitor, but it works surprisingly dancing with a woman in a white dress, you well with the high resolution LCD. can speed up your processing workflow by If you already own a D200, the big improve- activating the Active D-Lighting option (low, ments for you in the D300 are its increased normal, high or off) under the shooting menu. resolution of fine detail and far better per- Active D-Lighting works on both ends of the formance at high ISO. I photographed a simple The portrait at right was exposed with the Nikon D300 for 1/200 second at f/18, ISO 800, exposure scale, lowering overall exposure to target in constant daylight with a D200, a using a 15-55mm Nikkor f/2.8G ED lens and retain highlight detail, boosting shadow values D300 and a D3, using the same 24-70mm AlienBees and Zeus studio lighting. Above are details pulled from the image. to bring out detail separation by applying a f/2.8G ED Nikkor lens at the same aperture, digital simulation of a partial dodge effect. to make a series of exposures covering the 50 • www.ppmag.com
    • THE GOODS: PRO REVIEW full range of ISO settings for each camera. ratio is noticeable on a good monitor, but quality has big implications for the way we The D300 noticeably out-resolved the D200. nowhere near as much as with the D200 or work—not only can we work in dimmer From the L1 setting (about ISO 100) to D2X. If you must go to ISO 1600 and higher ambient light, but we also get broader ISO 800, the D300 resolution remains near (top end is 6400), the resulting images will lighting tool options. constant and virtually unaffected by noise. With be usable, but softer and more noise-freckled Nikon Capture NX has also been the onboard high ISO noise reduction function than with the D3. The ability to easily go up updated, and finally comes with the camera turned off, at ISO 800 the noise-to-signal to ISO 800 with only marginal loss of image at no additional cost. I usually use Adobe Photoshop Lightroom for raw processing and archiving, but I thought it only fair to give Capture NX a spin. It’s a lot slower than Lightroom, but it did a markedly better job of processing D300 and D3 images, before I started using the targeted U-point controls. In files processed with Lightroom and Adobe Photoshop Camera Raw-processed NEFS, I saw strange artifacts in the high ISO images, mostly in large areas of reddish colors. These simply weren’t there in the same images processed through Capture NX. The difference is great enough for me to change the way I archive my NEF files in Lightroom. I’ve started to embed my original NEFs in the Lightroom-created DNG folder to use when I need to process them in Capture NX or a future version of Lightroom, ACR or other raw processor. Despite all its improvements, the D300 still has room for future innovation: greater noise reduction at ISO 800 and above— presently you have to step up to the D3 for that, at three times the price; another EV or two of dynamic range, this time extending into the low values; and a built-in viewfinder blind to block meter-foiling stray light when your eye is away from the camera. While we’re at it, let’s make Capture NX run as fast as Adobe Photoshop Lightroom and also be able to export Capture NX-edited NEF files as DNGs. If you don’t need a DSLR with a so- called full-frame sensor (about 24x36mm sensor), or you don’t have the budget for it, with an MSRP of $1,799, the Nikon D300 is the king of APS-C class cameras. I Go to Web Exclusives on www.ppmag.com to see high ISO GretagMacbeth’s chart shots. 52 • www.ppmag.com
    • THE GOODS: PRO REVIEW More than 21 megapixels in a 36x24mm sensor supported by dual image processors make the EOS-1Ds Mark III the big dog in its league. BY RON EGGERS Big time CANON EOS-1DS MARK IIIAll images ©Ron Eggers Canon repeatedly denied the rumor that they were developing a 22-megapixel camera. The new Canon EOS-1Ds Mark III has a 21.1-megapixel, full-frame CMOS sensor, so technically the denials were legitimate. Still, Canon succeeded in keeping the competition guessing. With this 21-megapixel DSLR on the market, the competition has something to strive for. The EOS-1Ds Mark III has the highest resolution 36x24mm sensor in a DSLR. That resolution is a significant increase over the 16-megapixel ESO-1Ds Mark II, the previous holder of that distinguished position. With maximum resolution of 5,616x3,744 pixels, that’s packing a lot of pixels into the space of a 35mm frame. In fact, it’s closer in resolution to medium-format digital backs than to conventional 35mm-type digital SLRs, but with the advantages in size, weight and ease of use of those SLRs. The 1Ds Mark III comes equipped with dual DIGIC III processors. Without tandem processing engines, analog to digital (A/D) conversion and other image processing and transfer tasks could easily be choke points with such high-resolution images. With it, The 1Ds Mark III’s dual DIGIC III processors and 14- bit-per-channel A/D conversion ensure smooth gradi- ents and exceptional skin tone. Model: Natalia Stella.
    • At this speed, there are no second chances. Professional photographers know high speed performance and reliability when they see it. And at Lexar, so do we. With blazing speeds of 300x, Lexar Professional UDMA memory cards accelerate to the head of the pack, delivering optimal burst mode performance and industry leading transfer rate speed. You’re focused on catching the action. We’re focused on you. Lexar. Focused on photographers. Chucke Walkden, Chief Photographer at Infineon Raceway, using a Nikon D2x and a Lexar Professional UDMA 300x CompactFlash® memory card.©2007. Lexar and the Lexar logo are trademarks of Lexar Media, Inc. All rights reserved. All other trademarks are property of their respective owners.The Lexar “x” speed rating describes minimum write speed capability where x=150KB/sec sustained write speed Actual usable memory capacity may vary. IMB equals 1 million bytes; 1GB equals 1 billion bytes. Learn more about the Lexar Professional UDMA line of memory cards at lexar.com/ppmag
    • THE GOODS: PRO REVIEW specs: Canon EOS-1Ds Mark III SENSOR: 3:2 aspect ratio, 36x24mm full- frame CMOS RESOLUTION: 21.1 megapixel (5,616x3,744 pixels) IMAGE PROCESSOR: Dual DIGIC III Processor METERING: 63-zone TTL full-aperture metering, evaluative (linked to all AF points), partial (approx. 8.5% of viewfinder), spot (approx. 2.4% of viewfinder) with three variables (center spot, AF point-linked spot, This photo was taken using custom white balance. Taking a custom white balance measurement, multi-spot), and center-weighted averaging. which can be stored for future use, is a simple process. SHOOTING SPEED: Rated at 5 fps, up to 56 JPEG frames per burst or 12 RAW frames per bursts the EOS-1Ds Mark III achieves exceptional eye from the viewfinder. The viewfinder displays ISO: 100 to 1600; to 50-3200 via custom speed. It can capture up to 5 frames per second all the pertinent information, including function in bursts of 56 JPEG frames or 12 RAW frames. shooting mode, exposure settings, frame EXPOSURE SETTINGS: Program AE To come close to achieving that speed, it’s count, and ISO. You can set the two navigation (shiftable), shutter -priority AE, aperture- important to use high-speed cards. The wheels on the front and back of the body for priority AE, E-TTL II program AE (evaluative Mark III comes with both CompactFlash different functions, such as shutter speed and flash metering, averaged flash metering), (CF) and SecureData (SD) slots, so with aperture or shutter speed and ISO. Changing manual, bulb current card capacity, it’s possible to have up exposure by adjusting the ISO, without SHUTTER: Vertical-travel, mechanical, to 20GB of internal storage, although that’s affecting the shutter speed or aperture, simplifies focal-plane shutter with electronically not as roomy as it sounds. If you capture action photography and depth-of-field control. controlled speed of 1/8,000 second to 30 maximum-resolution JPEG + RAW files, For a camera of this caliber, the ISO seconds. X-sync up to 1/250 second about 350 shots will fill a 16GB CF card. range is somewhat limited. The standard WHITE BALANCE: Auto, daylight, shade, The camera’s 14-bit A/D converter ISO range that can be used without image cloudy, tungsten, white fluorescent light, produces an exponential increase over a degradation is 100 to 1600. Even when flash, custom WB, user-set color 12-bit A/D converter, yielding 16,384 tonal extended through a custom function setting, temperature (2,500-10,000K) variations per channel, as opposed to the the ISO range is still only 50 to 3200. VIEWFINDER: Eye-level SLR with solid customary 4,096, resulting in smoother skin Electronic noise was noticeable at 3200, but glass pentaprism; about 100 percent tones and gradations. Once raw images have tolerable at 1600. horizontal and vertical been processed internally, they can be I experimented with most of the scene LENS MOUNT: Canon EF opened in the 16-bit Photoshop color space. modes, including Portrait, Landscape, Neutral FLASH: Accepts Canon Speedlite flash units I shot extensively with the EOS-1Ds Mark and Monochrome. Monochrome was inter- STORAGE: CompactFlash and SecureData III in manual mode, where most creative esting because its lens-type filtration effects PRICE: $7,999 controls can be made without taking your will simulate yellow, orange, red and green 56 • www.ppmag.com
    • THE GOODS: PRO REVIEW filters for dramatic black-and-white photos. Most of these model shots were taken in the Manual/Portrait mode, with off-camera flash providing fill light. The EOS-1Ds Mark III accepts most Canon Speedlite flash units. Using a non-Speedlite flash, I had to experiment a little to balance daylight and fill flash, but once I had the settings down, the results were good. The camera has 45 autofocus points. When shooting with f/2.8 or faster lenses, there are 19 cross-type focusing points, and the 26 assist-focusing points are sensitive only horizontally. Cross-type focusing points are more accurate than assist-focusing points. The cross-type focusing points drop as the lens speed drops. With an f/4 lens, only the center AF point works as a cross type; with f/5.6 lenses, all AF points have horizontal sensitivity only; and with f/8 lenses, only the center AF is active, so it makes sense to shoot with fast lenses whenever possible. With the full-frame sensor, there’s no lens conversion factor. It’s compatible with more than 50 Canon professional EF lenses. In low-light, shooting in the predictive AI Servo focusing mode, the camera had difficulty initially locking in on the subject. Theoretically, when the shutter release is pressed down half-way in the AI Servo Shooting in the Monochrome Scene mode, its possible to simulate various lens filter effects, including a mode, the camera will continuously focus on red filter for dramatic sky effects. the primary subject, but that didn’t work particularly well in limited available light. If the camera didn’t lock on right away, it ports evaluative, partial, spot and center- as custom color temperatures. Setting up a tended to take considerably longer to focus weighted averaging modes. I prefer shooting custom white balance is simply a matter of than expected, often making me miss the in the center-weighted averaging metering registering an image taken specifically for shot I wanted entirely. Rather than making mode, and I had no problems there. But the that purpose, or an image stored on a card. only fine-focusing adjustments, it would run evaluative mode, which should be the most It’s important that that image is correctly through the entire focusing sequence, some- intelligent assessment, as it takes into account exposed, as significant under- or over- times repeatedly, before locking on. I haven’t the largest number of readings within a exposure will throw off the process. encountered that in previous high-end frame, at times yielded underexposed images. First you select Custom WB registration Canon DSLRs. You can set the camera to various standard in the menu and indicate which WB (1-5) The EOS-1Ds Mark III uses a 63-zone defined color temperatures and specific the reading will occupy. Then you set the TTL full aperture metering system that sup- Kelvin values from 2,500 to 10,000, as well lens to manual focus and make an image of 58 • www.ppmag.com
    • a pure white card, exposed to produce a The camera’s My Menu option lets you ideal for high-end commercial work, bothlight gray (18 percent) image. For some group all of the most common commands on location and in studio. However, when Ireason, in both sunlight and shade, the first and settings onto one screen, greatly speeding was shooting tethered to a computer, thefew times I tried it, the image of the card up access to frequently used items. It’s also USB cable tended to pull out. Disconnectinghad a blue cast. Thereafter they recorded possible to write the camera settings to a cables plagued photographers when studiocorrectly. Once the camera finishes the memory card so you can revert to favorite flash systems were generally triggered by PCcomputations, the results are stored in one settings, and have available various sets of cords. Wireless triggering devices eliminatedof the five personal white balance slots for preferred camera settings for different that problem, but the problem returns withlater recall. There’s a faster method of taking shooting situations. It also simplifies loading the USB cable. To be fair, it’s an inconveniencea custom white balance, using the function the settings of one camera onto another. with any DSLR used in USB-tethered mode.button and dials to skip the menu The Mark III has a rugged body and the Still, Canon could have come up with somenavigation, all explained in the manual. shutter is rated to 300,000 frames—high, even sort of USB cable locking mechanism. The Mark III’s extra-large 3-inch LCD for a professional camera. Its integrated cleaning The camera comes with Version 16 ofscreen is highly readable under almost all system activates each time the camera is the EOS Digital Solution Disk, whichlighting conditions except very bright sunlight. turned on or off, shaking dust particles from includes Digital Photo Professional 3.2. forI could still see the overall image on the screen, the sensor. There’s also a software dust removal professional grade image transfer,but the details were barely distinguishable. method for artifacts on captured images organization and conversion, and aIn most viewing conditions, you could see well once they’ve been transferred to a computer. number of other applications and utilities.enough for framing, even shooting in the Considering its resolution, image quality The Canon EOS 1Ds Mark III has aLive View mode and framing using the LCD. and speed, the Canon EOS-1Ds Mark III is suggested retail price of $7,999. I February 2008 • Professional Photographer • 59
    • THE GOODS: LIGHTING Flash isn’t the only way to light in studio. Manufacturers are responding to the trend with new technology, such as the New lower heat sources can illuminate like Westcott Spiderlite constant light series, north light or be easily configured into which can be attached to any Westcott setups that flood the space with light. soft box or strip bank. Spiderlites work with either tungsten or cool-running, B Y E D P I E R C E , M . P H O T O G .C R . daylight-balanced fluorescents. Switches Constancy on the units control the light output by turning on or off individual or multiple STUDIO LIGHTING There’s a quiet revolution taking place in fired away. Before flash, constant light studio lighting. For almost 50 years, the sources ruled. Today, photographers are studio experience included a pop and flash rediscovering the beauty, simplicity and with each exposure, while powerful strobes intimacy of constant light. Figure 1All images ©Ed Pierce 60 • www.ppmag.com
    • Figure 2 have northern exposure window light in the camera room. But as beautiful as window light is, it can be challenging to maintain proper exposure and color balance on sunny days when the sun darts in and out of the clouds, and nearly impossible on rainy days. When Westcott introduced the 8x8-foot Scrim Jim frame a year ago, I got the idea to build myself the perfect window. I combined two frames, 18 inches apart, withbulbs, without changing color temperature. second at f/3.2, ISO 200, with an 85mm a one-stop translucent fabric in one and I shot all of the images shown here with Canon EF f/1.2 II USM lens. silver reflective material in the other.a Canon EOS 5D, using a PhotoVision One- I’ve always been envious of studios that Between them I suspended five 8-footShot Digital Calibration Target to achieveproper exposure and custom white balance.For the high-key image of Melissa (Figure 1),I used a basic two-light setup with Westcottdaylight-balanced fluorescent bulbs. Thebutterfly-positioned key light had five bulbsin a 31x42-inch soft box boomed above andin front of the subject. I placed a 12x50-inchstrip bank with three bulbs on the floor infront of the subject for fill. Exposure: 1/30Figure 3 February 2008 • Professional Photographer • 61
    • THE GOODS: LIGHTING sections of track lighting holding 25 reflector for fill. I added two Spiderlites in Westcott fluorescent bulbs. Voila! Perfect strip banks, one as a hair light, the other as window light that can be moved and an accent to add a second catch light at the feathered, is consistent in intensity and bottom of the eye. Photographers with color balance, and can be used day or night. window-lit camera rooms will be excited I used “Ed’s Big Box” in Figures 2 and to learn they can now add accents and 3. The first image of Ashleigh began with supplemental lighting to backgrounds and a fairly traditional approach to window hair in this way. Exposure: 1/160 second at light, with a 72x42-inch white Scrim Jim f/1.4, ISO 100, with an 85mm Canon EF f/1.2 II USM lens. The second image of Melissa was taken from a high angle. In Figure 4 addition to the big box, I used a single eye- lighter fill strip bank on a boom arm. Exposure: 1/100 second at f/2.0, ISO 100. Another welcome use of the Spiderlite with fluorescents is adding flash when needed for depth-of-field or action-stopping shots. You can add strobes by either replacing several of the fluorescent bulbs 62 • www.ppmag.com
    • Figure 5 fixed Canon EF f/1.8L USM lens for 1/30 second at f/1.8, ISO 100. Not one of these takes was handheld. The camera was mounted on my Bogen camera stand. I could have bumped up the ISO, as all but one were shot at ISO 100, but I learned to do it this way 25 years ago and I still prefer it today. You can always make a sharp image soft, but it doesn’t work in reverse. Call me old school. I Pierce is teaching a 68-city educational tour in 2008. Go to www.edpierceseminars.com instead of a soft-source main light, I used a for dates and locations. 4-inch theatrical Fresnel (purchased online for about $150). The accent lights are Figure 6 Photogenic mini-spots I bought some 20 years ago for the purpose of simulating print competition lighting. Surprisingly, I still find several sources for them online. I shot this homage to the glory days of Hollywood black and white for 1/40 second at f/2.2, ISO 100, with the 85mm lens. I shot the alleyway grunge image with my 200mmwith the Westcott screw-in strobe units or,as I prefer, simply inserting QuantumQflashes through the soft box vents, as inthe portrait of Michael on the gold couch(Figure 4). The Qflash with 150 watt-secondsof output, which can be AC- or battery-powered, is more than powerful enough forportraits. Here, I shot at f/7.1, ISO 100. AllQflashes were set below half-power. One stripbank provided hair light, another eye-lighterfill. Again, the main light was a 31x42-inchsoft box boomed into a butterfly position. The final two images of Melissa (Figures5 and 6) look almost like opposites, yetwere created with identical light sources. Iswitched to tungsten in my Spiderlites, asimple switch-out of the screw-in bulbs. Iused strip banks for hair light and fill, but February 2008 • Professional Photographer • 63
    • THE GOODS: LIGHTING From Tennessee comes a versatile lighting system with smart design features. It’s consistent, reliable and priced right. BY ELLIS VENER THE ZEUS SYSTEM All-star combo The new Zeus system from Paul C. Buff has ZRM1 RINGMASTER a combination of desirable features that Perhaps the least obvious strength of the similar systems lack, starting with the price. Zeus system is the ZRM1 RingMaster flash The system is compatible with select Dyna- head. Yes, it’s a ringlight, and poking your Lite M2000 heads, and Zeus heads work lens through the donut hole makes it easy Zeus ZRM1 RingMaster Flash Head with Dyna-Lite packs. Users can remotely to make shadowless portraits with the hard, trigger and control output, or simply trigger a near-clinical feel you’d expect, but it’s much For a softer look, add one of the two sizes pack via various optional Paul C. Buff wired more versatile than ringflash heads that of Moon Unit soft boxes, either the original and wireless remote control units. The system’s cost a bundle more. with a 30-inch diameter or the new 56-inch version of Balcar’s reflector and light Like most standard heads, and unlike diameter version. Shoot through the center modifier attachment design is very secure. virtually all current ringflash heads, the or change the diffusion screen and use it as a The packs and all of the heads are fan cooled. ZRM1 is the platform for a system of light standalone soft box. The Zeus System may lack the looks and modifiers. With the inner and outer edges For something even more exotic, try a set the sleek interfaces of more expensive systems of the ring used as attachment points, it’s of the optional heavyweight black paper masks from Broncolor, Elinchrom, Hensel and Profoto, the Swiss Army knife of lighting. It’s also precut in various shapes and patterns, pack- but it does the job it’s supposed to do: light enough to handhold longer than aged with four blanks for your own signature consistently produce the light other ringflash units with the same output patterns. None of them really changes the you need and lots of it. capacity. Like its ABR800 monolight overall quality of the light, but they create sibling, its functional modeling lights interesting catch-lights in the subject’s eyes let you see what you’re doing. And and subtly alter the shape of the shadows. Zeus Z2500SH Standard like the ABR800, the head can The masks tend to block a fair amount of Flash Head be used as an off-camera light, light, which isn’t a problem given the power mounted on a tripod or light and efficiency of the Zeus system. Try removing stand, or handheld. the internal diffusers to get a large light with Start by working with a brighter center hot spot. Go back to the the basic bare ZRM1 bare tube configuration and add the center head with or without the deflector in conjunction with the 10-inch included diffuser. Add reflector, or some strategically placed bounce the removable 10-inch cards for shadowless macro work light. reflector, then try those There’s also an included umbrella adapter. combinations with the optional 20-inch Two more terrific things about the ZRM1 grid spot attachment. and 56-inch Moon Unit soft box—the com-
    • bined shallow depth and a weight of just 1 color temperature stability throughout their shutter speed, and the more commonlypound, 14 ounces for the fully assembled range—Profoto and Broncolor in used (at least in marketing literature) t0.5soft box and speedring. The ZRM1 and 56- particular—but they cost much more. standard, which is about 3 times shorterinch Moon Unit are only 5.5 inches deep, There are two standards for measuring than t0.1 flash duration. If stoppinggreat news if you have to get a large light flash duration. The t0.1 standard is equiv- motion is important to you, the t0.1over a set in a low-ceilinged room. Compared alent to the motion-stopping ability of a standard is the one to bear in mind.to standard head and soft box combinations,this combo requires less ballast when thelight is mounted on a boom. Despite theshallow design, using the internal diffusersevenly and smoothly illuminates a wide area. Hurricane, flooding, torrential rains...POWER PACKSZeus packs come in two strengths, the 1,250watt-second (WS) Z1250 and the 2,500WSZ2500. These are the actual output specs, not“effective” watt-seconds. Paul C. Buff designedthe Zeus packs with only two head connectionports, Channels A and B. A single slider controlstotal pack output over a continuous 5-stoprange, and power can either be distributedsymmetrically between the two channels or DriveSavers to the rescue!split into a fixed 3:1 ratio between channelsA and B. By combining the asymmetric settingand the slider, you gain two more stops oflow-power output if you use just the B channel.With the Z2500, which we used for thisevaluation, this means the total power rangeis 7 stops, or from 2,500WS to about 20WS. We can save it! Of course, how raw watt-seconds translate What’s the number one fear of professionalinto the quantity of illumination on your photographers around the world? The unexpected, suddensubject depends on the modifier or reflector loss of irreplaceable images due to a crashed or damagedon the head and its distance from the camera, computer or other digital device.subject. In a large space, at a diffusion DriveSavers understands, and we know how to help.screen-to-subject distance of 8 feet, meter and We’ve recovered more data for photographers and othercamera set to ISO 100, a Z2500 + Z2500SH creative professionals than any other company in the world.+ Medium Chimera Super Pro soft box We offer special benefits to PPA members plus freecombination produced f/16.5 at full power return shipping and direct access to our data recoveryand a little less than f/2 at minimum power. engineers. And, if we don’t retrieve the data, you don’t pay. Bare tube color temperature, as measured So, what’s our advice for getting rid of that fear?with a Broncolor FCC meter, ranged from Easy. Back up today...or call us tomorrow.5,850 Kelvin to 5,500 Kelvin at 1/8 power.There are pack and head systems with better 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. February 2008 • Professional Photographer • 65
    • THE GOODS: LIGHTING With the head plugged into the B channel, lower center of gravity. I’m not crazy about the at full power in symmetric mode, the t0.1 clamshell lid design. I’d like the option to flash duration of the Z2500 and Z2500SH side-mount a hook to the pack so that I could combination measured a very hang it from a stand as ballast. I wish the respectable 1/230 second (1/690 lever to open the reflector/speedring attach- second at t0.5). Using the variator and ment clamps were on the side and not the cutting power by 2 stops slightly length- bottom of the head. I’d like the heads to ened flash duration to 1/175 second. have a short pigtail connection so the 12-foot With the variator at full power but cable could be disconnected for easier switched to asymmetric mode, in which the storage. And I’d like a pencil-light type head B channel has only 1/4 power at maximum, like the Dyna-Lite Enertec pencil light, the t0.1 flash duration dramatically shortened which won’t work with the Zeus because of its to 1/655 second (about 1/2,000 second at lower power capacity. t0.5). These measurements are slightly In the big picture, these are minor matters longer than the company states, but their of design, and adding these features would measuring tools are different. likely add to the price. Bottom line, if you’re There are some things I wish were looking for new studio lighting and you want different about the Zeus. For one, I’d like a lot of versatility for your money, the Zeus Zeus Z2500 Power Pack the pack to have a more squat shape with a is definitely a serious contender. Ispecs: ZEUS Z2500SH FLASH HEAD INCLUDES: 7-inch 80-degree reflector, 250-watt quartz-halogen modeling light SIZE: 8-inch diameter, 2.75-inch depth, 4- inch center port for lens WEIGHT: 1.5 pounds (excluding cable, The Zeus System MOUNT: standard swivel stand, hardwired camera, mounting bracket) 12-foot cable PRICE: $299.95ZEUS Z1250 POWER PACK MAXIMUM POWER INPUT: 2,500WS forMAXIMUM POWER OUTPUT: 1,250WS maximum continuous usage up to ZEUS Z5000BTH BI-TUBE FANFULL-POWER RECYCLE TIME: 1.2 seconds 30,000WS per minute COOLED FLASH HEADQUARTER-POWER RECYCLE TIME: SIZE (h x w x l): 5.25x4x7 inches INCLUDES: 7-inch, 80-degree reflector,0.35 seconds WEIGHT: 3 pounds (without cable) two flash tubes, 250-watt quartz halogenSIZE (h x w x d): 10.5x7.5x4.25 inches PRICE: $299.95 modeling lightWEIGHT: 7.4 pounds MOUNT: standard swivel stand, and twoPRICE: $599.95 ZEUS ZRM1 RING MASTER 12-foot head-to-pack cables FLASH HEAD MAXIMUM POWER INPUT: 5,000WS forZEUS Z2500 POWER PACK INCLUDES: 10-inch reflector, eight 20- maximum continuous usage up toMAXIMUM POWER OUTPUT: 2,500WS watt lights, flash tube cover/diffuser 30,000WS per minuteFULL-POWER RECYCLE TIME: 2.4 seconds MOUNT: universal camera platform, tripod SIZE (h x w x l): 5.25x4x7 inchesQUARTER-POWER RECYCLE TIME: 0.7 and light stand mounting bracket, 12-foot WEIGHT: 3 pounds (without cables)seconds head-to-pack cable PRICE: $399.95SIZE (h x w x d) : 10.5x7.5x4.25 inches MAXIMUM POWER INPUT: 2,500WS forWEIGHT: 11.2 pounds maximum continuous usage up toPRICE: $799.95 20,000WS per minute 66 • www.ppmag.com
    • Commercial photographer Jason Lindsey of Champaign, Ill., has a dual perspective. He learned about the business of image creation during his years in commercial design and art direction. COMMERCIAL By Jeff Kent I n business, it often helps to see things from the perspective of your customers. For a public relations agent, it’s useful to spend some time working in the media. For a real estate broker, it would pay to go through the home-buying process. For a commercial photographer, it certainly helps to have been an agency art director. Commercial photographer Jason Lindsey of Champaign, Ill., is living proof of the value of having a dual perspective. Lindsey had always been interested in photography, but his education and early career experience were in graphic design. Over five years of commercial design and art direction, Lindsey learned about the business of image creation from the perspective of an ad agency. He learned how to deal with clients, figure out the logistics of commercial projects, and how to turn a concept into a fully realized campaign. Meanwhile, photography kept pulling at Lindsey’s heartstrings. He started shooting tourism and travel images, first for fun and then for a fledgling list of clients. Lindsey found an increasingly receptive market for his images. Clients liked his style. Art directors liked his knowledge of the industry. When Lindsey felt the time had arrived, he dove headfirst into the business of commercial photography. He bought aAll images ©Jason Lindsey lighting kit the night before his first big commercial shoot, but had to hire someone who knew how to work the lights. The Flip side technical skills came soon enough, but have never been a focus of Lindsey’s. Instead, he Jason Lindsey forges a commercial career with a dual perspective 68 • www.ppmag.com
    • sells his particular vision of the world, withan emphasis on emotion, innovation and aclear sense of commercial artistry. A decade later, Lindsey’s business isgoing like gangbusters. His clients includeAnheuser-Busch, Fujifilm, the U.S. PostalService, Geico Direct, Amazon.com anddozens of others. He’s done editorial shootsfor National Geographic Books, SmithsonianMagazine, The Wall Street Journal andU.S. News and World Report, to name justa few. We sat down with Lindsey to getsome details about the approach that’smade him so successful.Professional Photographer: How has yourexperience in art directing affected yourwork as a photographer?Jason Lindsey: Not only was I working as adesigner, but my degree from college was in February 2008 • Professional Photographer • 69
    • COMMERCIAL‘‘ shooting professionally, Tell us about your approach to lighting,When I started particularly the difference between your environmental lighting and your thematic,my portfolio and promo materials were what I communicative lighting.thought clients wanted to see. Later, I put Back when I started, I asked an established photographer friend if I should take atogether materials that were much more personal. lighting class. He told me no. “I think it’s a good thing that you don’t light by rules,” heMy business almost doubled. ’’ said. He had a good point. I don’t light certain things certain ways because of some lesson I learned in a class. I developed mydesign. In school, we learned about trying to Tell us about your working style. Do you do lighting style more naturally.communicate something for a specific purpose a lot of planning before a shoot, or do you I light with one of two approaches. Theor need. It’s more a commercial way of work more intuitively? first is based on emotion, on what I’m tryingthinking than a purely artistic approach. In general, I try to make the images feel to communicate in the image. For example,Much of the photography training I’ve seen natural or intuitive, but much of my work is I did a portrait of an author whose bookis more about art. My design training is consciously produced, even if it’s an opened with a nighttime car wreck on avaluable for my work because it was all intuitive consciousness. I try to do as much rural stretch of road, so we did the shootabout being creative on demand, or creating preparation as possible before going on before sunrise and replicated the look ofsomething for a very specific purpose. That location. Once there, I can work more truck headlights illuminating a scene atbackground helps me talk to art directors intuitively. The more prepared I am going night. I set up a battery-powered light kitand get on board very quickly with what into a shoot, the more reactive I can be to and lit the author with strong directionalthey are trying to accomplish. the changing situations on location. light from the side to create a connection to70 • www.ppmag.com
    • the scene in the book. If my light is very brainstorm with a photographer down the have confidence in my approach from anoticeable, as in this case, you can be sure street named Christopher Rory. He does business standpoint. I still have to remindthere’s a reason. children, seniors, families and pets. We look myself to push out there further, to pursue My other approach to light is based on at each other’s work and draw inspiration my photographic vision.how the subject would appear in a natural from each other. People often put theenvironment. In natural environments, light [commercial and retail portrait] markets in What would you recommend to thosecomes from everywhere, not just a window separate categories. It’s strange that those interested in establishing a stronger career inor single light. It reflects and bounces two worlds don’t usually meet. Maybe they commercial and editorial photography?around from all sides. I visualize how should. My interactions with Rory have Make sure you’re listening to yourself insomething would look in a natural broadened my visual reference significantly. terms of how you see the world. What I sellenvironment and use that as my guide. is my vision of the world, how I interpret a I like shooting outdoors after sundown. I How has your work developed from your scene or a setting. I don’t sell my equipmentalso make a lot of images shooting directly first days of pro shooting? or my technical expertise. These days, becauseinto the sun, intentionally creating lens flare. When I started shooting professionally, my there are more and more high-qualityIn general, I don’t worry about photographic portfolio and promo materials were what I digital cameras out there, it’s easier forrules. If there’s lens flare, but the shot has thought clients wanted to see. About two clients to shoot certain things on their own.more emotion, more impact, that’s fine. years later, I put together promos and a new When they hire a professional photographer, portfolio that were much more personal. they want that photographer to bring aFrom where do you draw your inspiration? The new materials were focused on how I unique vision to the project. That’s how youA broad variety of sources. The Web has see the world, how I like to shoot things. My find a market for your work in this field. Ibeen an amazing source of inspiration. I look business almost doubled after I startedat online magazines, photo news groups and showing my vision. It was encouraging that To see more from Jason Lindsey, visit himother photographers’ portfolios. I also often my outlook had such value. It helped me to online at www.perceptivevisions.com. February 2008 • Professional Photographer • 71
    • “THERE IS NO END. THERE IS NO BEGINNING. THERE IS ONLY THE PASSION OF LIFE.” – Federico Fellini COMING IN FEBRUARY EXCLUSIVELY FROM... 1.800.662.1000 • www.albumsinc.com
    • BE THE REVELATION THROUGH WHICH THE NEXT GENERATION SEES. You’re not just taking a picture when you push that button. You’re laying bare the revelation through which the next generation sees. Capturing the truth that will grow more telling with each passing year. And every new set of enlightened eyes. That’s the power of photography. Every shot you take adds a branch to a family tree. Creating memories that, years from now, will connect families to their roots in often unexpected and meaningful ways. That’s your gift. You immortalize moments. And when you print them and preserve them in family albums, you make the understanding of those Jorgensen Album who come after immeasurably deeper.1.800.662.1000 • www.albumsinc.com Everything after the photography
    • All images ©Louise BotticelliDOUBLE
    • Louise Botticelli’s booming bicameral business model BY JEFF KENTVISION
    • “You can never let your guard down. If you get busy andstop promoting your business, you’ll eventually feel it.It could take a year, but you’ll see a downturn.”It’s a common conundrum in photography Botticelli got into professional photography her photography and learned how to—should you follow a high-end, low-volume about 15 years ago, after a long break from establish a market for it. Botticelli joinedbusiness model or a moderately priced, higher the workforce while her children were PPA and took dozens more workshopsvolume model? There are big differences growing up. She was taking classes in art presented by well known portrait masters.between the two, including the areas of and photography at Stony Brook University She opened a portrait business in hermarketing approach and workflow. in New York when she was drawn to a mall home in Setauket on New York’s Long Louise Botticelli, M.Photog., decided to display of portraits on canvas by Jeff Lubin, Island. A natural with kids, Botticelli con-follow both models. A former teacher with a M.Photog.Cr. Fascinated, she signed up for centrated on child and family portraiture,master’s degree in early childhood education, Lubin’s seminars. She found a direction for and within a year or so, the business had
    • outgrown the confines of her home. She in West Hampton to display her work to a rented a small space in West Hampton on wider audience, and hired a studio manager Long Island, which the business again so she could concentrate on making artful outgrew in about a year, and she moved portraits, most of them rendered on canvas. one more time before adding a 3,000- About four years ago, the studio’s sales square-foot studio on the side of her home. averages started to drop. The storefront Then Botticelli Portraits really took off. She gallery, promotions and mall displays were bought a small gallery space on Main Street bringing in clients, but they were ordering78 • www.ppmag.com
    • smaller prints and lesser packages. Botticelli’sson Brian graduated from college aboutthen, and he wanted to join the business.Taking both matters into consideration, sheand her manager brainstormed aboutrevising the original business plan. To the high-end, labor-intensive portraitline, Botticelli decided to add a venture tocater to a different market, one that wouldoffer more products and services and go forhigher volume sales. The West Hamptongallery was revamped into a separatedivision of Botticelli’s business, UniquelyYou Express Photography. Under Brian’smanagement, the new business includedwedding and event photography. Sales averages rebounded and the UniquelyYou brand was building a reputation in thearea. Botticelli purchased another space, thisone in the commercial district of Huntington,Long Island, a town closer to New York Citywith year-round traffic. Brian Botticelli movedinto the new space, and the West Hamptonbusiness was placed under the managementof a recent photo school graduate. “It was a hard decision to change the busi-ness structure, but when we saw the numbersgoing down it was obvious that something washolding people back,” says Botticelli. “It wasthe pricing. When my son joined the business,I said ‘We need to offer a good product at adifferent price.’ I knew it couldn’t be out ofthe main studio that I work in, because thatwas identified with high-end canvas portraits.So we started Uniquely You. Once thepeople came in for the smaller-scale products,there was a percentage that would still optfor canvas portraits. It worked really well.” Using StudioPlus studio management soft-ware, Botticelli’s studio manager coordinatesthe business of all three locations from heroffice in the home studio. The West Hamptonand Huntington studios use Phase One digitalcamera backs linked directly into theStudioPlus system for ordering and image
    • management. All phone calls go directly to the will be acceptable to you,” she says.manager’s office, freeing up the three photogra- Because of Botticelli’s successful businessphers to work with clients without distractions. model, other photographers are seeking her “If you’re going to advertise and put advice. The former teacher will once againmoney into getting your phone to ring, be tutoring pupils in one-on-one, weeklongsomeone needs to be there to answer it,” says workshops that go behind the scenes at herBotticelli. “It’s also important to train the three studios. Her Photography for Life work-people you work with, whoever answers the shops focus on sharing the lessons that she’sphone, because that’s where you form the learned—or, as she puts it: “Everything youfirst connection with a potential client. need to know to turn your passion into a career.”Clients want that connection. It’s so important.” “I find that no matter what level you’ve To manage the growth of the business reached, what your experience is, you canand maintain a healthy volume, Botticelli always learn,” says Botticelli. “I yearn to gouses a marketing plan that’s “a little bit of to PPA conventions, to attend workshops,everything.” She has image displays in five and to look at Loan Collection prints. Youmalls, which generate most of the studios’ can discover so much by looking at goodcalls. She hangs prints in libraries, physicians’ work. And the whole PPA community is sooffices, clothing stores and other local busi- eager to share. Learning is the clearest pathnesses. For one clothing store, she designed to success in this business.” Ibusiness cards that feature one of her images To learn more about Louise Botticelli, visitand her studio name. She’s bought print ads her online at www.botticelliportraits.com.and worked with Marathon Press on directmailings, even partnered with car dealershipsthat give studio coupons with the purchaseof a new car. “You can never let your guarddown,” she says. “If you get busy and stop pro-moting your business, you’ll eventually feel it.It could take a year, but you’ll see a downturn.” Besides marketing, Botticelli credits muchof her success to good customer service andconsistency once she gets people in the door.“Always have time for people while they’rethere. Be consistent with pricing andturnaround. If you make promises orpromote a particular system, stick to it.” Another key is workflow. Botticelli man-ages the multi-location business by doingwhat she does well—photographing childrenand families—and delegating the rest. Partof it is working closely with trusted partnersand vendors. “There will always be problemswhen you establish a new partnership, butas long as you solve them in the beginning,you can establish a level of consistency sothat everything coming out of your studio February 2008 • Professional Photographer • 81
    • Al images ©Marcus Bell Shot through the heart
    • Marcus Bell throws heartand soul into his photography whether documenting a wedding or creating fine-art. BY STEPHANIE BOOZER
    • appily situated in Queensland,Australia, Marcus Bell is thehead of Studio Impressions, a choice photographystudio popular with globetrotting brides.Specializing in what he calls a “global approach,”Bell travels anywhere to photograph weddings. one of the greatest finds in my life. MyClients around the world seek him out for the father was a photographer, and my grand-quality of his work and the emotion it evokes. father before him. I never imagined I’d do what my forefathers did, but when I pickedProfessional Photographer: How did you up the camera, it was like being hit by a bus.get started in photography?Marcus Bell: Believe it or not, I was a banker, What sets Studio Impressions apart?struggling to escape and find my passion. One major factor is our print presentation.What was always under my nose became Early on, we incorporated our fine-art
    • ‘‘My father was a photographer,and my grandfather before him.I never imagined I’d do whatmy forefathers did, but whenI picked up the camera, ’’it was like being hit by a bus.
    • training into everything we do. Every imagegoes through a comprehensive process todraw out the emotion. I think of it ascommunicating my vision into the finalprint while enhancing the viewingexperience through composition and lightand drawing out the center of interest.What’s your philosophy?Shoot from the heart. Build relationshipswith your clients. Communicate your visioninto print. Be remarkable in everything you do.Studio Impressions was founded on a few basic,yet powerful philosophies. First, passion. Fromday one, my passion ensured I’d create a studiofor all the right reasons. I also emphasizedhigh quality, fine-art images and a comple-ment of outstanding products. The mostimportant ingredient of our success is creatinga strong relationship with each of our clients. Emotion and real moments are the essenceof Studio Impressions’ photography. I use
    • the camera to tell true stories of real people. weddings, I was hooked and always will be. I’m a strong believer that the majorBeing invited to share clients’ most precious Every wedding is unique to me. events in our lives shape who we are, andmoments is a privilege. in turn, shape the photographers we are. Where does your fine-artwork fit in? A number of major events have shapedIs there any location you wouldn’t travel to? It’s the largest inspiration of all for my my photography: the death of my fatherI would say Antarctica could be too far wedding photography. Being taught about when I was 16, meeting my wife, the birthaway. Not to contradict myself, but it the art of photography instilled so much of of my son Jackson, and the prematurewould be great if you could fly there, yet what my images represent today. I’ve birth of my twins.[its remoteness] is part of its beauty. The incorporated a number of new tools that At the birth of my son Jackson, Imost interesting location I’ve photographed let the creative side run wild. Principles handed my camera to the anesthesiologist,is due more to the people than the place— that painters use enable a photographer a keen photographer. He captured one ofIreland. I always come away with the most look at images on a whole new level, and in the dearest moments in my life. For theamazing experiences and images. Paris is turn produce standout works of art in their first time, I saw for myself the gift thatthe most problematic location, only own right, even in wedding images. photography gives others. With a singlebecause so many photographers have image you can encapsulate a moment thatcaptured it from every angle. At the end of the day, who are you— will be relived over and over again. That’s a photographer or a businessman? an amazing gift to give to our clients. ITell me what you love most about weddings. A photographer for sure, though a pho- can’t remember ever seeing a bank state-I would travel the world to capture candid tographer who’s had to learn to be out- ment that gave anyone this kind of joy. Iemotional images in street-scene environ- standing in every single way to competements, but as soon as I saw that these alongside the businessman. My whole Visit Marcus Bells’ Web site at‘‘moments happen week-in and week-out at business was based on this. www.studioimpressions.com.au.I use thecamera totell truestories ofreal people.Beinginvited toshare clients’mostpreciousmoments isa privilege.88 • www.ppmag.com
    • CAMERAS DIGITAL SLR (35MM STYLE) LESS THAN $1,000 IT’S A TIE! Pentax K100D Super In the K100D Super, Pentax provides a full- featured, technologically advanced SLR at an affordable price. The K100D Super The Hot One Awards showcase is compatible with all Pentax lenses and the most advanced, can be useful tools on the market adapted to screw A high-tech mount and 645/67 lenses (adapter sold sep-state of mind arately). It features shake reduction technology, a 2.5-inch LCD with 210,000- pixel resolution and a dust removal system to keep the CCD surface clean. The K100D Super has a 6.1-megapixel APS-C size CCD, an 11-point autofocus mechanism and 16- There are two schools of thought on technology. The first prescribes using segment multi-pattern metering. The existing technology as long as possible: Save money, wait until the system is pentamirror viewfinder provides a 96-percent field of view with 0.85X magnification. obsolete. The second declares that technology is a tool, and new tools should Price: $519.95, body only; $599.95 replace old ones the minute they’re available: The cost will pay off in greater with 18-55mm lens. www.pentaxslr.com efficiency, broader functionality, and staying ahead of the competition. Professional photographers have largely belonged to the second school, Olympus Evolt E-510 The Olympus Evolt E-510 portable digital SLR embracing and mastering new technology, and never at the expense of artistry. has a 10-megapixel Live-MOS sensor. The The Hot One Awards reflect not only the technology in the photographic industry, camera’s mechanical image stabilization with Supersonic Wave Drive technology provides but the spirit of the photographers as well. The Hot One judges, professional blur-free images, while the Live View LCD allows photographers themselves, evaluated myriad entries in this ninth annual event you to compose shots from a variety of angles. The E-510 is compatible with more than 30 to vote on the best of the year’s new and upgraded products and services. We hope you’ll be as eager to see what they chose as we were. Here’s to putting these wondrous tools to the most artistic of uses! Jeff Kent Hot One Editor jkent@ppa.com 90 • www.ppmag.com
    • digital-specific lenses. Its dust reduction system It has a 3-inch LCD monitor with a Live Viewkeeps the sensor spot free. Lightweight and function, plus a 45-point autofocus system.portable, the E-510 has an ergonomic grip for Price: $7,999, body-only.ease of use in a variety of quick-shooting situa- www.usa.canon.comtions. Price: $549.99, body only; $749.99with 14-42mm and 40-150mm lenses.www.olympusamerica.com MEDIUM-FORMAT DIGITAL CAMERA SYSTEMDIGITAL SLR (35MM STYLE) Mamiya 645ZD Digital System$1,000 TO $3,000 Mamiya won this growing and hotly contested category with the 645ZD DigitalCanon EOS 40D System, the first 22-megapixel digitalThe Canon EOS 40D brings digital SLR users camera system priced under $10,000. Thea host of cutting-edge features at a mid-range Canon EOS Integrated Cleaning System, the system brings plenty of bang for the buck,price. Housing a 10.1-megapixel CMOS sensor, EOS-1D Mark III impressed our judges as a including the Mamiya 645AFD II medium-the camera comes with the EOS Integrated robust, tech-loaded DSLR. It shoots at a format camera, an 80mm f/2.8 AF lensCleaning System, Canon Live View, 3-inch staggering 10 frames per second in bursts of up and the newly introduced Mamiya ZD 22-LCD monitor and a DIGIC III Image Processor. to 110 JPEGs or 30 RAW files. Dual DIGIC III megapixel digital back. The 645ZD DigitalCanon’s noise reduction technology provides Image Processors speed up camera processes System features the Mamiya communica-clean images, and 14-bit conversion provides while refining image quality. Price: $4,499, tion protocol (Mamiya Serial Communica-excellent color tones and gradations. Well- body only. tion for External) for optimized two-wayconfigured for fast-moving applications such www.usa.canon.com communication between the 645AFD IIas sports, wedding or event photography, the camera and the ZDEOS 40D can capture 6.5 frames per second digital back.with a burst rate of up to 75 consecutive DIGITAL SLR (35MM STYLE) The systemJPEGs. Price: $1,299, body only. OVER $7,000www.usa.canon.comwww.fujifilmusa.com Canon EOS-1Ds Mark III The eagerly anticipated Canon EOS-1Ds Mark III was a unanimous winner in this category. An engineering marvel, the camera boasts an entirely new 21.1-megapixel, full-frame Canon CMOS sensor. It features Highlight Tone Priority and 14-bit A/D conversion for excellent color tones. Dual DIGIC III Image Processors work together to accelerate data handling and speed up the operation of camera features. The EOS-1Ds Mark III is durable, with a tough body, handles shooting at 1.2 frames per second, rugged shutter design and EOS Integrated has an optional low-pass filter to reduce Cleaning System to ensure pro-grade reliability. moiré and aliasing, and comes with custom white balance features. It even includes Adobe Lightroom software. Price: $9,999. www.mamiya.comDIGITAL SLR (35MM STYLE)$3,000 TO $7,000Canon EOS-1D Mark IIIWhen Canon released the EOS-1D Mark III, itwas heralded as a technological breakthrough.The EOS-1Ds Mark III has since assumed topplace in a EOS line, but the 1D Mark III is farfrom a forgotten stepchild. With a 10.1-megapixel CMOS sensor (APS-H size), a new45-point autofocus system, a 3-inch LCDmonitor with Live View technology, and the February 2008 • Professional Photographer • 91
    • 9 TH ANNUAL HOT ONE AWARDS LENSES position with a press of a button. Working M-bayonet mount, the lens delivers sharp with a traditional barrel focus mechanism, images over the entire focusing range, even at MACRO LENS photographers can then fine-tune the focus. wide-open aperture. Judges loved that the Price: $390. Sonnar T* 2/85 ZM is the first M-mount Zeiss Makro-Planar T* 2/100 ZF www.lensbabies.com telephoto lens with floating elements that Offering a dash incorporate a nonlinear rangefinder coupling of Hollywood to mechanism. Price: $2,774. today’s STANDARD ZOOM LENS www.zeiss.com photographers, the Zeiss AF-S Nikkor 24-70mm f/2.8G ED Lens AF-S Nikkor 400mm f/2.8G ED VR Makro-Planar New from Nikon, the AF-S Nikkor 24-70mm Judges also loved Nikon’s new Nikkor T* 2/100 ZF is f/2.8G ED lens is designed to be a universal 400mm, the 400mm AF-S Nikkor f/2.8G EF the first still- lens for a range of applications, including VR. The lens features vibration reduction (VR camera lens II) image stabilization, which allows with ARRI/ photographers to shoot up to four shutter Zeiss Master stops slower than without VRII. The Nikon Prime optics Silent Wave motor delivers quick, quiet straight from the autofocus. Three extra-low dispersion movie industry. elements reduce ghosting and flaring while The lens exhibits enhancing sharpness and contrast, even at superior optical performance, even at wide- open aperture, from infinity to the close focus limit at half life-size. Configured for an F-bayonet weddings, photojournalism and outdoor pho- mount, the Zeiss lens features all-metal con- tography. It features Nikon’s Nano-Crystal Coat struction and nine-blade aperture from f/2.0- to reduce ghosting and flaring, and internal f/22 in 1/2-step increments. Price: $1,507. focusing to ensure fast focusing. The Nikon www.zeiss.com Silent Wave motor contributes to even faster, quieter focusing. The AF-S Nikkor 24-70mm f/2.8G ED is compatible with Nikon FX- and MEDIUM-FORMAT LENS DX-format image sensors. Price: $1,699. www.nikonusa.com Medium Format Lensbaby 3G Lensbaby widens its popularity with the medium- the widest apertures. Nikon Nano Crystal format Lensbaby 3G. Compatible with Mamiya TELEPHOTO LENS Coat further reduces ghosting and flaring. The 645 and Pentax 67 camera bodies, IT’S A TIE! 400mm f/2.8 lens is made of a lightweight the Lensbaby 3G brings the magnesium alloy that withstands dust and unique features of the Zeiss Sonnar T* 2/85 ZM moisture. Price: $8,799.95. previous Lensbabies Carl Zeiss takes a share of the telephoto lens www.nikonusa.com to the medium- category with the Zeiss Sonnar T* 2/85 ZM. format world. The Configured for rangefinder cameras using an Mamiya 645 TELEPHOTO ZOOM LENS configuration IT’S A TIE! has an 80mm Tamron SP AF70-200mm F/2.8 fixed focal Di LD (IF) Macro length and Capturing its share of the telephoto zoom lens an aperture category, Tamron wowed judges with the new SP range of f/3.4 to AF70-200mm F/2.8 Di LD (IF) MACRO, a f/39. The Pentax lightweight (39.3-ounce) telephoto zoom 67 configuration has a 100mm fixed focal designed for DSLRs with full-size image sensors. length and an aperture range of f/4 to f/45. The lens has a minimum focusing distance of The Lensbaby 3G can be locked into a bent just 37.4 inches over the entire zoom range, 92 • www.ppmag.com
    • wide-angle zoom lenses on the market, this FILM versatile lens has attractive features for photojournalism, interior and landscape BLACK-AND-WHITEfor a maximum magnification ratio of 1:3.1; photography and a variety of wedding andboth specs are the best available in this lens portrait applications. The f/2.8 aperture Kodak Professional T-MAX 400class. The lens has three low-dispersion No, film is not dead. Kodak hammers homeelements to compensate for the lateral and the point with the improved T-MAX 400, aon-axis chromatic aberrations typical of continuous-tone, panchromatic, black-and-telephoto shooting, which can mar image white negative film. T-MAX 400 is particularlyquality. The lens also features internal surface effective for dimly litand multiple-layer coating to help prevent subjects, fast-ghosting, flaring and reflections from lens movingsurfaces. Price: $699. action, andwww.tamron.com captures that requiresmc Pentax-DA* 50-135mm f/2.8 both goodED AL[IF]SDM telephoto zoom handles an array of lighting conditions, while depth ofSharing the prize the overall clarity and sharpness approaches field and fastfor telephoto that of prime lenses. Price: $1,799.95. shutterzoom lens is the www.nikonusa.com speed. T-MAX 400 has Kodak-patented50-135mm smc T-GRAIN emulsions for finer grain and greaterPentax-DA* WIDE-ANGLE LENS sharpness than previous 400-speed black-and-f/2.8 ED white films. In fact, film experts compare the clarityAL[IF]SDM. This Zeiss Distagon T* 4/18 ZM provided by this film to that of 100-speed films.new telephoto Carl Zeiss certainly gave Nikon a run for its Price: about $3 per roll in 35mm format.zoom delivers money in the lens categories, tying the www.kodak.comexcellent optical Japanese manufacturer with three awards.quality, and This year’s Zeiss collection is rounded outincludes SDM by the Distagon T* 4/18 ZM, a super-wide- COLOR TRANSPARENCYtechnology for angle lens configured for rangefinderfast, accurate and cameras with an M-bayonet mount. The Fujichrome Velvia 50 forquiet focusing. lens provides excellent image quality over Professionals (RVP 50)The lens’s the full 24x36 frame, through the entire Winning the Color Transparency category isadvanced optical focus range, and even at wide open Fujichrome Velvia 50 for Professionals (RVPtechnology aperture. The Distagon T* 4/18 ZM comes 50), a high-color saturation, high-contrastincludes in a compact package with impressively high transparency film.aspherical resolving power. Price: $1,055. Velvia 50elements, special www.zeiss.com made itsoptical-glass name inelements and original lens coating. Our landscapejudges particularly liked how the lens and naturedelivered image contrast, clarity and edge- photographyto-edge sharpness. Price: $999.95. with itswww.pentaxslr.com/lenses image depth and color fidelity. AfterWIDE ZOOM LENS discontinuing it in 2005, Fujifilm reintroduced the widely popular Velvia 50 with a new process.AF-S Nikkor 14-24mm f/2.8G ED Lens The updated version features an RMS granularityNikon’s impressive showing in the lens of 9, and uniform gray reproduction from highlightcategory continues with the 14-24mm AF-S to deep shadow. Price: $6.20 per roll inNikkor f/2.8G ED. One of the fastest 14mm 35mm format. www.fujifilmusa.com February 2008 • Professional Photographer • 93
    • 9 TH ANNUAL HOT ONE AWARDS LIGHTING EQUIPMENT for Nikon-compatible version; $375 for Canon, Olympus, Pentax, Samsung CAMERA FLASH and Panasonic compatibility. www.metz.de/en/ Metz Mecablitz 58 AF-1 digital Metz won the camera flash category with the new Mecablitz 58 AF-1 digital, with USB- LIGHT MODIFIER upgradeable wireless flash. The unique USB upgrade feature allows easy software updates Paul C. Buff Foldable soft boxes via any Internet-enabled PC. The flash connects and octaboxes with the Canon E-TTL and Nikon i-TTL remote Paul C. Buff scored with a new series of systems via wireless infrared. The 58 AF-1 foldable soft boxes. Designed for use with all yields a max guide number of 58 meters/190 swivel-and-tilt reflector; a built-in wide-angle AlienBees, White Lightning and Zeus standard feet at ISO 100, 105mm focal length. Other diffuser for illuminating at an 18mm focal flashes, and all Zeus bi-tube flash heads, Paul features include an integrated fold-away length; a large LCD; and new multi-zone C. Buff foldable soft reflector card for the vertical and horizontal autofocus metering technology. Price: $350 boxes and octaboxes have an opaque black exterior shell and a recessedDIGITAL STORAGE MEDIA front lip, where a translucentIN-CAMERA MEMORY CARD white diffusion panel attaches.Lexar Professional UDMA 300x CompactFlash Card This recessed lipThe Lexar Professional UDMA 300x CompactFlash card helps control lenswowed the judges with its fast transfer speed, reliable data flare, and willstorage and its compatibility with the newest generation of hold a 40-degreeUDMA-enabled digital SLRs. Available with 2-, 4- and honeycomb grid8GB capacity, the card delivers industry-leading read-write (sold separately) tospeed, with a minimum sustained write speed of 300x, or control light spread. The45MB per second. The UDMA CF card comes with Lexar inside walls have a reflective silver liningImage Rescue 3, Lexar Backup n Sync and Corel Paint to bounce light before it’s diffused throughShop Pro X software. The card has a limited lifetime warranty and free dedicated technical support. the front panel. The boxes have a secondPrice: $79.99 for 2GB; $129.99 for 4GB; $219.99 for 8GB. www.lexar.com internal baffle for double-diffusion. Price: $119.95 for 10x36 and 24x36 inches; $129.95 for 32x40; $159.95 for 30xPORTABLE HARD DRIVE AND DISPLAY 60; $149.95 for 35-inch diameter; $169.95 for 47-inch diameter. JOBO Spectator www.alienbees.com and The new JOBO Spectator mobile storage device features a high- www.white-lightning.com resolution, 2.5-inch, TFT color LCD display with a 16-million color spectrum. With built-in card slots supporting all popular memory cards, the Spectator ensures secured copying from card to hard drive with an PORTABLE LIGHT UNIT integrated auto-verify function. Additional features include image zoom, thumbnail and slideshow modes with adjustable display duration; a Profoto AcuteB 600/600R power-saving function; and free firmware updates. With a high-speed Profoto scored high marks by condensing the USB 2.0 interface and TV-out hookup, the Spectator can function as a performance features of its Acute2 pack into a Mac- or PC-compatible external hard disk. The Spectator is available small, battery-operated version for location with storage capacity of 40-, 80- and 120GB.Price: $249 for shoots. The Profoto AcuteB 600 produces up 40GB; $299 for 80GB; $379 for 120GB. to 160 full-power flashes from a single www.jobo-usa.com charge. In addition to its 600-watt-seconds of flash power, the AcuteB comes with a 94 • www.ppmag.com
    • sync cord, built-in slave tripper or remote STUDIO LIGHTING SYSTEM control. Zeus Power Packs are designed for use with Paul C. Buff Zeus Flash Heads Profoto ComPact R (standard, bi-tube and ringflash), and are Profoto impressed the judges with its next- also pin-for-pin- and voltage-for-voltage- generation ComPact system for controlling compatible with the Dyna-Lite 2040, modular lighting setups. With 4040 and 4080 series of flash heads. the same functionality as its Price: $599.95 for Z1250; $799.95 predecessor, the for Z2500. www.alienbees.com/zeus.html or www.white-lightning.com/zeus.html600-watt-second lamp head that uses a SLAVE/TRIGGER SYSTEMhigh-efficiency 65-watt halogen modelinglight, which produces output equivalent to a Elinchrom EL-Skyport Wireless90-watt bulb. In the studio, the modeling For the hottest new slave/trigger system, thelight can be powered from a wall outlet. The judges selected the Elinchrom EL-SkyportAcuteB 600R model comes with a built-in Wireless, a miniaturized secure, high-speed32-channel PocketWizard receiver for wireless data transmission system for wireless handheldflash triggering. Price: $1,899. or computer control of all Elinchrom RX power ComPact R alsowww.profoto-usa.com units. There are four modules available in the has a built-in PocketWizard. The system’sPOWER PACK simple learning mode remembersPaul C. Buff Zeus Power Packs the first signal receivedDesigned for use with the Zeus during power-up. It holdsSystem, Zeus Power Packs come in the memory until you enter a new channel.two models, the Z1250 (1,250 watt- Compatible with all 32 PocketWizardseconds, 7.4 pounds) and the Z2500 channels, the ComPact R can be triggered(2,500-watt-seconds, 11.2 pounds). from more than 300 feet. The ProfotoWith two flash head outlets, each ComPact R ProValue Pack includes twopack provides asymmetrical power 8-foot light stands, two white umbrellasdistribution (1:1 or 3:1) with stepless and a custom carrying case. Price:flash power adjustment over a 5- Starts at $899, increases withf/stop range. Synchronization is modular additions.accomplished via www.profoto-usa.com Skyport system: transmitter, RX receiver, trans- ceiver RX USB and universal receiver (used with a sync socket to fire most flashes). The system can sync up to 1/1,000 second. The combined studio operating range is 165 feet— 395 feet in the great outdoors—with inter- ference-free operation in 40-bit security. Our judges loved the speed of the Skyport, 2.4GHz, more than 7 times faster than most competitors. For multiple flash unit control, there are eight frequency channels with four work groups per channel. Price: $206 for Universal Kit. www.elinchrom.com February 2008 • Professional Photographer • 95
    • 9 TH ANNUAL HOT ONE AWARDS DYE-SUB PRINTER Pro 4880 uses Epson UltraChrome K3 inks with the new Epson vivid magenta pigments. Mitsubishi CP-9800DW The MicroPiezo AMC print head combines with The Mitsubishi CP-9800DW set the standard Epson AccuPhoto HD screening technology to place for this year’s crop of dye-sub printers with droplets with extreme precision for smooth its sophisticated adaptive thermal-head tonal transitions and fine detail from highlights management engine and 300dpi high-density features for improperly exposed photos. This to shadows. The 4880’s high-capacity paper tray thermal head. When combined with new model even prints on inkjet-printable CDs handles cut-sheet media up to 17x22 inches, high-grade media, it produces deep blacks, and DVDs. Price: $349.99. which can be loaded four different ways, and strong color depth and smear-free gradation. www.proimaging.epson.com roll media up to 17 inches wide. Price: $1,995. The CP-9800DW comes with a high-speed www.proimaging.epson.com USB 2.0 interface. It prints 4x6 photos in 8 seconds and batch INKJET PRINTER INKJET PRINTER prints at $500 TO $1,000 MORE THAN $5,000 400 prints per hour. Canon PIXMA Pro9500 HP Designjet Z3100ps GP It offers Our judges selected the Canon PIXMA Photo Printer edge-to- Pro9500 in this price category. The printer In this category, a winning printer better deliver edge features Canon 10-color (no swapping) Lucia something above and beyond the norm. The printing in pigment ink system for high-quality output HP Designjet Z3100ps GP Photo Printer does four out- up to 13x19 inches. Using FINE print head just that, featuring a built-in spectrophotometer put sizes. for simple, push-button color management. As with all Using a HP Vivera 12-color pigment inkset, Mitsubishi this printer produces prints with exceptional digital photo water resistance and archival longevity of printers, the CP- more than 200 years. The printer comes with 9800DW is backed a new embedded Adobe PS3/PDF RIP that by the Express Replacement Assistance technology, it can output images at a program. Price: $2,595. maximum resolution of 4,800x2,400dpi. www.mitsubishi-imaging.com Matte black, photo black and gray inks are included. Price: $849.99. www.usa.canon.com INKJET PRINTERS INKJET PRINTER LESS THAN $500 INKJET PRINTER $1,000 TO $5,000 Epson Stylus Photo 1400 The budget-friendly Epson Stylus Photo 1400 Epson Stylus Pro 4880 impressed judges with its ability to produce The Epson Stylus Pro 4880 incorporates a high-quality prints in 11x14-, 12x12- and 13x19- 17-inch-wide printer design with new ink tech- inch sizes. A successor to the Stylus Photo nology and an advanced print head. The Stylus 1280, the 1400 comes with a bevy of improve- ments. The printer delivers Claria Hi-Definition improves productivity by working seamlessly ink in droplets as small as 1.5 picoliters. The with Photoshop and PDF files. Available in new DX5 print head prints nearly three times 24- and 44-inch models, the Designjet faster than the head in the 1280, giving you Z3100ps GP includes the HP Advanced 8x10 photo prints as fast as 108 seconds and Profiling Solution for building customized 11x14 in 173 seconds. The Stylus Photo 1400 RGB and CMYK profiles for a variety of also features Auto Photo Correction tech- media. Price: $5,095. nology, which provides an array of auto-fix www.hp.com 96 • www.ppmag.com
    • 9 TH ANNUAL HOT ONE AWARDS INKJET MEDIA GLOSSY PAPER FINE-ART MEDIUM LexJet Sunset Fibre Elite 285g LexJet developed the Sunset Fibre Elite based LexJet Sunset Select Gloss Canvas on feedback from users of the previous Hot LexJet Sunset Select Gloss Canvas impressed One Award-winning Sunset Fibre Gloss. LexJet’s customers wanted a super-smooth, bright white, glossy surface in a fiber paper, and the company obliged. The result is another Hot One Award winner. Sunset Fibre Elite has a 285g microporous high-gloss- MATTE PAPER coated surface with a special acid-inhibiting layer. Available in standard sheet sizes and roll Moab Lasal Photo Matte 235 widths up to 60 inches, it is universally Moab Lasal Photo Matte 235 is a double- compatible with all dye and pigmented ink sided, professional-grade photo paper that sets. Price: $1.80 per square foot. yields excellent image sharpness and color www.lexjet.com density. The paper features an instant-dry, our judges with its water-resistant, poly- smooth matte surface that works well in blend, gloss canvas surface, which lends itself high-speed production. Lasal Photo Matte to an exceptional color gamut and image 235 is universally compatible with a wide clarity. The pH-neutral, acid-free inkjet range of printers and ink sets. Price: From coating and bright white point render bright $10.95 for 50 4x6 sheets to $48.95 colors, fine detail and consistency from print for 50 13x19 sheets. to print. Sunset Gloss Canvas can be www.moabpaper.com stretched or mounted, and is compatible with popular dye- and pigment-based inkjet SEMI-GLOSSY PAPER printers. It’s available in 40-foot rolls in standard widths of 17 to 60 inches. Price: Hawk Mountain Papers Sharpwing Luster $1.96 per square foot. New from Hawk Mountain Papers, Sharpwing www.lexjet.com Luster is an 11 mil. opaque, resin-coated, photorealistic inkjet paper. Its bright white, quick-drying, microporous, low-luster coating allows particularly high-resolution printing. SCANNER Sharpwing Luster works with all types of inkjet printers and with both dye and MUTLI-FORMAT SCANNER Epson Perfection V500 Photo Epson takes all the marbles in the scanner category with the Epson Perfection V500 Photo color scanner. It delivers 6,400dpi optical resolution with 48-bit color depth and 3.4 Dmax optical density. The unit works with Epson’s new ReadyScan LED technology, which delivers fast scans with no warm-up. The ReadyScan LED adjusts the color of the light source based on the type of original. The unit includes Digital ICE to remove dust and scratches, and Epson Easy Photo Fix for restoring faded color. The Epson V500 Photo has a built-in transparency unit (TPU) with a moving carriage and a lamp optimized pigmented ink. It comes on 3-inch-core rolls for scanning multiple 35mm negatives, slides and and 17x25-inch sheets. Price: $100 for medium-format film. Price: $249.99. 24-inch x 100-foot roll. www.epson.com www.hawkmtpaper.com 98 • www.ppmag.com
    • © 2007 Cherie Steinberg CoteSet Yourself Apart. Introducing new Color Efex Pro™ 3.0 from New filters like Bleach Bypass, Polaroid™ Transfer, Glamour Nik Software, the leading digital photographic Glow, and more let you truly take control of color, light and filters for Adobe® Photoshop® that let you tonality in your images to create unique enhancements with craft a style all your own. easy yet professional results.Used by today’s top professionals, Color Efex Pro 3.0 offers The way you see photography will never be the same.state of the art image processing, unprecedented selective Download the free, full-featured trial software atcontrol with Nik’s patented U Point® technology and a www.niksoftware.com/prophotostreamlined workflow you have to experience to believe.
    • 9 TH ANNUAL HOT ONE AWARDS PRESENTATION portfolios from Seldex Artistic Albums. These boxes come completely wrapped in an image CONTEMPORARY/ from the photographer, printed on either UNMATTED PHOTO ALBUM canvas or silk. Every print is treated with a protective coating to increase the longevity of AsukaBook Book Bound EX in Varnish the portfolio. Inside, there are 15 rag mats AsukaBook continues its popularity in this with bevel-cut openings for image display. keep winning. This year, we have a tie. The category with Book Bound EX in Varnish. The Price varies from $16.40 to $162.60. Digital Foci Image Moments IMT-083, a new regular EX took www.finaoonline.com addition to Image Moments line that won last home the prize year, provides digital image display on a selec- last year, and Collages.net Gallery Wrap tion of interchangeable frames. Memory cards AsukaBook’s Part of a wave of new products introduced by can be inserted directly into the unit, which addition of a Collages.net in 2007, Gallery Wraps won praise displays the images on an 8-inch, 800x600- from our judges as a high-quality display pixel LCD screen with a 500:1 contrast ratio. option for contemporary images. Each With 256MB of internal memory, the new gallery wrap comes on a 1.5-inch wooden Image Moments frame stores as many as stretcher and is finished with a protective 1,500 images. An auto slideshow feature coating. Collages.net wraps the image automatically scrolls through the images in a around the sides of the frame for full set sequence. Price: $199. image display. Photographers can www.digitalfoci.com use an online interface to preview JOBO Photo Display PDJ701 JOBO grabbed the judges’ attention with the varnish finish new Photo Display PDJ701, a digital frame ©Brett Chisholm Photography and the new 11x12.5-inch size lands it the with a 7-inch, 800x480-pixel TFT color LCD award again. The EX line of coffee-table-style with a contrast ratio of 400:1. The Photo Display books features the same design on the book PDJ701 earns points for its impressive cache jacket and the hard cover underneath. Inside laminate pages are available in matte or glossy finish. EX books come in high-gloss red or black cases with personalized hot stamping. Price: $175 to $262, depending on size and design. www.asukabook.com DISPLAY ITEM IT’S A TIE! of internal memory—1GB to hold more than Finao Seldex Image Portfolio 10,000 pictures. Like Image Moments, The judges were impressed by these unique, images in the gallery wrap format. Collages.net the JOBO frame can display images directly custom-designed, personally branded image technicians take care of the production end. from memory cards, and has an automatic Price: Varies with image size. slideshow feature. Price: $179. www.collages.net www.jobo.com NOVELTY OR ADD-ON FRAME SALES ITEM IT’S A TIE! eMotion Designer Picture Shows Professionally produced eMotion Media Digital Foci Image Moments IMT-083 Designer Slideshows are broadcast-quality We know there are some great traditional photo presentations with such features as frames out there, but the digital displays just high-end title sequences, 3D animation, 100 • www.ppmag.com
    • Your monitor, color-matched background layers and all sorts of special effects. The whole thing is timed to Your GTI viewer, & You... music for a pro-grade multi-media experience. The basic ingredients for Perfect Color. EMotion Media offers all this through a simple ordering process at affordable prices. Only GTI can guarantee tight-tolerance viewer to viewer Photographers pick a show, upload their visual compatibility based on our proprietary images, and let eMotion Media take care of Graphiclite® 100 Color Viewing Lamps. the rest. Shows are available for the Web or -because you on DVD, presented in a leather folio and & your clients silk-lined gift box. Price: $39.95 to $119.95. demand the best! www.emotionmedia.com The GTI Graphic Technology Inc. Qual ty P:888-562-7066 • F:845-562-2543 of Li Light www.gtilite.com • sales@gtilite.com ONLINE PRINTING/ ORDER FULFILLMENT collagesDesktop + collagesColor Collages.net took a big step forward with this year’s introduction of collagesDesktop + collagesColor. CollagesDesktop is a free, down- loadable workflow application for Collages.net customers. The software integrates with collagesColor, a professional printing solution. The combination of these elements provides©TriCoast Photography seamless image management and ordering in a variety of photographic products, including albums, gallery wraps, magazine-style books, greeting cards and individual prints output on Kodak Endura paper. Price: Desktop software is free for Collages.net customers. Print and product prices vary. www.collages.net/collagescolor February 2008 • Professional Photographer • 101
    • 9 TH ANNUAL HOT ONE AWARDS SOFTWARE non-destructive edits to eliminate sensor dust marks. Lightroom uses Adobe ALBUM DESIGN Photoshop Camera Raw technology to support more than 150 native raw file Art Fotografic Album DS PRO— formats, as well as JPEG and TIFF. Price: My Designer Studio Edition $299. www.adobe.com Winning the competitive album design category is Art Fotografic Album DS PRO—My Designer Studio Edition. Working with Photoshop, Album IMAGE EDITING DS PRO features over 500 templates that can be used for Adobe Photoshop CS3 any size In one of the most crowded categories of the album. The competition, Adobe Photoshop CS3 was an new My easy winner, and king of imaging applications. Designer Photoshop CS3 has enhanced color Studio correction, improvements to the interface to Edition fea- maximize workspace, and new image tures an addi- and duotone effects, and iTones 1, the first in processing and alignment algorithms. tional 500 a series of funky image effects. Price: $647 Automated customizable for the full set; $247 per module. features help templates www.craigsactions.com users create created by a advanced professional composites and album design DIGITAL ASSET panoramas in a studio, in MANAGEMENT fraction of the such cate- time it took with gories as Adobe Photoshop Lightroom 1.3.1 previous versions. children, Adobe Photoshop Lightroom, now in version The new seniors, sports traders, announcements and 1.3.1, has taken the industry by storm, serving Nondestructive stationery. There are also hundreds of borders, as the professional photographer’s essential Smart Filters edge effects, masks and frames. Layouts can tool for importing, raw processing, managing allow you to be configured free form in Auto Layout mode and presenting volumes of digital freely experiment or via other options provided by the software. photographs. with image Video tutorials accompany the application, The software effects without which is available in several languages. is organized risk of altering the original image file. And Price: $449. www.albumds.org into five that’s just the tip of the iceberg. The entire task-oriented application has been upgraded, enhanced and modules: optimized for faster operation, more robust CAMERA CAPTURE/ Library, for functionality and even broader compatibility. PROCESSING organizing Price: $649. www.adobe.com and Craig’s Actions Production selecting; Assistants—Creative Suite Develop, for IMAGE EDITING PLUG-IN Ever dreamed of automating image production tone and IT’S A TIE! from camera to printer with the touch of a color button? Our judges certainly have, which is adjustments; Nik Software Color Efex Pro 3.0 why they tapped Craig’s Actions Production Slideshow, Our judges liked the simplified control afforded Assistants—Creative Suite as the Hot One for presenting; Print, for output; and Web, for by Nik Color Efex Pro 3.0. Nik Software’s winner in the camera capture/processing creating and posting Web pages. Other U Point technology allows users to selectively category. This set of Photoshop Actions is features include a hue, saturation and apply enhancements to color, light and available as a full suite or in three sets: luminance adjustment tool for intuitive image tonality without configuring masks, layers or Portrait/Wedding, Jazz for a collection of color editing. Clone and Healing features provide selections. The plug-in includes more than 50 102 • www.ppmag.com
    • preset tools, brushes, blending modes and layers offers everything from digital proofing to management. The system is facilitated from multimedia slideshow production. With one desktop docking interface that controls all ProShow Producer, other Ron Nichols palette products. The family photographers can of Ron Nichols Palettes includes the latest create professional versions of the Production Retouching Palette, shows with artistic ProSelect Video Tutorial Palette, Helen Yancy’s effects previously Artistic Enhancement Palette, Peter Eastway’s available only Inspired Landscapes Palette and Tim Walden’s through Black and White Darkroom Palette. Price: sophisticated $199 for download; $239 on CD. photo and video www.ronnichols.com editing software. Features include the Chroma Key DIGITAL PAINTING Transparency tooltraditional and stylizing filters, including new to createeffects such as Film Effects to replicate the Corel Painter X cinematic green screencolor, contrast and grain of more than 30 film With Painter X, Corel takes the next step in effects, the built-in vignette tool, photo andtypes; Bleach Bypass to emulate the popular digital painting. Judges loved the breakthrough video cropping and rotation tools, enhancedcinematic effect; Glamour Glow; and Tonal technology of the RealBristle Painting drop shadow control, caption textures andContrast to separately control the contrast in System, which makes the virtual brushes more. Price: $249.95.the highlights, mid-tones and shadows. The blend and www.photodex.cominterface is also newly redesigned. Price: splay, for a$299.95. www.niksoftware.com feel closer to hand-painting STUDIO MANAGEMENTRon Nichols Digital Solutions Palettes on canvas.Judges also gave kudos to Ron Nichols Digital The SuccessWareSolutions Palettes. This collection of digital Underpainting For the second year in a row, SuccessWarepalettes speeds retouching and enhancement Palette is captures the prize for hottest studiowith programmed setups of common tasks, augmented management software. SuccessWare with color manages day-to-day studio operations, schemes based on different styles, including Impressionist, Classical, Modern and Chalk Drawing. The Auto-Painting palette has been updated with the Smart Stroke Painting option, which applies brush strokes along the forms and detail in the original photo. Price: helps you price products for profitability and $229 upgrade; $429 full version. design plans for increasing revenues. The www.corel.com/painter application is based on proven photography business management practices developed by Charles Haynes, a past PPA president, PRESENTATION/SLIDESHOW and other industry experts. The newest version of the software has increased Photodex ProShow Producer 3.2 functionality with more complete pricing, After a one-year absence from the winner’s accounting and business management podium, Photodex recaptures the Hot One features. Price: $1,495 to purchase; award for presentation/slideshow software $299 plus $49 a month to lease. with ProShow Producer 3.2. The application www.successware.net February 2008 • Professional Photographer • 103
    • 9 TH ANNUAL HOT ONE AWARDS STUDIO & LOCATION categories that we decided to give three EQUIPMENT awards. The first goes to jill-e, a new line of camera bags and accessories designed specially for women. Our judges—especially BACKGROUND the women in the group—loved the combination of fashion and rugged Denny CP6262 Rusty Metal functionality of these bags. Jill-e bags have Judges gave the nod to the Denny CP6262 the padding and protection of traditional Rusty Metal background, a computer-painted bags, but they’re crafted for panache in leather, suede and other stylish materials. Price: Varies by design. www.jill-e.com Lowepro Apex AW Camera Pouches Lowepro Apex AW Camera Pouches are perfectly suited to carry consumer-size cameras. With single-compartment design, the Apex AW Camera Pouches can accommodate a camera, memory card and battery, small accessories and a variety of video devices. Think Tank Photo’s online security for Lowepro’s patented All Weather Cover identification in case of loss or theft. protects against rain, dust and sand, and The roller holds two DSLRs, accessories the interior is lined with soft, brushed-tricot and lenses up to a 500mm f/4. The and has dividers to optional Airport International Low Divider prevent reconfigures the lower section of the case scratches. to accommodate laptops with no bulge. Price: $319. background with an industrial chic feel. Rusty www.thinktankphoto.com Metal is available in a variety of sizes and can be accessorized with the Denny Rusty Metal Senior Numbers. Price: $792 for 8x16- COLOR MANAGEMENT foot background. www.dennymfg.com PANTONE hueyPRO The PANTONE hueyPRO improves color CAMERA BAG OR clarity and consistency across multiple CRT, TRAVELING CASE laptop and LCD displays. An upgrade from IT’S A TIE! the original huey, hueyPRO has added functionality for users who frequently It features a print photos and other graphics, share jill-e camera bags memory card pocket, reversed zipper with them among workstation monitors or We had such a diverse and silent zipper pulls and molded bumper. Price: upload them to the Web. deserving set of entries $19.99 to $25.99. www.lowepro.com About the size of a thick in our camera bag and pen, the hueyPRO can traveling case Tank Photo Airport International continually adjust a monitor For taking your pro gear into the air, the as the room lighting large rolling Think Tank Photo Airport changes. New software International meets all international carry-on allows increased control over regulations. The bag includes several brightness and contrast security features, such as a combination through user-selected gamma lock for the zipper sliders, a security cable and white point settings. and an ID plate with a unique serial number. Price: $129. Photographers can register their bag with www.pantone.com
    • Get a new perspective on studio management software.“SuccessWare has been hands-down one ofthe best investments I have made for mybusiness. It helps me make critical decisionssuch as which prices need to be raised, what topay employees and how much I can afford inrent. I also base our marketing decisions on theclient sales information. At only $49 a month,this software can save you time by helping youmake better business decisions.” Sarah Petty Sarah Petty Photography, Springfield, IL © 2007 Sarah Petty PhotographyPURCHASE OR LEASE | WINDOWS & MAC SuccessWare knows that as a professional photographer, your focusSuccessWare is the only software that will manage is on creativity. That’s why we have a team of specialists ready to help.the day-to-day operations of your business, price They’ll solve problems and create solutions to make you more money. So theyour products for profitability and create a plan to next time you have a studio management challenge, turn to the place thatmake you more money. photographers trust–SuccessWare.GET YOUR FREE DEMO ATWWW.SUCCESSWARE.NET | 800.593.3767 SuccessWare
    • 9 TH ANNUAL HOT ONE AWARDS STUDIO & LOCATION poses against a white backdrop. The HiLite TRIPOD OR CAMERA STAND EQUIPMENT CONTINUED can be backlit so that subjects can stand as close as 6 inches away without casting a Manfrotto 055XPROB shadow. The HiLite also works as a large rear Manfrotto’s 055XPROB features a fast DIGITAL PROJECTOR soft box to illuminate the subject as well as horizontal center column system for quick and the background. This setup needs just one easy horizontal positioning. You can extend Epson PowerLite 77c other flash head to light the subject from the the column to its highest vertical position The Epson PowerLite 77c multimedia front. The self-supporting, collapsible then swing it around to horizontal position projector features 2,200 lumens with XGA background sets up in minutes. Price: $456 without removing the head or disassembling for 5x7-foot; $537 for 6x7. the column. This greatly simplifies switching www.bogenimaging.us between framing and positioning setups. The 055XPROB has improved POWER SUPPLY ergonomics in the leg angle release mechanism and Paul C. Buff Vagabond II better functioning in the Portable Power System quick-action leg locks. Designed to work with all Paul C. Buff flash Price: $168. units and power packs, the Vagabond II www.bogenimaging.us Portable Power System is a major upgrade. resolution and high-aperture 3LCD technology. The Vagabond II offers faster recycle from a The 3LCD technology is a solid-state optical single second-generation PSI900GF pure engine that works without a moving color wheel. sine wave inverter that converts power from Users can adjust each color’s hue and saturation an internal 20AH, 12-volt battery into a from six different axes. The unit starts up within current-controlled, pure sine wave power 5 seconds and can be powered down immediately with Epson Instant Off. The projector includes software for displaying slideshows from portable storage devices or directly from digital cameras. At 6 pounds, the PowerLite 77c is highly portable. Price: $749. www.epson.com POSING TOOL Lastolite HiLite The Lastolite HiLite illuminated background is a versatile, evenly lit surface for a variety of source (120VAC, 60Hz OUT). The system includes a built-in global battery charger with charging cord, and a built-in GFCI that eliminates the need for physical grounding and auxiliary battery cables. The Vagabond II system weighs 18.6 pounds and measures 10.5x8.5x6 inches. Price: $299.95. www.alienbees.com/VIIsystem.html or www.white-lightning.com/ VIIsystem.html 106 • www.ppmag.com
    • 9 TH ANNUAL HOT ONE AWARDS EDUCATIONAL WEB SITE RESOURCES Collages.net Build Your Brand BOOK New from the expanding educational catalog available at Collages.net, Build Your Brand “The Adobe Photoshop CS3 Book provides numerous marketing techniques that for Digital Photographers” have proved successful for real studios across In a how-to published by Peachpit Press, the country. The site covers such topics as Scott Kelby, best-selling author on Adobe logo usage and blogging, as well as Photoshop, innovative, free ways to reinforce your brand. delves into The marketing practices are updated regularly CS3 to uncover and tweaked with constant feedback from the most Collages.net customers and partners. Price: important DVD OR CD Free for Collages.net customers. and useful www.collages.net/studiomarketing techniques Kubota RAW Workflow for Lightroom for digital “Kubota RAW Workflow for Lightroom” is the photographers. latest time-saving tutorial from digital workflow Our judges master Kevin Kubota. The tutorial provides liked Kelby’s easy-to-follow instruction for working with direct approach raw files in Adobe Lightroom. Kubota covers with step- organization, editing, adjustments, enhance- by-step instruc- ments and presentation. Kubota shares tions. In this insider tricks and the proven techniques he new edition, uses in his own busy studio. Our judges like Kelby shares even more secrets from the how the tutorial provides a big-picture look at top pros. Price: $49.99. effective raw workflow. Price: $79. www.peachpit.com www.kubotaimagetools.comMISCELLANEOUS brought in more than three times the number HONORABLE MENTION: of entries in any other category. With dozens of PhotoShelter Personal ArchiveNEC MultiSync LCD2690WUXi Display great products to choose from, our judges had A special honorable mention in theThis year we decided to give some love to some to compare apples to oranges to pears to miscellaneous category goes to theworthy items that just don’t have a home in the tangelos, but what finally stood out in theHot One categories. No surprise, Miscellaneous mixed fruit salad was the MultiSync LCD2690WUXi Display. This model features SpectraViewII Series LCD displays on ultra-thin frames. The monitors come with the SpectraViewII Color Calibration Solution, which combines a color PhotoShelter Personal Archive. The Personal measurement sensor with Archive organizes image archiving, distribution, sophisticated profiling software. pricing and sales in a single online hub. It Available in screen sizes of 19 to 26 provides the fotoQuote pricing grid to help inches, the SpectraviewII Series photographers manage competitive pricing. includes a widescreen version and New in 2007, PhotoShelter offers one terabyte the MultiSync LCD2180WG-LED, the of redundant storage for $1,000 per year. first LED-backlit desktop LCD Price: $9.99 for standard subscription; display. Price: From $1,900. free starter accounts available. www.necdisplay.com www.photoshelter.com 108 • www.ppmag.com
    • calendar March 28-30 May 18-20 S: PP of Oklahoma, Quartz Mountain Resort, S: PP of Louisiana, Marksville, La.; Dayna Lone Wolf, Okla.; Ted Newlin, Ponthieu, 318-359-6633; www.ppla.net tednewln@aol.com; www.ppok.org May 18-23 April 4-8 W: Imaging Workshops, Mountain Summit,Submit your organization’s convention, S: PP of Washington, Wenatchee, Wash.; Radley Breckenridge, Colo.; Thomas J. Hissong,workshop, seminar or exhibition dates to Muller, 360-676-9279; radley@yaryphoto.net; 303-933-9461; imagingworkshops@aol.com;Professional Photographer at least six www.ppw.org www.coloradoworkshops.commonths in advance. Editors reserve the rightto select events to be announced on these June 15-16pages, and to determine when announcements April 6-9 C: PP of Oregon, Mt. Bachelor Resort, Bend,will appear. Editors are not responsible for C: PPSNY, Hilton Rye Town, Rye Brook, N.Y.; Ore.; Arlene Welsh, 800-370-5657;conflicting or incorrect dates. For readers’ Barbara Bovat, 518-851-2187; bovat@aol.com; pporegon@teleport.com; www.pporegon.comconvenience, each event is identified by a code www.ppsnys.compreceding its name: C=Convention, W=Work- June 16shop, S=Seminar, C/E=Approved PPA Continuing April 12-15 S: PP of Massachusetts; Steve Meier,Education Seminar, E=Exhibit. Send all Calendar C: Heart of America, Mid America Center, Council smphoto@comcast.net; www.ppam.comof Events additions or corrections to: Sandra Bluffs, Iowa.; Stephen Harvey, 620-624-4102;Lang, Professional Photographer, 229 Peachtree sharveymo@yahoo.com; www.hoappa.com June 22-23St., NE, Suite 2200, Atlanta, GA 30303; S: Kentucky PPA; Embassy Suites,FAX: 404-614-6404; slang@ppa.com. April 13-15 Lexington, Ky.; Randy Fraley, 606-928-5333; C: Montana PPA, Billings, Montana; Scott rgimage1@aol.com; www.kyppa.com Fairbanks, 406-761-2059; info@montanappa.org;Current Events montanappa.org June 22-24 S: PP of North Dakota, Northern Light Seminar,March 7-11 April 14 Doublewood Inn, Bismarck, N.D.; Poppy Mills,C: Wisconsin PPA, Marriott Madison West, S: Connecticut PPA, Crowne Plaza Hotel, Cromwell, 701-222-3040; fowlerphoto@midconetwork.comMadison, Wis.; Donna Swiecichowski, Conn.; Harvey Goldstein, 203-430-8276;920-822-1200; Paul Tishim, 715-384-5454; ppanepub@aol.com; www.ctppa.com August 2-5Deb Wiltsey, 866-382-9772; C: PP of Louisiana, New Orleans, La.; Daynawppa-online.com April 21 Ponthieu, 318-359-6633; www.ppla.net S: PP of Massachusetts; Steve Meier, smphoto @comcast.net, www.ppam.com September 12-15March 7-12 C: PP of Oklahoma, Radisson Hotel, Tulsa,C: PP of North Carolina, Inc., Sheraton Imperial April 26-29 Okla.; Ted Newlin, tednewln@aol.com;Hotel, Durham, N.C.; Loretta Byrd, 459 Greenleaf C: New Hampshire PPA; North Conway, N.H.; www.ppok.orgRoad, Angier, NC 27501; 888-404-7762; Lorraine Bedell, 603-743-5732;ppnc@earthlink.net; www.ppofnc.com September 13-16 lbedell@worldpath.net; nhppa.com C: PPA of New England, Radisson HotelMarch 16-20 April 27-29 Nashua, N.H.; Roland Laramie, P.O. Box 316,C: Mid America Regional, Decatur Conference C: PP of New Jersey, Bally’s Hotel & Casino, Willimantic, CT 06226; ppanerl@aol.comCenter, Decatur, Ill.; Kathryn Northcott, Altlantic City, N.J.; Leslie Meltzer, 866-985- October 3-7fotografer@sbcglobal.net 4300; secretary@ppanj.com; wwwppanj.com C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf, Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; October 9-18 PPA EVENTS PPA Fall Cruise michael@swppa.com; www.swppa.com October 5-6 Professional Photographers of America (PPA) January 11-13, 2009 S: Kentucky PPA; Hyatt Regency, Lexington, has a proud tradition of providing its members Ky.; Randy Fraley, 606-928-5333; Imaging USA, Phoenix with outstanding educational opportunities rgimage1@aol.com; www.kyppa.com through its annual events, PPA-Merited classes and its PPA Affiliate School Network. Don’t January 10-12, 2010 October 20 miss out on the vital knowledge you’ll gain at Imaging USA, Nashville S: PP of Massachusetts; Steve Meier, these events! For information on PPA events, smphoto@comcast.net; www.ppam.com call 800-786-6277 or visit www.ppa.com. October 20-21 June 6 C: Wisconsin PPA, The Osthoff Resort, Elkhart 117th Annual International Print Certification Exam Lake, Wis.; Donna Swiecichowski, Competition Deadline for Entries April 27 920-822-1200; Paul Tishim, 715-384-5454; North Conway, N.H. Deb Wiltsey, 866-382-9772; wppa-online.com July 22-23 Judges Workshop, Daytona Beach Image Review October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, April 7 Online submission: Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA Super Monday May 9, August 8, & October 10 50674; 563-578-1126; ppichris@iowatelecom.net 112 • www.ppmag.com
    • 2008 PPA-AFFILIATED SCHOOLSPPA members receive both merits May 18-23 July 20-25and the best-published prices. Imaging Workshops of Colorado, PPSNY Photo Workshop, Hobart/William Breckenridge, Colo.; Jeff Johnson, Smith Colleges, Geneva, N.Y.; LindaMarch 30 - April 2 303-921-4454; luna@originalimageco.com; Hutchings, 607-733-6563;International Photographic Arts School, www.coloradoworkshops.com ppsnyworkshop@pws1893.com;Mariott Hotel & Conference Center, www.ppsnysworkshop.comIndianapolis, Ind.; Janell Spencer, June 1-5812-384-3203; spencerjanell@yahoo.com; Kansas Professional Photographer School, August 4-7www.apag.net/ipasschool.html Bethel College, Newton, Kan.; Ron Long Island Photo Workshop, Sheraton Clevenger, 785-242-7710, Hotel, Smithtown, Long Island, N.Y.;March 30 – April 4 rnstudio@swbell.net; www.kpps.com Jerry Small, 516-221-4058;Triangle Institute, Greentree Radisson, jerry@jsmallphoto.com;Pittsburgh, Pa.; Samuel Pelaia, www.liphotoworkshop.com724-869-5455; trianglephotographers@ June 1-5verizon.net; www.trianglephotographers.org Mid-America Institute of Professional Photography, University of Northern Iowa, August 10-14March 31 – April 4 Cedar Falls, Iowa; Charles Lee, East Coast School, Sheraton Imperial Hotel,California Photographic Workshops, 641-799-8957; lees@pcsia.net; Raleigh, N.C.; Janet Boschker,Fisherman’s Wharf, San Francisco, Calif.; www.maipp.com; Al DeWild, 704-567-0775; jbnlight@aol.com;James Inks, 888-422-6606; amdewild@iowatelecom.net www.eastcoastschool.comCPWschool@sbcglobal.net;www.cpwschool.com June 8-12 August 24-27 Illinois Workshops, Grafton, Ill.; Bret Wade, Carolina Art & Photographic School,April 6-11 217-245-5418; info@ilworkshops.com; Randolph Community College, ArchdaleNew England Institute, Ocean Edge Resort, www.ilworkshops.com Campus, Creekside Park, N.C.;Brewster, Mass.; Sal Genuario, 401-738- Bob Henderson, 336-288-1132;3797; salneipp@aol.com; www.ppane.com bhphoto47@earthlink.net; June 8-13 www.capsartschool.comApril 27 – May 2 Great Lakes Institute of Photography,Texas School, Texas A&M University, Northwestern College, Traverse City, Mich.;College Station, Texas; Donald Dickson, Greg Ockerman, 313-318-4327; September 28-October 2806-296-2276; ddickson@lonestarbbs.com; gjodigital@aol.com; www.glip.org Lamarr Williamson School of Southwww.tppa.org/school.htm Carolina; Springmaid Resort, Myrtle Beach, June 15-20 S.C.; John Wrightenberry; 803-781-2130;May 4-9 West Coast School, University of San jwfoto@aol.com; www.ppofsc.comGeorgia School, N. Georgia Tech, Diego, San Diego, Calif.; Kip Cothran,Clarksville, Ga.; Tom McCollum, 951-696-9706; kipphoto@aol.com;888-272-3711; gppaed@bellsouth.net; www.prophotoca.com Send all additions or corrections to: Marisawww.gppa.com Pitts, Professional Photographers of America, 229 Peachtree Street, N.E., Suite June 22-25May 4-9 2200, Atlanta, GA 30303; Golden Gate School of ProfessionalMARS (Mid-Atlantic Regional School), mpitts@ppa.com. Photography, Mills College, Oakland, Calif.;Grand Hotel, Cape May, N.J.; Adele Julie Olson, 650-548-0889;Bastinck, 888-267-6277; ggs@goldengateschool.com;marschool@nac.net; www.marsschool.com www.goldengateschool.comMay 6-9 and May 11-14Wisconsin Professional Photographers June 22-26School, UW Stevens Point-Treehaven, PP Oklahoma School, St. Gregory’sTomahawk, Wis.; Phil Ziesemer, 715-536- University, Shawnee, Okla.; Glenn Cope,4540, philz@pzphoto.com; 580-628-6438;www.wiprophotoschool.org gmcope@sbcglobal.net; www.ppok.org/school.htmlMay 18-22Florida School of Photography, Daytona July 13-17Beach Community College, Daytona Beach, Image Explorations, ShawniganFla.; Teri Crownover; teri@fpponline.org; Lake, British Columbia; Don800-330-0532; Marybeth Jackson- MacGregor, 604-731-7225;Hamberger, MHamberger@comcast.net; don@macgregorstudios.com;www.fppfloridaschool.com www.imageexplorations.ca/114 • www.ppmag.com
    • PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS Photoshop World: ®COMING TO ORLANDO, FL. APRIL 2-4, 2008Mark Your Calendar! The world’s largest Adobe® Photoshop® educational event featuring the ,latest Photoshop CS3 training, and an expanded 3-day tech expo is coming to Orlando,Florida!Photographers, graphic designers, Web developers, educators, art directors, students,and Photoshop fanatics — this is the conference you don’t want to miss in 2008! REGISTRATION OPTIONS NON-NAPP MEMBER (before February 29, 2008) includes a full-year NAPP membership $599 $ (after February 29, 2008) includes a full-year NAPP membership 699 NAPP MEMBER $ (before February 29, 2008) 499 $ (after February 29, 2008) 599REGISTER TODAY! CALL 800-738-8513OR VISIT WWW.PHOTOSHOPWORLD.COMAdobe and Photoshop are registered trademarks of Adobe Photoshop Incorporated.
    • November 2 February 27-March 3, 2009 April 3-8, 2009 S: PP of Louisiana, Northern Exposure, C: Wisconsin PPA, Marriott Conference Center, C: Minnesota PPA; Joanie Ford, Shreveport, La.; Dayna Ponthieu, Madison, Wis.; Donna Swiecichowski, 920-822- 763-560-7783; joanieford@comcast.net; 318-359-6633; www.ppla.net 1200; Paul Tishim, 715-384-5454; Deb Wiltsey, mnppa.com 866-382-9772; wppa-online.com November 9-10 April 4-8, 2009 C: PP of Ohio, Hilton Easton, Columbus, February 26-March 4, 2009 C: Northern Light, Minnesota, Jeff Fifield, Ohio; Carol Worthington, carol@ppofohio.org C: PP of North Carolina; Sheraton Imperial 218-722-377; fifieldjg@aol.com; Nicole Hotel, Durham, N.C.; Loretta Byrd, 888-404- Bugnacki, P.O. Box 567 Ironton, Minn.; 7762; ppnc@earthlink.net; www.ppofnc.com 56455; 763-390-6272 March 28-31, 2009 November 15-16, 2009 Future Events C: Heart of America, KCI Expo Center, Kansas C: PP of Ohio, Hilton Easton, January 31 - February 3, 2009 City, Mo.; Stephen Harvey, 620-624-4102; Columbus, Ohio; Carol Worthington, C: PP of Iowa, Airport Holiday Inn, Des sharveymo@yahoo.com; www.hoappa.com carol@ppofohio.org Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; ppichris@iowatelecom.net February 20-23, 2009 C: PP of Oregon, Mt. Bachelor Resort Bend, Ore.; Arlene Welsh, 800-370-5657; pporegon@teleport.com; www.pporegon.comPPA-Approved ContinuingEducation SeminarsPPA members receive both meritsand the best-published prices.February-MarchC/E: New Hampshire PPA Photofestival2008; 603-627-7563; www.nhppa.com;dspaz@comcast.netMarch 3-8C/E: Painter Panache Master; Jeremy Sutton,San Francisco, Calif.; 415-626-3971;www.jeremysutton.comMay 5-9C/E: From Traditional to Digital; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.comJuly 12-18C/E: Copan Honduras Study AbroadExcursion with Paul Wingler, Suzette Allen & JonYoshinaga; 800-483-6208; pwphoto@mind-spring.com; www.suzetteallen.com/copanAugust 1-4C/E: Oxford Painter Workshop; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.comSeptember 12-17C/E: Great Gatsby Impressionist Workshop;Jeremy Sutton, San Francisco, Calif.;415-626-3971; www.jeremysutton.comOctober 20-23C/E: Painter Creativity; Jeremy Sutton, SanFrancisco, Calif.; 415-626-3971;www.jeremysutton.comNovember 2-6C/E: The College! Master Biennale; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.com February 2008 • Professional Photographer • 117
    • TODAY FEBRUARY | 08 PRESIDENT’S MESSAGE Jack Reznicki, Cr.Photog., API 2007-2008 PPA President © Lester Miller © Rachel Gracie © David HuntsmanSOMETHING TO PONDER…The hardest part of being a professional Many industries and individuals who you do a win/win situation. And thatphotographer is not about taking a didn’t adapt to changing times—who situation should add more to yourphotograph, deciding which lens to wouldn’t admit there was a changing bottom line at the end of the year.use, knowing what directions to give paradigm in the marketplace—the model or what props to pick. Nope. basically died off. We saw it with This is a complex issue, and I’m limitedThe hardest part of photography is Web designers who faced families here by space. I’d be happy to talkdeciding what and how to charge for it. with computers, small shop printers more about this on the OurPPA.com PPA News & Notes facing home copiers and printers, and Forum, where opposing views—ifAs a commercial photographer, I rarely mechanics facing car engines that can respectful to others—are very welcome.sell prints; I only provide tightly licensed only be diagnosed with a computer. Discussing these issues from several les to clients. I learned a long time The collectible industry has been sides enlightens everyone.ago to stop selling images and think radically transformed by eBay. And theinstead about licensing images. While music industry changed shockingly fast On a side note, this will be my lastlicensing wouldn’t work exactly the because of iPods and iTunes. column as I’m in the nal month ofsame for wedding/portrait shooters, I my presidency. As of March 1, I’mdo think it is a business model that Our industry is not immune to changes leaving this of ce and this spot in theneeds to be looked at seriously. The in the marketplace. magazine to your new president,current business model used by many Dennis Craft, and his wonderful andwedding/portrait photographers will I’ve always been a strong advocate of capable hands. Looking back at thenot hold well over time. But that, of licensing, which, I believe, strengthens year, I have to say it’s been a fantasticcourse, is just my personal opinion. your control over your images. It can and enlightening experience. be as simple as just a few sentencesI personally believe licensing is a on your invoice, specifying what your A special thanks to PPA’s staff forconcept whose time has come for client can and can’t do with the keeping me on track, on time, andwedding and portrait photographers. images (and, in some cases, for what looking good because of what theySo many industries have changed length of time they can do it). did behind the scenes. And thanks toradically over the last 10 years, and all the volunteers who continually givethere is no reason to believe that I’ve heard photographers say that so much to this association.our industry will dodge a shifting licensing is like “giving away” copyright.marketplace. You can’t continue Balderdash. Licensing gives you more Thank you and good night.doing what you did 10 years ago and control and lets you give your clientssurvive today. The business “kingdom” what they want. It’s a win/win situation.is just like the animal kingdom: adapt, You should never “give away” or “sell”migrate, or die. your les, but you should gure out a business model that makes what Jack Reznicki, Cr.Photog., API 2007-2008 PPA President © Bruce Belling © Nathan Beck © Robbin Loomasnews from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P1
    • TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: LAURA NOVAK by Angie Wijesinghe, PPA Marketing Specialist Laura Novak put together her AN-NE established reputation for weddings, words, marketing is de nitely a “process Marketing entry in a day, shipped it she wasn’t known for family and with strategy and execution sections.” overnight, and won the award for children portraits. “I knew I needed These are the steps Laura takes: Best Family & Children Campaign. something full scale to capture people’s 1. De ne audience. How? Let’s just say her campaign attention. That’s what really drove the 2. Decide your purpose.PPA News & Notes itself wasn’t created overnight. idea,” she said. 3. Create the message. Perhaps her business degree So Laura listened to her customers and “A lot of photographers skip straight helped. More likely, though, it was potential customers. “I began to see to creating and designing their a combination of her determination a pattern,” she remembered. “When messages and materials. You just can’t to know her customer and her strong I talked to people around town, they do that,” Laura stressed. “You need to awareness that she needed to know would say, ‘Oh, I’ve been meaning know what you want your customers to her customer. In fact, “know your to call you…I’m going to schedule a believe about you.” customer” is one thing she always session, but I’m waiting for…’ ” tells other photographers. In order to do that, you have to know Those who scheduled family and your audience (as Laura stressed “You have to understand what your children portraits needed a reason earlier) and decide your purpose. These customers care about, value, and to do so. “When I sell weddings, rst two steps—the strategic part of the believe in. They can’t be simple there’s already a sense of urgency marketing plan—are what really make demographical numbers,” Laura because there’s a wedding date. But a campaign effective. In fact, when commented. “If you know what with portraits…there’s no urgency, no Laura teaches, she often compares they value, then you can make them ‘reason’ for them to take action now. such a plan to driving a car: “You want happy. And a happy customer births That was my inspiration for the ‘What’s to go to Ohio, so you head east. But the elusive referral!” Your Reason’ campaign. We wanted to if you have a map in hand, you don’t give customers reasons to come.” waste time getting there,” she laughed. But Laura rst had to get customers “That’s why planning our marketing is so through her doorway before she could However, she didn’t skip straight to the important—we don’t have lots of time make them happy. While she had an execution phase of marketing. In her or money to waste!” Buddy Stewart, M.Photog.Cr., IN MEMORY: PPA member since 1968 CPP, API, F-ASP Buddy Stewart died November 30, 2007 community. His special passion was of cardiac arrest at his son’s home in helping photographers improve their Hattiesburg, Mississippi. Buddy was craft through the International Image an award-winning photographer, Competition. As a Juror, Jury Chair, a distinguished competition juror, PEC Committee member and PEC a wonderful educator, and a Committee Chair, Buddy’s leadership dedicated volunteer leader in his was instrumental in establishing and state organization, the American maintaining the high integrity of the Society of Photographers, PPA and his International Image Competition. AndP2 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
    • TODAY If you can make people laugh in an ad, they will remember you. It forms a connection, relaxing them to the point where they begin to trust you. – Laura NovakTAKE A PEEK AT HOW IT WORKED FOR LAURA NOVAK AND HER STUDIO:TARGET AUDIENCE: They pro led their ideal customer, from age range and location to household income and interests in artand design. Not stopping at numbers, Laura also polled the mothers who called to inquire about services, but didn’t bookimmediately; and she paid attention to conversations, learning what customers wanted.PURPOSE/GOALS: To introduce the area to the studio’s brand and philosophies (which were spelled out) and to encouragepurchases throughout the year.MESSAGE: Not only did this involve the humorous, yet provocative “reasons” for portraits, it also involved the color scheme andgraphic elements that would entice customers with a strong interest in art/design. An added bonus: Laura used models of well-known residents. Thus, the overall message was one of inspiration—an inspiration to act.IMPLEMENTATION: The studio’s staff graphic designer created the materials in-house (direct mail postcards, postcard displays,local magazine/newspaper ads, and a Web site ash introduction). Each piece was placed in a carefully researched location. PPA News & NotesRESULTS: The results were every photographer’s dream: 120 portraits from August 2006 to August 2007, with an average sale of$1,650. It even created such a demand that Laura raised her prices several times that year!Laura and her team reached out to their ideal client, presented them with images, copy, and an overall feeling that theywould connect with. That inspires the audience to act…and act they did.“Even though marketing is a process, you can’t be discouraged by it,” admitted Laura. “It simply takes time to learn what willwork, to learn what your customers want. You learn about them as you service them, which will re ne your customer pro le.Then you take that information and put it into next year’s plan.”Laura Novak – Laura Novak Photography – Wilmington, DEwww.NovakPhotography.comwww.StrategyAvenue.com (A Business Resources for Photographers Web Site)The annual AN-NE Marketing Awards competition recognizes outstanding ingenuity and effectiveness in real-world marketingendeavors. Named in honor of Ann Monteith and Marvel Nelson, both marketing gurus and past PPA Presidents, thecompetition is open to PPA members only. More information is at the Competition & Awards page on www.ppa.com.BE A WINNER YOURSELF!The 2008 AN-NE Marketing Awards are earlier this year, with a deadline of July 1, 2008. Rules will be online in February, butyou can start getting ready now. Named in honor of Ann Monteith (AN) and Marvel Nelson (NE), both PPA past presidentsand marketing gurus, this competition helps you take a closer look at what your customer sees before they see you: yourmarketing. See how you stack up against your peers in 2008.at Imaging USA ‘08, he received the passion for our profession in helping Yancy added: “To all of us, Buddy wasPPA Directors Award posthumously. thousands of individual photographers. an example of the highest integrity, a bigger than life personality thatOverarching his many His friend Barry Rankin said, “[He] was represented PPA and photography inaccomplishments, titles and always on the side of what is right the best possible way.”responsibilities, Buddy was a good and good...always willing to share hisfriend to all. He freely shared his skills, knowledge, his last possession, anythinghis knowledge, his creativity and that would help a friend.” Helen news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P3
    • TODAY AFFILIATE SCHOOL SPOTLIGHT CALIFORNIA PHOTOGRAPHIC WISCONSIN PROFESSIONAL IMAGING WORKSHOPS OF WORKSHOPS PHOTOGRAPHERS SCHOOL @ COLORADO, INC. March 31 - April 4, 2008 TREEHAVEN May 18 - 23, 2008 | Breckenridge, CO Scotts Valley, CA May 6-9 & May 11-14, 2008 Contact: Jeff Johnson; 303-921-4454; Contact: Jim Inks; 888-422-6606; Tomahawk, WI luna@originalimageco.com CPWschool@sbcglobal.net Contact: Dennis McGill; dmcgill@ Web site: www.ColoradoWorkshops. Web site: www.CPWschool.com frontiernet.net; 715-369-1226 com Tuition: $545 (PPA members); $620 Web site: www.WiProPhotoSchool.org Tuition: $925 Member; $975 Non- (non-members). Special tuition rates for Tuition: $595-$750 Member John Teague’s “Seeing the Light” class: Course Information: Course Information: $295 (Members); $325 (Non-Members). May 6 – 9, 2008 “Take Your Talents to New Heights!” Join us in Lodging for 5 nights and meals at the PhotoshopCS3 ® – Breckenridge for professional development Peter Bauer workshops, designed for imaging conference center are available for All 5 PPA Business Modules – professionals of all skill levels. Our 2008 students attending the session: $480 Steve Larsen & Aletha Speakar faculty includes Kevin Kubota, Scott Dupras, (double); $680 (single) Portraits, Weddings, & Children – Don MacGregor, Kalen Henderson, David Course Information: Louis Tonsmeire Ziser and more. Take your imaging career Choose one photographic expert to study Mastering Light – to new heights atop this Rocky Mountain with throughout the week. For details on John Woodward paradise. Call 303-933-9461 or view our Web classes, visit the Web site listed above. site for more details. Advanced Photoshop – May 11 – 14, 2008 Suzette Allen Portraits, Weddings, & General Business – Artistic Elements of Portraiture! – Doug BoxPPA News & Notes Carl Caylor, Understanding People, Light, & Style– Wedding Photography – Ken Skulte Joe Buissink Sales, Marketing, & Psychology – Passion for Portraiture – Clark & Rachel Marten Paul Tumason Digital Work ow – Lifestyle Children’s Photography – Dave Johnson Tina Wilson Beginning Photoshop – Jon Yoshinaga Lighting and Business Basics – John Teague (with a special tuition rate) AFFILIATE COMMUNICATORS GET RECOGNIZED Chances are, people stay connected to All PPA Af liate editors and Webmasters Get the recognition you deserve. local and regional organizations thanks are invited to participate in this Entry forms are available at http:// to a newsletter, magazine, or Web site. competition, designed to encourage competitions.ppa.com. Entries must But these publications don’t produce excellence in Af liate publications and be received at PPA no later than themselves! Have you—the editors and to recognize the individuals who spend Friday, February 22, 2008. If you have Webmasters—been thanked? their time and energy editing, designing additional questions, please contact and maintaining these publications in PPA at (800) 339-5451, ext. 226, or e-mail If you are in charge of these order to keep their members informed. awijesinghe@ppa.com. publications, you need to enter the 2008 Earn an achievement merit if your entry Af liate Communications Competition. is accepted into the competition and an additional merit if you win! CONVERSATIONS ON OURPPA.COM Now that Imaging USA ’08 is over, what classes held around the country); are you going to do for education? Just the new PPA-hosted Webinars check OurPPA.com for topic threads and more! After all, you can never about PPA Af liates, News, Events, have enough education. & Schools; PPA Approved & Merited Education; Super Monday (the one-day http://ourppa.comP4 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
    • LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES124 • www.ppmag.com
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    • LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES126 • www.ppmag.com
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    • LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES128 • www.ppmag.com
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    • Buyer’s Gallery THIS SECTION IS THE MONTHLY RESOURCE PHOTOGRAPHERS USE TO FIND THE PRODUCTS THEY NEED. PUT YOUR MESSAGE PROMINENTLY IN FRONT OF INDUSTRY PROS AND START TURNING BROWSERS INTO BUYERS.130 • www.ppmag.com
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    • PROFE SSIONAL Denny Manufacturing (www.photonovelty.com) ....................135 National Direct Marketing Services (www.ndmservices.com) .130 Diversified Lab (www.diversifiedlab.com) .............................126 Neil Enterprises (www.neilenterprises.com)..........................132 Drive Savers (www.drivesavers.com) .....................................65 Nik Software (www.niksoftware.com/ppadfine ......................99 Dury’s (www.durys.com).......................................................67 Nikon (www.stunningnikon.com/challenge.com)................18-19 Dyna-Lite Inc. 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    • ProductMall SOMETHING HERE YOU NEED... February 2008 • Professional Photographer • 135
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    • good works | Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work.©Carol Freeman Freeman set out to photograph all 487 of the threatened species in her area. She also founded a nonprofit called Team Green Environmental Network to promote education about the plants and animals she documents. This enormous undertaking pits Freeman against the forces of time, development and the inevitable demise of some of the plants and animals. “I am aware that this may be the one and only time I ever see some of these species, and my photograph may be the last picture people see of a particular plant or animal,” she says. Over a little more than three years, Freeman has photographed 66 of the threat- ened and endangered species in Illinois, and she hopes to document most of the species within the next five years. She plans a school exhibit, an educational Web site and a cam- paign to promote awareness about how Silent plight human activities are affecting the fragile ecosystem. “I’m hoping that with awareness comes change in our lifestyle,” says Freeman. GIVING A FACE—AND A VOICE—TO THREATENED SPECIES “The biggest threat to these species is from us, primarily from development and destruc-U p to now, “Good Works” has surrounding Chicago. A nature photographer tion of their habitat. I’m hoping that people focused on charities related to with clients among environmental organiza- will begin to think about that. I’m hoping humans. But what about the tions, Freeman has visited various natural people will elect politicians who are commit- at-risk populations that can’t sites around Chicago on assignments for ted to the environment. I’m hoping people speak for themselves? clients. Speaking with site stewards on location, will think twice before they plow over a field The planet is dotted with she learned about many endangered plant of wild grasses, before they clear-cut land for threatened and endangered and animal species in Illinois. Their plight a new development, before they destroy a species of plants and animals, and we’re was compelling, yet there weren’t many striking stream. Most of all, I hope people will opt to not talking about faraway, exotic locales. images of these species. If they existed at all, make a change.” I There are thousands of at-risk plants and the images tended to be bland scientific cat- To see more of Freeman’s work, check out animals here in the United States, in our alog shots. “I felt that if we were going to www.carolfreeman.com. communities, in our backyards. save these species, we needed to produce Three years ago, Carol Freeman decided jaw-dropping images,” says Freeman. “There is to do something to help the threatened and definitely a need for good quality nature Share your good works experience with us by e-mailing Cameron Bishopp at endangered species in her area, the environs photography in this area.” cbishopp@ppa.com 138 • www.ppmag.com
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