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  • 1. MARCH 2008 | WWW.PPMAG.COM | $4.95 ©Parker Pfister
  • 2. Stunningly advanced 12.1 megapixel FX-format CMOS sensor. Stunningly fast 9 fps at full FX resolution. Stunningly low noise even at ISO 6400. Stunningly sharp edge- to-edge image performance. The revolutionary new Nikon® D3™ will change the way you shoot sports or action of any kind. Never again will you have to choose between blazing speed or brilliant image quality, particularly in low light situations. To learn more about how the Nikon D3 captures what other pro-digital SLRs cannot, go to stunningnikon.com/challenge.The Nikon D3 is here. Do the undoable.
  • 3. CONTENTS PROFESSIONAL PHOTOGRAPHER | MARCH 2008Features94 MAKING THE MAGIC HAPPEN Lauded Australian photographer Jerry Ghionis finds beauty and prosperity in reinvention by Lorna Gentry104 ONE OF A KIND Park Pfister’s special knack for turning the ordinary into the extraordinary by Stephanie Boozer116 ENGINEERING A NICHE The tale of Mike Colón and the spiraling wedding market by Jeff Kent82 WEDDINGS: DESTINATION SUCCESS Business insights for destination wedding photography by Jeff Kent IMAGE BY JERRY GHIONIS
  • 4. 14 FOLIOCONTENTS PROFESSIONAL PHOTOGRAPHER | MARCH 2008 | WWW.PPMAG.COM 126 133 CALENDAR PPA TODAY 154 GOOD WORKS©Jessica Claire Departments C O N TA C T S H E E T 20 Party time for Kathy Malaspina 22 Essay: Vive la digital! by Laurie Klein 26 Professional Photographer cover contest announced 28 Sacred to sensational: Cliff Mautner’s studio PROFIT CENTER 33 What I think: David Schwartz 36 Married to marketing by Lorna Gentry 42 Because you’re worth it by Charles J. Lewis 44 The joy of marketing: Attractive pricing by Sarah Petty THE GOODS 49 What I like: Gene Higa 52 Pro review: Nikon D3 by Ellis Vener 58 Archiving: Safe and for sale by Audrey Gray 66 Substrates: Extraordinary prints by Laurence Chen 70 Photoshop and Lightroom: What’s the difference?82 by Andrew Rodney 76 Tutorial: Photoshop Actions by Rick Ralston Being paid to do beautiful wedding photography in exotic destinations ON THE COVER: After his first wedding, says sounds like a dream come true. Yes, it can be enjoyable and rewarding, as long as you know this month’s cover artist, Parker Pfister, “I swore I’d never shoot another wedding.” We’re glad he that being there on someone elses dime is hardly the time to relax. Take some tips on making reconsidered. Pfister has been shooting weddings and portraits exclusively since 1999. Read more it work from destination photographers Garrett Nudd, Gene Higa and Jessica Claire. about Pfister in our feature on p. 104. 6 • www.ppmag.com
  • 5. Mind. Body.
  • 6. Photography.A Picture-Perfect Relationship
  • 7. P ROF E S S I ONA LEDITORIAL director of publications CAMERON BISHOPP cbishopp@ppa.com senior editor art director/production manager Show us what you’ve got JOAN SHERWOOD jsherwood@ppa.com DEBBIE TODD dtodd@ppa.com manager, publications and 2008 COVER PHOTO CONTEST features editor sales/strategic alliances LESLIE HUNT KARISA GILMER Here at the magazine, we consider ourselves pretty fortunate when lhunt@ppa.com kgilmer@ppa.com it comes to the industry we cover. While other trade magazines editor-at-large sales and marketing assistant might struggle to find photography to grace both the cover and the JEFF KENT CHERYL PEARSON inside pages, we need only look to the inspired images our readers jkent@ppa.com cpearson@ppa.com technical editors are creating every day. ANDREW RODNEY, ELLIS VENER There’s a catch though. In an industry comprised of independent director of sales and strategic alliances business owners, it’s sometimes challenging (quite often, actually) to SCOTT HERSH, 610-966-2466, shersh@ppa.com hear about all the top talent we know is out there. We comb the western region ad manager BART ENGELS, 847-854-8182, bengels@ppa.com forums and online galleries, eastern region ad manager pore over the PPA Loan SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com All entries must Collection, read all the circulation consultant MOLLIE O’SHEA, moshea@ppa.com be uploaded at industry publications, keep an editorial offices open eye at events, scour Professional Photographer www.ppmag.com regional newsletters, and take 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 welcome recommendations Professional Photographer (ISSN 1528-5286) is published monthly from photographers who have made it to the radar screen. subscriptions Professional Photographer To broaden the search, we thought of a new tactic to help you P.O. Box 2035, Skokie, IL 60076; 800-742-7468; find us: The first-ever Professional Photographer Cover Photo FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com member services Contest. We liken it to a nationwide talent search, and we hope we’ll PPA - Professional Photographer be introduced to a spate of gifted artists whose work we’ve never 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com seen, but will fill our magazine far into the future. Send all advertising materials to: Debbie Todd, Professional Photographer, So we invite you to submit your entries to us before the May 31 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; deadline, and take a shot at creating the image that nearly 50,000 $66, three years. Canada: $43, one year; $73, two years; $108, three years. PP readers will see when they open their mailboxes in late fall. And International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. there’s more—not only do you have a chance at the cover, but to win PPA membership includes $13.50 annual subscription. valuable prizes as well. The first place winner, runners up and those Subscription orders/changes: Send to Professional Photographer, Attn: Circulation who win honorable mention will be awarded first-rate gear from Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com. our contest’s generous sponsors, Microsoft, Bogen, Canon, Kodak Periodicals postage paid in Atlanta, Ga., and additional mailing offices. and Miller’s Professional Imaging. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Head over to www.ppmag.com to learn all about the prizes, Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. contest rules and submission guidelines. (A word to the wise: Article reprints: Contact Professional Photographer reprint coordinator at Entries may be submitted only as uploads to www.ppmag.com. Wrights’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, no print or e-mailed submissions will be accepted.) 300 North Zeeb Road, Ann Arbor, MI 48106 We’re looking forward to meeting you! I 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, Cameron Bishopp GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Director of Publications Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed cbishopp@ppa.com 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
  • 8. Three amazing cameras designed to inspire. Starting with the powerful EOS-1Ds Mark III. With a 21.1-megapixelfull-frame CMOS sensor, dual DiG!C III Image Processors, and a 3-inch LCD monitor, it’s far and away the most remarkablecamera Canon has ever created. The innovative, feature-filled 10.1-megapixel EOS 40D letsphotographers take the next leap forward, with its DiG!C III Image Processor and 6.5 frames-per-second shooting. Along with the exceptional EOS-1D Mark III with its blazingly fast 10.5frames-per-second shooting and 10.1-megapixel CMOS sensor, Canon makes the creativeprocess easy, rewarding and, most important, inspiring.To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc ©2008 Canon U.S.A., Inc. Canon, EOS and DiG!C are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.
  • 9. chairman of the board DOUG BOX DANA GROVES *JACK REZNICKI M.Photog.Cr., API Director of Marketing & Cr.Photog., Hon.M.Photog., API dbox@ppa.com Communications jreznicki@ppa.com dgroves@ppa.com DON MACGREGORProfessional Photographers directors M.Photog.Cr., API SCOTT HERSHof America DON DICKSON dmacgregor@ppa.com Director of Sales &229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP Strategic AlliancesAtlanta, GA 30303-1608 ddickson@ppa.com industry advisor shersh@ppa.com404-522-8600; 800-786-6277 KEVIN CASEYFAX: 404-614-6400 SANDY (SAM) PUC’ kcasey@ppa.com J. ALEXANDER HOPPERwww.ppa.com Director of Membership, M.Photog.Cr., CPP, ABI spuc@ppa.com Copyright and Government legal counsel Affairs2008-2009 PPA board Howe and Hutton, ahopper@ppa.compresident RALPH ROMAGUERA, SR. Chicago*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP WILDA OKENM.Photog.Cr., CPP, rromaguera@ppa.com Director of AdministrationAPI, F-ASP PPA staff woken@ppa.comdcraft@ppa.com CAROL ANDREWS DAVID TRUST M.Photog.Cr., ABI Chief Executive Officer LENORE TAFFELvice president candrews@ppa.com trustd@ppa.com Director of Events/Education*RON NICHOLS ltaffel@ppa.comM.Photog.Cr., API SUSAN MICHAL SCOTT KURKIANrnichols@ppa.com M.Photog.Cr., CPP, ABI Chief Financial Officer SANDRA LANG smichal@ppa.com skurkian@ppa.com Executive Assistanttreasurer slang@ppa.com*LOUIS TONSMEIRE TIMOTHY WALDEN CAMERON BISHOPPCr.Photog., API M.Photog.Cr., F-ASP Director of Publications *Executive Committeeltonsmeire@ppa.com twalden@ppa.com cbishopp@ppa.com of the Board12 • www.ppmag.com
  • 10. Expect More Beautiful Color At Miller’s, consistent, beautiful color is just as important to us as itis to you. That’s why we offer color correction on our photographic prints and press products. Every step of our process guarantees the color of your printed images. We don’t simply press “print” . When you look good we look good. Don’t settle for less. www.millerslab.com
  • 11. 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. ©Thom Rouse THOM ROUSE “It has been greatly entertaining for me to watch viewers scrutinize this image,” says Thom Rouse, M.Photog.MEI.Cr., CPP, of Rouse Imaging in Dekalb, Ill. Rouse combined several images taken with his Fujifilm FinePix S2 Pro digital SLR and 28-105mm Tamron f/2.8 SP AF LD IF lens. Images in the mix include a weathered sidewalk for the background, a tree under an overcast sky, and a portrait captured in mixed incandescent and window light. Rouse used Adobe Photoshop to create the final image, which won a Fujifilm Masterpiece Award, ASP Regional Medallion, and ASP Gold Medallion.14 • www.ppmag.com
  • 12. MPIX STANDOUTS! Looking for a unique way to display your large print – something more contemporary?Consider a Standout from Mpix. Our new Standouts are perfect for offices, galleries or the home. Image courtesy of Barefoot Memories, San Diego, CA. Visit www.mpix.com to see our full line of photographic and press products.
  • 13. ©Barry Rankin BARRY RANKIN With a Fujifilm FinePix S3 Pro digital SLR and Nikkor 80-200mm f/2.8D AF ED lens, Barry Rankin, M.Photog.Cr., of Dirla Studio in Bay City, Mich., captured “Bewitched” for a Nashville singer’s CD cover. A 300WS Photogenic PowerLight 1250 behind a 4x6-foot Larson Soff Box provided the main lighting, with a second 300WS PowerLight 1250 and a 2x3-foot Larson Soff Box for fill. A 200WS Photogenic PowerLight 1250 and a 14x48-inch Larson Soff Strip hung above the subject, while a 200WS PowerLight and 14x48-inch Larson Soff Strip illuminated the left side of the frame. CHRIS BELTRAMI ©Chris Beltrami “Perkin’s Cove” is a favorite spot for Chris Beltrami, M.Photog.Cr., F-ASP, of Beltrami Studios in Barre, Vt., and his wife, who regularly visit Maine’s Ogunquit Beach in the summertime. Waiting for the late afternoon light to fully grace these returning boats, Beltrami aimed his Canon EOS 20D digital SLR and 50mm Canon f/2.8 EF lens from the deck of his rental house and exposed the image for 1/125 second at f/8, ISO 200. He digitally enhanced the saturation and sharpness, and embellished the reflections in the water for the final image.
  • 14. Our Product Development Team… is Your Product Development Team! _What happens when you ask a group of nine fun, creative, and innovative women todesign a comprehensive product line for professional photographers?They develop a beautiful, elegant, high-quality product collection that fits the product needs of every wedding andportrait studio. Learn more about the products and how these women used the highest quality materials, the hottestcolors, and the most innovative design to create five best-in-class product lines at www. collages.net/creative.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. Photo ©2008 Erik Matey.
  • 15. 4 hours of darkness. 8 miles of glacial ice. ® ™ 12 Nikon SB-800 Speedlights. 1 eye on the rising tide.©2007 Nikon Inc.
  • 16. See James Balog’s brilliant shots at stunningnikon.com/challengeShooting icebergs at night in Alaska under fast-changing conditions would have been infinitely harder for Nikon Pro James Balogwithout the power and versatility of Nikon SB-800 Speedlights. “We really had to maximize our productivity and the system had a hugeimpact on enabling me to do as many shots as possible.” The critical edge was Balog’s ability to control all 12 Speedlights from hiscamera’s position. “Once I learned the incredible strengths of the Nikon Speedlight system—portability and ease—I said, ‘Wow…magic. ” ’
  • 17. CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc. BY STEPHANIE BOOZER©Kathy Malaspina
  • 18. Looking to boost yourchildren’s portrait business?Consider portrait parties andwatch the leads come inIf the thought of a sales party with a hostesssends you running for the door, reconsider.In-home sales gatherings have been workingfor some pretty big companies. “Some of my best clients come from portraitparties,” says Kathy Malaspina, of PreciousMoments Photography in Tyner, N.C., whohas been reaping rewards from these eventsfor the last three years. “People have a greattime, and the parties are so easy to do.” Here’s how it works: The hostess suppliesthe guest list, mails the invitations, makesthe shooting schedule, and handles all thehostess duties in her home or the photog-raphers studio. Malaspina shoots a series ofmini sessions with each child. Then shepacks up and leaves. “Some of my best clients The hostess directs the guests to the studiosWeb site to view proofs, and encourages them come from portraitto place their orders within a specified time— parties. People have asimple as pie you dont even have to bake. great time, and the As an incentive, Malaspina grants the parties are so easy to do.”hostess a maximum of 15 percent commission,which is credited toward the hostess’s ownpurchase. She requires a minimum of 10sessions for each event, which must be money as the exposure. Word of mouth is light, a table, a small backdrop, and maybe abooked back-to-back to maximize her time. the best advertisement you can get.” few props, depending on the theme of theMalaspina also offers a $35 credit for each Averaging about 10 parties a year, party. Shooting each mini-session outdoorsparty the hostess books in a day, and an enough to generate a healthy number of is the best way to minimize your equipmentadditional $25 credit for subsequent bookings. standard portrait sessions, Malaspina says needs. In her experience, it’s best to set up “This really pushes the hostess to urge her portrait parties have become popular for the portrait area away from the rest of theher friends to schedule parties,” she says. children’s birthday parties and sleepovers. guests, so each session is semi-private. Malaspina provides the invitations, which You don’t have to limit yourself to kids. “A “You’ve definitely got to work it just likeinclude her images and studio info, and tips lot of people do pet parties,” says Malaspina, everything else,” says Malaspina. “But theseabout preparing for the session. The hostess who also suggests marketing parties for wed- are a great way to go out and do somethingwill pick up and deliver the print orders. dings, family reunions, and other milestone quick and out of the norm, and they set you “It’s not bad for an afternoon’s work,” says events. “They make great fundraisers, too. I apart from everyone else.”Malaspina, who pulls in orders of $1,200 to did one last year for the local animal shelter.” For more about Kathy Malaspina and her$2,500 per party. “It’s not so much the Malaspina’s setup is light, usually one studio, visit www.preciousmomentsphotos.com. March 2008 • Professional Photographer • 21
  • 19. CONTACT SHEET Nine months ago I was still fighting digital and ESSAY a boatload of negativity. I went dragging around Vive la digital! Photography wasn’t broken. How come we needed digital technology to fix it? One holdout ©Laurie Klein found a very good answer. the spontaneity of the shoot to plunge into For example, for some time, I’ve been BY LAURIE KLEIN total darkness for a change of film, while trying to reorient my business from pre- praying the exposures were on the money. dominately wedding photography to mostly Nine months ago I was still fighting digital With digital IR, most of the time they are. portraiture. From shooting 70 weddings a and dragging around a boatload of negativity. I’m thinking about doing all my commer- year, I’m down to about 10. I used to take in I went through the usual throes of resistance cial work digitally. I still like the results I get $1,800 per wedding, now my billing starts and the arduous period of adjustment. There I from black-and-white film better. I’m not at $15,000. My brides come back time and was, spending 75 percent of my time behind selling out, I think I’m becoming a smarter again for maternity, family and generational a computer, no time to plan, no time to market, businesswoman. My personal fine-art work portraits. I had a gala to celebrate my 25 no time to grow creatively, no time to relearn will continue to be a mix of film and digital. years in business and more than 125 clients infrared photography—a passion of mine—sans I hired a a recent college graduate to attended. They bought my fine-art prints, film, working harder on less work and making handle my digital workflow, and I have my and I generated portrait bookings. To be less money. Some boon, digital technology. life back again. I actually have the time to mindful of these successes is to feel grateful. But in addition to changing my workflow in work on a new book and a huge project that I’m still passionate about photography. the last year, I’ve worked on changing my atti- I feel will take my photographic business in My recent work is some of the best I’ve done tude. You know what? Life is wonderful again. a new direction. in years. My clients don’t care if I’m digital We are a healthy hybrid studio today. I With the help of Michael J. Losier’s “Law or not, as long as my passion is there and have a digital camera converted for infrared of Attraction,” which I highly recommend, my photographs are brilliant. photography and I love it. It’s different, and I’ve stopped dwelling on how tough things I had taken the digital movement that’s the point. It gives clients another are. I need to embrace all that’s happening personally, feeling like the industry was out option, and it frees me from having to kill in my life right now, and be grateful for it. to make my life difficult. Now I see what it’s actually been doing—giving me this huge opportunity to grow, to look at thingsWINNER REDUX differently, to get out of my box and the way I’ve done things for years and years. The The sole winner of the 2008 Hot One Award for Telephoto Zoom Lens is the smc Pentax-DA* most important thing for me, besides sup- 50-135mm f/2.8 ED AL[IF]SDM (right). In February’s porting my family, is to grow as an artist. Professional Photographer, we called a tie between Laurie vs. the digital revolution? Doesn’t the Pentax lens and the Tamron SP AF70-200mm work for me anymore. f/2.8 Di LD (IF) Macro lens, which failed to meet all Laurie Klein’s studio is in Brookfield, Conn. eligibility requirements. (www.laurieklein. com). 22 • www.ppmag.com
  • 20. Smart Transceiver NEW PocketWizard PLUS II Triggers your flash, camera or both wirelessly from up to 1,600 feet away. Auto-Sensing Transceiver Technology Automatically Transmits or Receives for faster, easier, carefree wireless triggering. Auto-Relay mode Wirelessly triggers a remote camera and a remote flash at the same time. Fast Triggering Speed Triggers cameras and/or flash units up to 12 frames per second. Digital Wireless Radio Technology Four 16-bit digitally coded channels provide the world’s best triggering performance.The Plus II joins Profoto, Dyna-Lite, Profoto, Norman, PocketWizard Sekonic Norman Packs and and Photogenic Plus II L-758DRthe growing system Battery Packs Monoblocs MultiMax L-358of photographic A built-in radio A built-in radio Trigger your flash, Choose whichproducts with built-in receiver provides receiver provides cameras or both flash unit to trigger wireless triggering wireless triggering without wires from the and measurePocketWizard simultaneously and from a PocketWizard from a PocketWizard palm of your hand.Wireless Freedom. Transmitter and Transmitter and even fire your camera.Ask for these brands. wireless metering. wireless metering. Wireless Radio Triggering 9 1 4 - 3 4 7 - 3 3 0 0 PocketWizard.com
  • 21. CONTACT SHEET Microsoft and Miller’s Professional Imaging. Cover contest announced Prizes will be awarded to 2nd-, 3rd-, 4th- and 5th-place winners, and as many Professional Photographer’s cover photo contest kicks off March 1 as 25 entrants will receive prizes for honor- able mention. Have you always dreamed of getting your work on HOW TO ENTER the cover of a magazine? Well, here’s your chance! Go to www.ppmag.com to enter. Only This month you’re invited to submit photographs digital files uploaded at www.ppmag.com for a chance to have your image featured on will be accepted. Mailed print images and e-mailed digital images will not be our cover. Just one talented photographer will accepted. Format/Specifications: Submit see his or her image published on the cover of low-resolution images only, in standard a 2008 issue of Professional Photographer digital formats (.jpg, .pdf, etc.). Images should be 525x700 pixels; file size should (mailing to almost 50,000 readers monthly). be no more than 250k. A high-resolution, Images will be judged on technical, artistic Helping Professional Photographer print-quality version (300ppi at 9x12 and compositional merit. You may submit as magazine editors choose the best entries inches) must be available for each image. many images as you wish, provided they are will be guest judge Helen K. Yancy, The submission deadline is Saturday, representative of the work you sell to your M.Photog.M.Artist.MEI.Cr.Hon.M.Photog., May 31. clients. What we’re seeking are real-world CPP, F-ASP, Hon. F-ASP, currently serving Don’t miss your chance to show the world examples of portrait, wedding, commercial as the chairman of PPA’s Print Exhibition your talent! Head over to www.ppmag.com and event photography. Committee. to learn more. All work submitted must be previously In addition to landing the cover of a 2008 edition of Professional Photographer, the unpublished and original, with written releases on file from any subjects pictured winner will receive generous prizes from our Go to www.ppmag.com in the image. contest sponsors, Bogen, Canon, Kodak, to enter. 26 • www.ppmag.com
  • 22. $9,999 COMPLE TE SYST EMMamiya 645ZD Mamiya Performance. Now Digital. 22 megapixel System • Mamiya 645AFD II Medium Format Camera with 80mm f/2.8 AF lens • Mamiya ZD 22 Megapixel Digital Back • Large 48mm x 36mm Dalsa CCD Sensor produces medium format results • FREE Adobe® Photoshop® Lightroom™ software included T: 9 1 4 . 3 4 7 . 3 3 0 0 • M A M I YA . C O M
  • 23. CONTACT SHEET Cliff Mautner turned a 1920s church into a studio with SoHo soul BY LORNA GENTRY From sacred to sensational The front door of Cliff Mautner’s photog- raphy studio opens to an elegant foyer, but its the allure of the 2,000-square-foot space walk in and think, ‘This guy is credible, he and I mean everything—is new.” The beyond that draws visitors to his studio in has style, he’s expensive, and he has good $225,000 renovation took about a year to downtown Haddonfield, N.J. The large room taste.’ It’s all about the client experience.” complete, but the results are spectacular. A is harmoniously divided among handsome Upstairs is a 1,300-square-foot. office he photojournalist with the Philadelphia viewing, meeting and shooting areas. Light shares with studio manager Anne Vasquez, Inquirer for 15 years, Mautner had been a fills the area between the 13-foot ceiling, and downstairs is a three-bedroom apart- home-based wedding, portrait and wood floor and wainscoted walls. A 30x13- ment where he lives with his children. Built as commercial photographer for a decade foot exposed brick wall spans the back of the a Baptist church in the 1920s, the building later before opening this studio in 2006. studio, its faded and worn bricks seeming became a dance studio run by one of the orig- original to the building, but they were inal Rockettes, which turned out to be a bless- Professional Photographer: Your shooting installed as part of Mautner’s master plan. ing. For years, the main foot traffic here was area is so large. How did you design a “Beyond being a place to shoot, I wanted the soft steps of barefoot dancers. so the lighting system with enough flexibility to it to look like a SoHo art gallery to display nearly 90-year-old beech wood floors needed accommodate it? my work,” says Mautner, a New York native, very little work. “The floor guy was floored,” Cliff Mautner: I have the option of stepping who worked with interior designer Michelle Mautner laughs. back more than 50 feet to photograph my Cheutin. “The exposed brick gives it a That was about the extent of a financial subjects. I have two zones of rails for the distinct look. My goal was to have clients break for him, though. “Everything else— lighting system that allow me to position the lights however I want them. On the rails areAll images ©Cliff Mautner four Profoto ComPact 600 monolights attached to scissor mechanisms that can extend all the way from the ceiling to the floor. That gives me plenty of range—from the back to the front third of studio. I can easily high- key or drop them out altogether and use natural light. I had four 10x14-foot windows installed, which gives me northwest light, a beautiful Rembrandt light not easy to produce artificially. I have a Bogen backdrop, but I also use the brick wall as background, shooting at a shallow depth of field so it drops out of focus. Since you were going for a gallery look, why isn’t your work hung traditionally? 28 • www.ppmag.com
  • 24. I added chair rails to wainscoting that wasalready there so I could prop up my photoson it. I did that so clients can pick them upand inspect them. I didn’t want them to beuntouchable. It also makes it easy to changethe images. Cable lighting enables me todirect the lights in any direction, and theyadd to the studio’s gallery look.What’s the most impressive feature of yourstudio?The DWIN TransVision 4 projector, with aseparate video processor and high-definitioncapabilities. It projects to a 92-inch hi-defDa-Lite Neutral Gray screen, which enrichesthe blacks in my images. This system is usedin home theatres and has film-like quality,and yes, I do watch some sporting eventson it! It took quite a bit of vision to see what this derelict old building could become, and Cliff Mautner supplied it.Lorna Gentry is a freelance writer in Atlanta. 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
  • 25. Listening. Creating.Albums High-End Cards Gallery Wraps“Collages.net albums have superior print “Uniquely “Extraordinary is the best way I can quality, the ordering process is effortless, beautiful, describe Collages.net’s gallery wrap and the customer service is above high-class, line. I have several gallery wraps exceptional. However, the basis of my and extremely displayed at my studio, and my clients choice doesn’t do the product justice professional are love them. Not only do these products until seeing it first-hand. Plus, the all phrases my sell themselves, but Collages.net’s lab feedback from my studios’ clients is clients use to turns them around quickly, their phenomenal! With an abundance of describe specialists go above and beyond to attractive and vibrant leather color Collages.net’s help you, and Collages.net’s print quality choices available for covers, my clients high-end cards. is first class. always find the perfect fit for their Adding this Collages.net has album. As the owner of three busy product to my studio’s line couldn’t have exceeded my studios, I’d like to thank Collages.net been a more profitable choice. Not only clients and my albums for taking has it greatly increased my bookings, expectations yet another but it has increased the appreciation once again!” product to the and the quality of my work. There isn’t Dan Doke next level. ” another card product that comes close Daniel Doke Julie Madison to this innovative, personal product line.” Photography Artistic Imaging DeeDee Dallas Boston Las Vegas D2 Photography Riverside, CA
  • 26. 30% OFF STUDIO SAMPLESInnovating. Collages.net is the proud partner of over 10,000 studios across the U.S. Press Printed Books Professional Printing Check out Collages.net’s “Collages.net’s “Competition is intense. I am always comprehensive product line at press printed looking for tools to keep me one step www.collages.net/products. book collection is ahead of the game, and collagesColorTM a key part of our provides me with a total workflow Contact Customer Service at studio’s high-end solution that does just that. My clients (877) 638-7468 or product line. The are beyond pleased with the simple customerservice@collages.net. hard cover, hand- viewing and ordering process, and I sewn books are know I can place total trust with very popular Collages.net to handle my clients’ needs. with both our collagesColorTM wedding and delivers unsur- portrait clients. passed results, The variety of sizes, colors, and templates freeing up my allow us to create everything from proof studio time to be books to customized books. more focused on Brittany and Eric Hanson the creative aspect BLR Life Photography of my business.” Las Vegas Brett Chisholm Brett Chisholm Photography Houston ©2008 Collages.net Inc. All rights reserved. Photos are ©2008 of their respective photographers.
  • 27. Have you always dreamed of seeing your work on the cover of a national magazine?Here’s your chance! Beginning March 1, 2008, submit your photographs for an opportunity to be featured on the cover of Professional Photographer.Contest Rules & Judging: Images will be submitted must be original and previously un- How to enter: Go to www.ppmag.com tojudged on technical and artistic merit. Helping published, and you must have written releases enter. Only digital files will be accepted. PrintProfessional Photographer magazine editors on file from any subjects pictured in the image. images and e-mailed images will NOT bechoose the best entries will be guest judge accepted. Upload your electronic images toHelen K. Yancy, M.Photog.M.Artist.MEI.Cr.Hon. Prizes: In addition to landing the cover of a www.ppmag.com.M.Photog., CPP, F-ASP, Hon. F-ASP, the chair- 2008 edition of Professional Photographer, theman of PPA’s Print Exhibition Committee. winner will be awarded a selection of prizes Format/Specifications: Submit low-resolution from among our cover photo contest sponsors, images only, in standard digital formats (.jpg,You may submit as many images as you wish, Bogen, Canon, Kodak, Microsoft and Miller’s .pdf, etc.). Images should be 525x700 pixels;provided they are representative of the work Professional Imaging. Prizes will also be file size can’t be more than 250k. A high-reso-you sell to your clients. What we’re seeking awarded to 2nd-, 3rd-, 4th- and 5th-place win- lution, print-quality version (300ppi at 9x12are real-world examples of portrait, wedding, ners, and as many as 25 entrants will receive inches) must be available for each image.commercial and event photography. All work prizes for honorable mention. GO TO PPMAG.COM TO ENTER Submission deadline: Saturday, May 31, 2008
  • 28. Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies What I think Pricing for profit leads David Schwartz to long-term success What do you wish you knew when you were first starting out? That it takes time to develop a look. I spent so much time attempting to emulate others. I should have spent the time soul- searching and stretching myself to come up with new ideas and techniques that felt right to me. Reaching an affluent client requires having a look he can only get from you. What’s the biggest business risk you’ve ever taken? I walked away from a nice salary to pursue something I’ve always loved. Making the leap to full-time photography was a tremendous risk. What’s your deal breaker? I pre-qualify my clients before we meet. I make sure they completely understand my pricing and that my photography fits within their budget. I don’t negotiate on price when they visit, and if they attempt to do so, I will cut the meeting short. What is the biggest business mistake pro photog- raphers make? Attempting to run every aspect of their business. I believe in farming things out to spend more time behind the camera. We need to remember that we make our money taking pictures. What is the most important element in a successful photography business? Pricing. Ensure that your pricing strategy brings you the income you need to live. IMAGE BY DAVID SCHWARTZ WWW.DAVIDSCHWARTZPHOTOGRAPHY.COM March 2008 • Professional Photographer • 33
  • 29. Photography by Gregory Heisler.
  • 30. Beautiful. Introducing the all new Epson Stylus® Pro Series. Redefining the perfect print. Your image is a thing of beauty. With an Epson Stylus Pro printer, that’s exactly how the world will see it. Especially since Stylus Pro printers from 17 to 64 inches now feature Epson UltraChrome K3™ with Vivid Magenta ink for a wider color gamut, plus new, advanced MicroPiezo® print heads that dramatically improve image quality. Not to mention AccuPhoto™ HD Screening Technology for even sharper images. The result: extraordinary prints. That’s the beauty of it. To learn more about Epson Stylus Pro Series printers, visit www.proimaging.epson.com. Epson Stylus Pro 4880, 7880, 9880 and 11880Epson, Epson Stylus, Epson Exceed Your Vision, Epson UltraChrome K3 and MicroPiezo are trademarks/registered trademarks of Seiko Epson Corporation. AccuPhoto is a registered trademark of Epson America, Inc. Copyright 2007 Epson America, Inc.
  • 31. PROFIT CENTER Recognized with the 2007 PPA AN-NE “Every year there are 22 percent more photographers in the marketplace,” says an Marketing Award, these three marketing animated Christa Hoffarth of South Lake campaigns share a focus on the importance of Tahoe, Calif. “That number scares me.” targeted promotion, attention to detail, and A healthy fear of competition may propel maintaining effective Web sites and blogs. Hoffarth to work harder, but what distances her from the pack is smart marketing for BY LORNA GENTRY her eponymous wedding photography business. Her deft techniques were recently Married INNOVATIVE MARKETING STRATEGIES recognized with the 2007 PPA AN-NE Marketing Award for her outstanding wedding marketing campaign. The annual to marketing award, which honors member photographers’ creativity and effectiveness in marketing, also went to finalists Peter Holcombe, API, CPP,All images ©Cheryl Pearson Christa Hoffarth designed her AN-NE award winning-wedding marketing campaign to make a big first impression on upscale clients. 36 • www.ppmag.com
  • 32. of Holcombe Photography in Lafayette,Colo., and Albert Lewis of MulberryPhotography in Truckee, Calif. These three photographers agree on theimportance of focused promotion, payingattention to detail, and maintaining effectiveWeb sites and blogs. They differ in approachwhen it comes to brochures, due in part totheir differing markets, business strategiesand targeted audiences. The three promotionsare a study in contrasts, but the effect is thesame: greater profits. Christa Hoffarth is a natural at marketing.Last year she designed a new brochure andother promotional material for her weddingphotography business. Because most of herclients are out-of-towners, Hoffarth says herWeb site and brochure are the only sellingtools she has. And because competition in Albert Lewis targets his brochure to event planners. The quality of every component communicatesher marketing area—San Francisco, San Jose, the sophisticated aesthetic that he will bring to a wedding.Sacramento and Lake Tahoe—is fierce, shehas to make a lasting first impression in print. Targeted at upscale wedding clients, her press information page, and a page with an and aesthetically pleasing. She figured herbrochure denotes sophistication. “My clients explanation of her philosophy of wedding clients would feel the same way about high-spend anywhere from $200,000 to $1 photography. A DVD of her work—an quality promotional items, and apparentlymillion on their weddings, with the average “indispensable portable marketing tool,” she she was right. “My brides keep thesebeing $300,000,” says Hoffarth. “Most of says—is seated in a sleeve affixed to the brochures and give them to their friends, somy brides are MBA grads. In fact, a lot of back. A clear plastic routed business card they continue to market for me for years.”my brides were together in the same MBA foil-stamped with her contact information Once a couple hires Hoffarth, she mailsprogram, like at Stanford, for example.” goes on the front cover. For mailing, she the contract and payment information with slips the brochure into a transparent self- thank-you cards and a complimentaryCHAIN REACTION. To appeal to these sealing envelope. bride’s emergency survival kit in a clearmonied professionals, Hoffarth’s brochure “These brochures have texture appeal acrylic box. Inside are dress chalk, safetydesign is eye-catching, sleek, contemporary and sound to them,” says Hoffarth. “They pins, hairpins, deodorant, stain remover,and fun. The six pages of the 6x6-inch, matte- have a feeling of immediacy, and the clear sewing kit, breath mints and pain reliever.finish brochure are bound with an elegant plastic envelope makes the brochure even Ever mindful of branding, all her packagingsilver chain. Her printer, Blossom Publishing more apparent.” and marketing materials are color and logoin Winona, Minn., drills holes in the card- Each brochure costs $3.50 to produce, so coordinated. Hoffarth’s colors are a con-stock pages, and Hoffarth finishes each hole Hoffarth pre-qualifies brides who request centrated light blue and white, which appearwith a silver grommet before threading the one. She got the idea for the piece from her as solid colors and in a loose floral pattern.ball chain through the pages. Following the enjoyment of saving shopping bags from “I still print proofs, so I package them in aphoto-imprinted cover page are two pages on expensive boutiques. “I use them again and beautiful black-and-white box and use mypricing, a page about reprints and albums, a again,” she admits, because they’re well made brand colors as accents—a blue silk ribbon March 2008 • Professional Photographer • 37
  • 33. PROFIT CENTER Naturally, he’s selective about whom he markets to, and he screens the recipients carefully. With a background in graphic design, fashion photography and art direction (he was an art director for Nordstrom and Neiman Marcus), Lewis knows good visual marketing. “My degree is in graphic design so it’s in my blood,” he chuckles. “It’s hard to design for yourself, so I work with a design firm. With the brochure, we tried to integrate the photography and guts of the piece with the overall design. The design catches the eye of the type of client we’re going for. This is not in-your-face marketing. We wanted to create a mood and drive business on the sophistication of the piece. This brochure says, ‘If we can do this, then we can apply these same aesthetics to photographing your wedding.’” Lewis’ 2007 ad campaign also included five No. 10 envelope-size cards mailed peri- odically throughout the year. Each card fea- Peter and Kathy Holcombe garnered the favor of wedding planners by sending them four-packs of tured images from a wedding the studio custom-labeled Jones Soda. photographed, along with one-word head- lines (such as “Luminous,” “Bliss,” “Captivating”) and custom tag that I write a personal note wedding coordinators have been very and a heartfelt account of how he and his on. With the package I send a gift, a 3x3- complimentary. Many tell me they keep it wife and fellow photographer, Tari, felt inch bride book. We also send a first-year on their desks, and some call after they about the wedding. There is no sales language. wedding anniversary gift, an accordion receive it. Because our clients come from all Reading like a wedding photographer’s blog, photo book in our colors with graphics and over the country, we mail it nationwide.” these cards are intended to generate enthusiasm, black-and-white images. The outside of the Clean and elegant, the gate-folded bro- showcase Mulberry’s work, and keep the box is a floral black-and-white print that chure opens to an impressive 26 inches long. studio’s name in the eye of their target audience. matches our marketing motif.” Inside is a mini portfolio of the studio’s work, which is showcased on individual sheets of MAILBOX WOW. Peter and Kathy NATIONAL FOCUS. Like Hoffarth, AN- heavy matte card stock held in place by Holcombe’s printed brochure wasn’t taking NE finalist Albert Lewis of Truckee, Calif., small rivets. The outside cover is fine-ribbed, their business in the direction they wanted caters to affluent wedding clients in the grayish-green paper embossed with the to go. “In 2005 we were averaging $3,500 Lake Tahoe area, as well as in Palm Springs. studio’s logo, a stylized mulberry tree. Inside, on wedding packages,” says Peter. “We Lewis, too, relies on a sophisticated brochure the colors are cream and a serene green, with wanted to break out of that mold and go to sell his services. Unlike Hoffarth’s, however, the exception of the contact page, which is after high-end clientele. So in 2006 we did Lewis’ targets wedding coordinators and standout mauve, the color of mulberries. something different from the tri-fold, printed event planners. “Eight-five percent of my Hand assembled, each brochure costs Lewis piece we had been doing.” brochures go to event planners,” he says. a whopping $32, but he maintains that these “We feel a brochure is limiting,” Kathy adds. “The piece communicates quality and the head-turners are generating high-end business. “It doesn’t show off our images or demon- 38 • www.ppmag.com
  • 34. strate the quality of our work. We decided to four wedding photographs was printed on On the bottlenecks they hung custom-madeproduce a DVD that shows how we’re different.” each bottle, along with catchy messages on tags with fun wedding images, like a close-up Once the Holcombes created the DVD, the labels, such as, “Holcombe Photography: of a bride putting on mascara, along with suchthey packaged it in a striking way. “Our refreshingly unique,” “Don’t trust your pithy tag lines as “Keep an eye out for us.”materials arrive in a padded silver envelope, wedding photography to the bland,” and The Holcombes shipped the bottles bywhich gives it the ‘wow’ factor right out of the “Call us for full-flavored images and service.” UPS and FedEx so they could track delivery.mailbox. The DVD is wrapped in a rectangularaluminum tin with a custom sticker, ribbonsand tissue paper. Fitted inside the tin is a bro-chure with rounded corners.” Brides feel thatopening the tin first gives them the feeling ofopening a gift. "It has really given us a leg up.” Right away the results were dramatic.Within a year bookings increased and theHolcombes averaged $7,800 per wedding,which handsomely offset the $10-per cost ofthe mailing. (They also screen brides beforegoing to the expense of mailing to them.)Now Holcombe Photography attracts aclientele that’s in the 27 to 32 age range,who, says Kathy, are professionals with atleast a B.A. degree. Peter adds, “We do getthe younger clients too, usually from familieswho can afford [an upscale] wedding.”JONESING FOR ATTENTION. In 2007,the Holcombes decided to continue with thetins, and go out a little further on the creativelimb with a dynamic new campaign involvingJones Soda. This time the target wasn’t bridesbut event planners at upscale venues in thearea. The Holcombes had been knocking ontheir doors for five years with little success. Peter likes to research marketing ideas onthe Web, and he learned from Photojojo, anonline photo newsletter (photojojo.com), thatthe makers of the popular soft drink JonesSoda will print personal photos on its bottlesfor a fee. “We thought it would be a clever wayto make a first impression on people we’vebeen trying to get to know,” says Kathy. They ordered 16 sets of four-bottlepackages in four Jones Soda flavors. One of March 2008 • Professional Photographer • 39
  • 35. PROFIT CENTER now display their wall portraits and books.MARKETING ON THE ROAD The cost of the campaign was high, aboutChrista Hoffarth shares her marketing knowledge this month alongside another savvy $70 per venue, but the return on the invest-marketer, Laura Novak (www.novakphotography.com), in a workshop at Novak’s ment more than paid for it, they say. TheWilmington, Del., studio, March 4-5. Holcombes now average $12,000 per wedding. Hoffarth creates templates that photographers can use in their promotions to Says Peter, “I think marketing is one ofensure their brand is uniformly reinforced in their brochures, business cards, the most exciting aspects of this business.letterhead, tags and more. Checkout Hoffarth’s marketing site for photographers, It’s all problem-solving and thinkingJellyfingers.wordpress.com. through.” “We’re passionate about marketing Kathy and Peter Holcombe share their know-how in increasing wedding sales at the and our business,” adds Kathy. “We calculateImaging Workshops of Colorado, (www.coloradoworkshops.com) May 19-21. carefully. At the beginning of each year we figure out how much we want to work, how much we need to make, and then design our A day after delivery, they called each recipient, the follow-up phone call was to set up a [marketing] materials according to that.” and they were blown away by the response. meeting to show our book and get to know For the Holcombes, provocative market- “The amazing thing is that we got thank-you them. We got a meeting with everyone.” ing fuels a business that underwrites the notes from these coordinators,” says Kathy. “I This imaginative campaign put Holcombe good life. I don’t think anyone gets thank-you notes for Photography on 12 of the 16 venues’ preferred promo materials,” Peter marvels. “Our goal of photographer list, and five of the venues Lorna Gentry is a freelance writer in Atlanta. 40 • www.ppmag.com
  • 36. PROFIT CENTER C H A R L E S J . L E W I S , M . P H O T O G .C R . It’s not the price, it’s the way you present it. Train understand how she feels—“I know exactly yourself to be comfortable talking about your fees. how you feel, and I understand.” You want to continue working with this prospect, so Because you’re worth it don’t argue, confront or correct. KNOW YOUR LINES. How many times have you thought of the perfect The better you become at presenting your anyone. You can make a great living by comeback too late? Write down and fees, the higher those fees can be. Here are being honest! memorize good replies to typical questions five keys to successful presentation. You want to sound as if the studio is and likely objections in all phases of the SELF-CONFIDENCE. You need to busy. You want clients to see that you have sales process. For example, early on you practice—no kidding, practice—presenting to pore over your booking calendar to find might take control of the conversation like your fees in a self-assured way that says cus- an opening for them. this: “Before we go any further, let me give tomers are already gladly paying those fees. GENTLE DISARMAMENT. When a you an idea of what you can plan on investing. You need to look, act and sound self- prospect says something negative, such as, Is that okay? For a portrait of the kind you confident and successful, even before you “Your fees are high,” be ready with a cush- described, most folks invest between [your are. I’m not suggesting that you lie to ioned response. First, acknowledge that you figures here] and get a large framed portrait 42 • www.ppmag.com
  • 37. for themselves, plus a few smaller prints for Keep mentioning that if the caller isn’t thrilled with yourfriends, family and the workplace. Does thatfit into your budget?” Notice that no exact work, you’ll do whatever’s necessary to delight her, or youprint sizes have been mentioned. will return her money in full, no hassles, no hard feelings. You want the ballpark figure you’requoting to be an honest representation. Addup the sitting fee, an 8x10 print (the prospectprobably considers that “large”) and a coupleof 4x5s. That’s the starting figure. For thehigh figure, add about 20 percent to cover a The owner of this RAID storage devicefew more of the small prints. heard some really good news Closer to closing the sale or ending theconversation, ask a well-worded questionto see how close the prospect is to makinga decision. My favorite is, “How do youfeel about that?” I use it all the time, inall sales situations, including the presenta-tion of the fees. DriveSavers rescued thousands of YOU DON’T NEED HER MONEY. files from their towering infernoYou want to get the decision today, but youdon’t want to sound anxious. Always talk interms of how she will benefit by workingwith you over any other photographer.Memorize the unique qualities you specifiedin your business plan, and always open withyour guarantee of satisfaction. We can save it! GUARANTEE SATISFACTION AND What’s the number one fear of professionalGET A PAYMENT TODAY. Keep men- photographers around the world? The unexpected, suddentioning that if the caller isn’t thrilled with loss of irreplaceable images due to a crashed or damagedyour work, you’ll do whatever’s necessary to camera, computer or other digital device.delight her, or you will return her money in DriveSavers understands, and we know how to help.full, no hassles, no hard feelings. We’ve recovered more data for photographers and other If you will take action in these ways, creative professionals than any other company in the world.you’ll be able to charge more for your We offer special benefits to PPA members plus freephotography, and see dramatic improve- return shipping and direct access to our data recoveryment in your profits and cashflow. I engineers. And, if we don’t retrieve the data, you don’t pay. So, what’s our advice for getting rid of that fear? Easy. Back up today...or call us tomorrow.For more tips from Charles J. Lewis, visitwww.cjlewis.com. 800.440.1904 drivesavers.com ©DriveSavers, Inc. 2008 DriveSavers Data Recovery, We can save it! and the life ring logo are registered trademarks of DriveSavers, Inc. March 2008 • Professional Photographer • 43
  • 38. TMTHE JOY OF MARKETING S A R A H P E T T Y, C P P competitor offers a certain item, you don’t have to if it doesn’t go with your brand or if you simply don’t like it. In a clever marketing strategy, pricing can actually Boutique items such as photo jewelry, enhance your studio’s image. Pricing can even purses and personalized greeting cards make fine add-ons and incentives, but make people do what you want them to do! aren’t necessarily high-profit items. You Party like it’s don’t want to undermine your more profitable portrait sales, so it’s a good idea to make a separate rate card for them, or even require a minimum purchase before $1,999 clients can order them. TIPS FOR CREATING Use prices to make people do what you ATTRACTIVE PRICING want them to do. Take the session fee, for example. If it’s better for you not to photograph on location, set your location Remember that “silly little millimeter”? The more you have to explain, the more session fees twice as high as studio When you buy something for $1,999, they have to employ logic to make the sessions. If the fee doesn’t discourage the you say you’ve spent less than $2,000. Well, decision. client, it will be worth your while to do it. you have, by $1. That little bit less than two If you have more than one target market, If you notice that your in-studio sessions grand makes a big difference psychologically. you can have more than one set of prod- average three times more sales than When I consult on marketing with pho- ucts, and certainly more than one rate location sessions and take half the time to tographers, I like to start by determining if card. For example, you might offer albums do, you might lower the studio session fee. their expenses are in line, including the to high school seniors, but not to buyers If you want to limit your Saturday or cost of sales, employee wages, administra- of child and family photography. You need evening hours, it’s amazing how higher tive expenses, and general overhead. If separate, exclusive lists of your products session fees or minimum purchase those are in line, I like to evaluate their and prices. requirements will encourage people to find pricing. Sometimes studio owners ask what And you don’t have to offer every great time to come in during the week. their pricing has to do with marketing. product you saw at Imaging USA, especially I’m a big believer in using business Believe it or not, pricing is a key ingredient in a boutique business. Just because a management software that helps you of the marketing mix. ‘‘ I’ve seen photographers struggle with pricing and creating a rate card, and I’d like to share some tips to make it easier. I’m a big believer in using business One of the largest problems with pho- tographer rate cards is that they’re con- management software that helps you fusing, often overwhelming. Simplify! If identify your most profitable sessions. It you present too many choices, it’s going to take way too long to explain it all to your can help you decide if you you should clients. You want to keep clients inter- charge more for large groups, additional preting information through the emotional side of their brain, not totting up the facts. clothing changes, all manner of extras. 44 • www.ppmag.com
  • 39. TMTHE JOY OF MARKETING identify your most profitable sessions. It can simple and clearly worded. I don’t have a effective to produce full-color rate cards in help you decide if you you should charge problem with a rate card leaving the studio, small quantities. We order ours from White more for large groups, additional clothing but only if it’s part of your sales plan. I don’t House Custom Colour in quantities of 25 or changes, all manner of extras. You might believe in posting prices on the Web. I want 50, so if we need to adjust our prices, it’s not find that the large orders that result from prospects to call the studio so we can chat. a huge expense. We like to print them on group portraits make it unnecessary to Rate cards can also help illustrate the value small, elegant folded cards—it makes such a charge higher session fees. of your photography. They must be difference in how people perceive your work. You also need to weigh the benefits of beautiful! One of my favorite guidebooks is Always include a very high-priced item on packages against a la carte pricing. There “The Non-Designer’s Design Book,” by your price cards. You may never sell the really isn’t a right or wrong answer. Looking Robin Williams (Peachpit Press). It presents item, but it will lend value to your other at your sales averages will help you choose a the principles of using type and graphics products and will allow you to keep raising method. If you do offer packages, make sure effectively. Use photography to illustrate the the prices. Now we all dread presenting they contain enough value for the price to products wherever possible. It is much price increases, but the increase is less encourage people to invest in more than easier to sell a collection of six images if glaring when you use odd numbers: $1,999 they would otherwise. people can see how they look together. The is less than $2,000! I Rate cards are not a marketing brochure look and colors of the design must also be for your company, but a vehicle for stating consistent with your brand identity. Sarah Petty Photography is in Springfield, your prices. Still, they should be well designed, With the ease of digital printing, it’s cost Ill. (www.sarahpetty.com). 46 • www.ppmag.com
  • 40. AWARD WINNING FLASHES FROM Always first class for digital. The New Metz 58AF-1 digital is the most state-of-the-art compact flash unit available today.The new USB interface allows photographers to effortlessly make software updates via the Internet from their PC or Mac, ensuring that they will have the most up to date and highest performing flash for each shot and that they will never have to be without a flash. The 58 AF-1 C is designed to support Canon’s E-TTL and E-TTL II technology and the 58 AF-1 N supports Nikon’s i-TTL and D-TTL technology; both versions support wireless master/slave functions with E-TTL and i-TTL. Offering photographers a max guide number of 190 feet at ISO 100/21° and a zoom head of 24-105mm, along with an array of intuitive features including a large, easy-to-read LCD and the latest multi-zone AF metering technology, the 58 AF-1 is the ideal solution for anyPhotography: Amyn Nasser www.amynnasser.com lighting scenario. Special Offer on Handle Mounts. Go to www.bogenimaging.us for Details 58 AF-1 Digital 45 CL-4 Digital 76 MZ-5 Digital Bogen Imaging Inc., 565 East Crescent Ave, Ramsey, NJ 07446 Tel: (201)818-9500 Fax: (201)818-9177 www.bogenimaging.us
  • 41. Professional Photographer P R E S E N T S Products, Technology and ServicesWhat I likeGene Higa is always on themove, and so is his gearWhat makes your workflow flow? The BayPhoto Lab ROES system. We can upload every-thing from reprints to album pages to greetingcards. Orders magically show up at our doordays later. We can do it from anywhere in theworld as long as we have an Internet connection.What’s the best equipment investment you’veever made? My Canon EOS 5D. The full-frame image sensor brought me back to the35mm days.Little thing, big difference ... My 12-inch Maclaptop has traveled the world with me. I useit to back up image files, create slideshows,conduct workshop presentations and keepin touch on the road.What hot new product are you going out ofyour way to use? My iPhone. Just for fun, I’llhave my assistant grab an image of my clientsand me at their wedding. I immediately e-mail it to them along with a thank-you note.Has a piece of equipment ever changed the wayyou approach your photography? The Canon50mm f/1.0 lens. It keeps me moving on the job.What is the most valuable piece of gear forshooting on-location? I have this customTamrac belt pack with four pouches forholding gear. It helps me stay mobile andhave every essential ready for action.IMAGE BY GENE HIGAWWW.GENEHIGA.COM March 2008 • Professional Photographer • 49
  • 42. THE GOODS: PRO REVIEW Nikon’s first full-frame DSLR tops previous models and blows the competition out of the water. BY ELLIS VENER Completely right NIKON D3 To say that Nikon users have waited a long time for a full-frame DSLR is an under- statement. Under this kind of pressure,All images ©Ellis Vener Nikon needed to get it right the first time. With the D3 they have. Wedding, event and studio shooters, you now have a high-resolution DSLR that’s superb at high ISO, has an extended dynamic range, especially in the highlights, and excellent color accuracy under a variety of lighting situations. I exposed thousands of frames, ranging from snapshots to architectural to portrait photography, under ambient light, carefully controlled lighting and lit studio- on-location portraits, at ISO settings from 100 (L-1.0) to 6400. The results pleased not only me, but notably picky clients as well. I even tried the H +2.0 setting (ISO equivalent 25600). It works, although you’ll want to reserve it as a fallback when using flash would be disruptive or dangerous, or when your flash batteries have died. It’s also worth saying that even with frequent image viewing on the camera’s large high- resolution LCD, the D3 consumes minimal battery power. The D3 exhibits a reduction in the chromatic aberrations common to other full-frame 35mm-based DSLRs. Nikon’s The quality of high ISO images from the D3 may lead you to shoot with less light than you have been. Exposure: 1/60 second at f/2.8, ISO 6400.
  • 43. Expeed digital imaging concept—optimized paired with on the D2 series. The AF sensor last DSLR I saw with two CompactFlashin-camera image processing technologies field choices have narrowed from four to card slots was the $8,000, 6-megapixelthat speed capture rate, refine image quality three. And in the lower right corner, the AF Kodak DCS 760 of 2001. Having two CFand handle images in 16-bit color—deserves on button and the main command wheel for cards is useful in a couple of ways: You canmuch of the credit for this. vertical shooting have been reversed. The set the camera to record to both cards for in- You can see the benefits of Expeed tech- media compartment door is wider to camera backup, or to overflow from one cardnology by comparing images captured with accommodate two CompactFlash cards. The to the next and seamlessly continue writinga D3 and D300 to those captured with earlierNikon DSLRs with the same lenses, and fac-toring in other technological advances, as insensor design. This is true with both in-camera-produced JPEGS and NEF (raw) photos. Now Your Canon or Nikon Flash Commands A Lot More Power! Nikon and many of the brand’s usersassert that it takes Nikon’s Capture NX soft-ware to get the most out of your D3 NEFfiles, but I do most raw processing in Adobe The new QUANTUM QNEXUS lets your Canon orPhotoshop Lightroom 1.3.1. because it’s faster Nikon flash wirelessly control the added lightingand I prefer its interface. Qualitatively, power and per formance of QUANTUM QFLASH :Capture NX can do a better job of NEF Supports all dedicated Canon and Nikon wireless flash functions includingprocessing (especially with the implementa- Manual, Automatic, TTL and TTL-Ratio up to 200 feet. Compact, lightweight Qnexus receiver/decoder mounts directly to the newtion of Nik Software U Point technology), but Quantum Qflash 5d-R.the difference isn’t great enough with general Qflash por table flash units deliver 150 to 400 watt-seconds of studio quality lighting with no limit to the number of wireless Qflashes employed.work to sacrifice the speed of Lightroom. Qnexus-compatible factor y upgrades also available for Qflash 4d and The D3 handles like an evolved version of 5d models.previous top-end Nikon DSLRs. The topsideLCD and top deck controls are the same, savefor the addition of an optional live view mode.The crisp, bright, 3-inch, 920,000-dot(VGA) LCD monitor dominates the camera’sback. The new LCD is not only better forpreviewing, but also makes menu navigationand setup more efficient. Protected by apane of tempered glass, the LCD no longerhas a plastic cover. Some of the control buttons have beenmodified or moved. The changes are importantif you’re a D2 shooter accustomed to operatingthe body by feel. The control buttons to theleft of the LCD are much the same, but thezoom function is now the second buttonfrom the top. To the right of the LCD thereare a few notable changes: the combinedAE/AF lock button moved down and to theleft, away from the AF on button it was Call 631-656-7400, visit www.qtm.com or your professional photo dealer for more information. March 2008 • Professional Photographer • 53
  • 44. THE GOODS: PRO REVIEW or you can shoot NEFs and JPEGs simulta- neously, dedicating a card to each format. I used the first option more, with either a 2- or 4GB SanDisk Extreme IV card or a Kingston specs: 266X card in slot 1, and a 16GB Sandisk Extreme III card in slot 2 to backup the less Nikon D3 capacious cards. The Canon 1Ds (Mark II and II) and 1D (Mark II and III) also have two SENSOR: 3:2 aspect ratio, 23.9 x media slots, but the second is for an SD card. 36.0 mm; CMOS Like earlier Nikon models and the com- RESOLUTION: FX format (full peting Canon 1D series, the D3 is a large, heavy frame) 12.1 effective megapixels camera, especially with a large aperture zoom (4,256 x2,832 pixels); or prime lens attached. A D3 with AF-S DX format (APS-C crop) 5.14 Nikkor 24-70mm f/2.8G ED lens adds up megapixels (2,784 x 1,848 pixels); 5:4 to about 5 pounds (body, battery, and lens) format (30x24mm) 10 megapixels to carry around. That’s not a pleasant workout, (3552 x 2832 pixels) Skin tones looked great under television studio lighting. and adding a flash or, worse, a flash on a METERING: TTL full-aperture Exposure: 1/640 second at f/2.8, ISO 3200 with a Nikon bracket makes it even rougher. Please, Nikon exposure metering, using 1,005-pixel 70-200mm f/2.8G AF-S Nikkor. and Canon, work on lightening your high-end RGB sensor: 3D Color Matrix Metering cameras while retaining the capabilities. II (type G and D lenses); Color Matrix Metering II (other CPU lenses); Color Matrix Image quality is the real reason to con- Metering (non-CPU lenses if user provides lens data); center-weighted (weight of 75 sider the D3. Like the D300, it’s a 12-mega- percent given to 8-, 15- or 20mm circle in center of frame, or weighting based on average pixel (12.1 officially) camera, but we know of entire frame); spot, meters 4mm circle (about 1.5 percent of frame) centered on pixels are not all equal. With a total sensor selected focus area (on center focus area when non-CPU lens is used) area slightly more than 100 percent larger ISO EQUIVALENTS: ISO 200 to 6400 in steps of 1/3, 1/2, or 1 EV; with additional than the D300, the D3 has larger individual 0.3, 0.5, 0.7, or 1 (ISO 100 equivalent) EV below ISO 200, and 0.3, 0.5, 0.7, 1 (ISO photoreceptors on the CMOS chip, which 12800 equiv.), or 2 (ISO 25600 equiv.) EV over ISO 6400 parlays into lower noise at high ISO WHITE BALANCE: Auto (TTL white balance with 1,005-pixel RGB sensor), seven equivalents, as well as a greater dynamic manual modes with fine-tuning, color temperature setting, white balance bracketing response range at all ISO settings, a premium possible (2 to 9 frames in 1/3 increments) for photographers who shoot in low-light SHUTTER: 1/8,000 second to 30 second in steps of 1/3, 1/2 or 1 EV; Bulb and sometimes high-contrast situations, VIEWFINDER: SLR-type with fixed eye-level pentaprism; built-in diopter adjustment such as photojournalists, sports photographers (-3.0 to +1.0); 100% coverage (vertical and horizontal); about 0.7X magnification with and wedding and event photographers. 50mm lens at infinity Also top-notch is the sensor’s rendering LCD MONITOR: 3-in., approx. 920,000-dot (VGA), 170-degree wide viewing angle, 100% lifelike flesh tones, even under a variety of frame coverage, low-temperature polysilicon TFT LCD with brightness adjustment. lighting. The D3 got it right in my test shots LIVE VIEW: Tripod shooting mode, contrast-detect AF anywhere in frame; hand-held under lighting conditions ranging from shooting mode, TTL Phase-difference AF with 51 focus areas (including15 cross-type sensors). electronic flash with a soft box; tungsten LENS COMPATIBILITY: DX AF Nikkor all functions; other Nikkor lenses with limited television studio spotlights; and mixes of function; IX Nikkor lenses not supported existing light, including all sorts of daylight, FLASH: NIKON i-TTL Speedlight flash units and Nikon CLS candle light, both standard straight and MEDIA: 2 slots: CompactFlash(TM) (Type I/II, compliant with UDMA); Microdrives compact fluorescent tubes, and some really MSRP: $4,999 nasty and badly ballasted mercury vapor 54 • www.ppmag.com
  • 45. fixtures. The ISO equivalent ranged from When the subject and the camera are also capable of shooting 8-bits per channel100 (L -1.0) to 25600 (H+2.0). not moving, using the Live View Tripod in the TIFF file format. Why TIFF? I The D3 also shines in 3D-tracking mode in conjunction with that big LCD suspect it’s at the request of somedynamic predictive autofocus. Nikon’s makes a large difference. You can zoom the government entities.Multi-CAM 3500FX autofocus module uses display to an area of any size anywhere in There are some real operational goodies51 focus points in a rough oval pattern, the frame and, with the camera or lens set tucked into the D3’s firmware. Every pho-including 15 cross-type sensors and TTL to manual focus, carefully focus on the tographer will have personal favorites, butphase detection, and operatives in light exact area you want, just as you can with a aside from the Live View Tripod mode, Ilevels ranging from -1 to +19 EV (as view camera, ground glass and a magnifier, particularly like these:measured at IS0 100, 68 degrees Farenheit). but in many ways better. • The two ways of using the camera’s orienta-Color information from 1,005-pixel 3D The D3 is capable of shooting 9 frames tion sensors as a virtual horizon tool. TheColor Matrix Metering II enhances per second in the FX or 4:5 aspect mode, most obvious way is through the large virtualautofocus performance by helping the AF up to 11fps in DX mode. With a fast CF horizon display on the rear LCD, accessedmodule predict the motion of a subject not card, you can capture a large number of through the camera setup menu—very usefulonly as it moves across the frame, but also as frames before the buffer fills. The official when the camera’s mounted on a tripod. Ifit gets larger or smaller, and moving toward buffer capacity ranges from 108 small, basic you need to see the tilt angle in the viewfinderor away from the camera. You have a choice JPEGs (0.4 MB on average) to about 16 or on the top deck LCD, you can set the customof single point, dynamic area AF, or uncompressed, 14-bit-per-channel NEF function menu to activate the virtual horizonautomatic area AF sensor patterns. The files (24.7MB on average), giving you lots of with the Fn button near to the lower right ofmost useful of these is the dynamic mode. options for sequential shooting. The D3 is the lens mount. The degree of tilt is indicated March 2008 • Professional Photographer • 55
  • 46. THE GOODS: PRO REVIEW by what would otherwise be the over- and underexposure scale. • The programmable intervalometer.. • The ability to program the camera for up to nine different non-AF lenses (which comes with every Nikon in the D2 series). • And a really big deal: a tool to measure the sharpness of your lenses. You can use the autofocus fine-tuning tool with up to 20 CPU-equipped AF Nikkor lenses, including multiple lenses of the same type used on one D3 body (in other words, if your studio has multiple 24-70mm f/2.8G, 70-200mm f/2.8G, 80-200mm f/2.8 D AF, or 300mm f/2.8 AF-S Nikkor lenses). This tool isn’t needed to correct any slop at the Nikon factory, but to optimize individual camera bodies with individual Using the cameras built-in intervalometer, I shot a sequence of 240 frames at 1fps of the Ocean lenses, which cinematographers have Voyager tank at the Georgia Aquarium, and later made an 8- second movie using Apple QuickTime Pro done for decades. I software. Exposure: 1/100 second at f/2.8, ISO 3200, with 14-24mm f/2.8G Nikkor at 14mm. P RO F E S S I O NAL Promote your photographic products and services with targeted and affordable classified advertising. For maximum exposure, each ad insertion runs in both the printed issue and on ppmag.com. • $1.50 per word (rates are net and non-commissionable. • $2.00 per word/words with all caps or bold face. • $10.00 per issue—Confidential Reply Box Ads (Optional)—$30 min. per ad • Closing date is 20th of the second month proceeding issue date. • Ad copy must be sent by mail, fax, or e-mail. Copy and changes are not accepted by phone. • Remittance must be received with order. Check and credit cards accepted. Remittance to: Attn: Monique Martin Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303 800-339-5451, ext. 221 FAX 404-614-6405 56 • www.ppmag.com
  • 47. THE GOODS: ARCHIVING Two photographers discuss their experiences property, MIT scientist Mr. Enby. “I don’t love re-shooting subjects,” says with PhotoShelter, an online archiving service Fasten. “I sent the editor a link to my [Enby and stock agency. archive] gallery. He downloaded a low-res file from the PhotoShelter Personal Archive, B Y A U D R E Y G R AY showed it to his editor, and within a day, he Safe and for sale had the image he needed. It was just so easy!” Easy and profitable. Fasten’s business acumen and navigable archive system allowed her to shoot once and score twice. You never ONLINE ARCHIVING AND SALES know when an image will suddenly be in demand again—just ask photojournalist Photographer Leah Fasten of Boston recently sent the Make editors a link to her Enby gallery Dirck Halstead, whose archive happened to experienced a workflow best-case scenario. on PhotoShelter, they chose a winner, and include a shot of President Bill Clinton Editors at Make magazine asked her to shoot paid Fasten. She still owned long-term copy- embracing a young intern named Monica— a portrait of an MIT scientist named Drew rights to the image, and everyone was happy. so many photographers are asking how to Enby. Fasten had a great day with Enby, return- Flash forward a year-and-a-half. make their image collections key-worded, ing from the shoot with a number of strong Fasten gets a call from Esquire searchable, and above all, stored securely. images, which she edited and uploaded to her magazine’s photo editor, who wants to hire One option, of course, is a do-it-yourself online archiving service, PhotoShelter. She her to photograph—guess who? That hot- indexed archive on DVDs, but disks can fail over time. Another solution involves multiple hard drives, deciphering RAID specs, and housing servers in the basement, headache inducers all, and then you’ve got to think about how you’ll transfer or even access your archives as your hardware becomes obsolete. Another option is to outsource the task to an online archiving service. There are several outfits to choose from, which offer varying services and presentation styles at varying costs. Philadelphia photographer Scott Lewis looked at a couple of firms, then chose PhotoShelter, a company offering a solution for archiving, image protection, distribution and sales, based in New York. A significant portion of Lewis’ work is wedding photography, so he needed a service that would allow him to upload 500 or more images in one sitting, The Personal Archive gallery user interface allows the photographer to choose and edit file data for browsers and potential clients to see. Image ©Grover Sanschagrin/PhotoShelter Inc. 58 • www.ppmag.com
  • 48. and quickly sort them into a half-dozen galleriesfor his clients’ viewing. Lewis says he’s noticedover the past year that PhotoShelter’s onlinepresentation is evolving to accommodate theneeds of wedding photographers, and he’sbeen happy with its geographically redundantdata storage system from the start. “You always want backups of the back-ups,” says Lewis. “For $500, I can take twoto three years’ worth of weddings and storethem somewhere safe. My house could blowup and I’m still covered. … If someone callsme in five years because their grandmotherdied and they want to have a nice, beautifulprint made [from one of the weddingshots], I need to have that picture! That’sjust good business. I’ve safeguarded it forthat moment.” ©Leah Fasten/PhotoShelter Inc. PhotoShelter was founded in 2005 Leah Fasten uses her online archive to post a private gallery of images after an assignment. The clientby Allen Murabayashi, an Eddie Adams can select, purchase and download high-res files.
  • 49. THE GOODS: ARCHIVINGImage ©Allen Murabayashi/PhotoShelter Inc. it became available to them last September. Leah Fasten, a PhotoShelter user since its early days, says it’s worth the $800 to $1,000 a year she pays for the Personal Archive service. “I worked with them to create a custom archive that works seamlessly with my Web site (www.leahfasten.com).” Fasten has about 5,000 images in her personal archive, 1,000 of which she’s made searchable to the public. That’s one of a number of PhotoShelter security measures, from watermarking to privacy settings, that Fasten uses regularly. PhotoShelter does not provide visitor tracking per se, but it does track the number of times each image is viewed. “I have all sorts of choices about whether I want someone to download an image, the file size, how many times, and the length of time an image will be available,” she says. “There’s a record of who’s downloading and when, plus, you can’t right-click on an image. Realistically, I know that when an image is online, someone can find a way to steal it, but PhotoShelter makes it very hard to do that.” PhotoShelter’s e-commerce back-end allows photographers’ clients to buy an image online with a credit card, then download it directly. The company also Watermarking options allow you to apply information from your IPTC copyright field to the image or to overlay an uploaded file of your own. offers printing and shipping through partner lab EZprints. Neither Fasten nor Lewis uses EZprints often, preferring instead to take a hands-on role in the workshop graduate and a founding employee of high-res files to controlling usage rights, he production and delivery of prints. and senior VP of engineering at hotjobs.com, adds. “We see ourselves as a soup-to-nuts solu- “It’s clear to me that with 5,000 images and a handful of technological innovators tion for everything that happens after the shoot.” sitting in my archives, a few of them could and professional photographers, including PhotoShelter offers photographers two have another life as stock,” says Fasten. Grover Sanschagrin, executive producer of primary products, the Personal Archive and a “I like the idea that I don’t even have to SportsShooter.com. stock photo sales and pricing and copyrights market the work myself. They can do it “The other founders were interested in management service, The PhotoShelter for me.” what I’d done in technology,” recalls Collection. The archive currently holds Murabayashi says PhotoShelter plans to Murabayashi, now CEO of PhotoShelter. It work of 19,000 photographers; more make a significant investment this year in became clear that photographers were running than 10,000 photographers have promoting the Collection nationally to ad into workflow problems, from the distribution submitted images for The Collection since agencies, designers and editors. “We’re not 60 • www.ppmag.com
  • 50. When they ask if you makeprints on location, say “I do.”The SnapLab™ system. The compact, transportable digital photo lab.Whether at a wedding or other important event, you could be earningadditional money making gorgeous, long-lasting prints on locationwith the Sony SnapLab™ digital photo system. The SnapLab systemlets you offer enhanced pictures with borders and captions and printthem out right on the spot—no PC required! Real prints at 3.5x5, 4x6, or5x7s with the speed of Sony dye sublimation. Make a happy day evenhappier—with the Sony SnapLab on-location digital photo lab, thedestiny of printing.sony.com/snaplab© 2007 Sony Electronics Inc. All rights reserved. Features and specifications are subject to change without notice. Reproduction in whole or in part without written permission is prohibited. Sony andSnapLab are trademarks of Sony.
  • 51. THE GOODS: ARCHIVINGProvided by PhotoShelter PhotoShelter uses fotoQuote price guides, which makes it easy to set standard or customized prices and rights management for your images. trying to be microstock at all. We have reservations about an image for a dollar,” says Murabayashi. “In The PhotoShelter Collection, the minimum you can price a photo is $50.” In late 2006, PhotoShelter struck an exclusive agreement with fotoQuote, a pricing standard for stock photography, to help photographers set their own prices for each image in the Collection, as well as in their Personal Archive. The PhotoShelter Collection gives photographers at least 70 percent of the purchase/usage price, which is more than many stock agencies. “We have a much more Web 2.0 ethos,” says Murabayashi, referring to how the Web is transforming in regard to usage and purpose. Lewis and Fasten both view The PhotoShelter Collection as impetus to give themselves more creative and personally fulfilling assignments and, potentially, to make cash on stored images, if they take the time to keyword each image to make it searchable. “This technology is making the fun stuff easier to do,” says Fasten. “I do think you have to be somewhat of a digital expert to be a photographer these days, but luckily, you don’t have to create your own archive.” Billed monthly, the PhotoShelter Personal Archive service is priced on the client’s use of storage space. Accounts range from the free Starter account that includes 50MB of space, to the PhotoShelter Pro account for $49.99 monthly with 100GB of storage. With a Pro or Standard account, photographers can purchase an additional terabyte of storage for $1,000 per year. The PhotoShelter Collection is free to join. I 62 • www.ppmag.com
  • 52. The Very Best Professional Quality Output. [Introducing the M300 Pro Printer]The Noritsu M300 Pro is a new professional inkjet printer designed • 7-color pigment ink system for high quality, water-resistant printsto exceed your expectations. It delivers the high-quality output and • Excellent versatility, with a wide variety of print sizes including 5” x 3.5”, world-class reliability you have come to expect from Noritsu. Featuring a compact footprint of just 6” x 4”, 8” x 4”, 5” x 7”, 8” x 10”, 8” x 12”, 10” x 8”, 10” x 12”, 10” x 36” 4.5 square feet, the M300 Pro gives • Outputs up to 265 prints/hr (6” x 4”) and 104 prints/hr (10” x 8”) you 8 print sizes up to 10” x 36”, • Supports both roll and sheet-fed paper all with outstanding quality that will satisfy even your most demanding • Available installation by factory-trained technician, world-class customers. When your pro work on-site field service and 24/7 toll-free phone support deserves the very best, choose the • Increased profitability and revenue opportunities Noritsu M300 Pro. Call or visit our website today. • Space-efficient design; two units can be stacked for added productivity(800) 521-3686 x 222 • www.noritsu.com/M300
  • 53. FOR ONCE : EVERYTHING THE BRIDE WANTS.EVERYTHING THE BRIDE DESERVES.Introducing a totally new concept in wedding photography … Album Epoca ®. Totally new,totally now, and totally Italian, Album Epoca® combines gorgeous, hand-assembled albumswith the best press-printed and photographic quality photobooks and photo accessories inone unforgettable package. A package that allows you to give your clients everything theywant and deserve, affordably. Available only through Albums Inc.Visit Albums Inc. Booth 535 to see everything Epoca at WPPI! Everything after the photography 1.800.662.1000 • www.albumsinc.com
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  • 55. THE GOODS: SUBSTRATES You can print on more than photographic easy to print on. He’s been wanting to brighten up the studio’s high ceiling by hanging paper—and in your own studio. images from the rafters, and Polypropylene BY LAURENCE CHEN proved to be the best material for the job Extraordinary because it doesn’t stretch and sag over time like other materials he’s tried. He says ink adheres well, and the almost matte finish of the print minimizes reflections. prints Banners can accentuate as well as dominate. MATERIAL Smaller banners in the form of tapestries or DIVERSITY flags can add character and elegance to a space. Artist Holly Alderman did just that with interpretive photographs hung as tap- estries on the grounds and buildings at Saint- With the availability of varied substrates for The banners were printed on versatile Gaudens National Historic Site in Cornish, professional inkjet printers, photographers LexJet Water-Resistant Satin Cloth, a light- N.H., where they remained for several months. can present their work in a way that was weight and resilient material. You can roll it, For weather resistance, she and her print- once the sole province of expensive unroll it, even spill water on it. LexJet provides maker chose LexJet Water-Resistant Satin commercial printers. Here’s a look at some free profiles for most major makes of printers, Cloth. Alderman also liked this material of the substrates that are getting making color management a straight- aesthetically for its slight translucence. photography off the wall. forward process. Perry recommends placing With highly translucent materials like 3P clips or other weights on the material as it Polyvoile, viewers on both sides of the banner INDOOR/OUTDOOR feeds to keep the fabric from bunching. can see the image, as well as see through the BANNER MATERIAL Perry also uses LexJet Water-Resistant image to what lies beyond. This soft, elegant Large banners command your attention. Polypropylene, which is strong, resilient and touch can have a dramatic effect. Portrait Mounted on banner stands, they become more versatile than billboards because you ©Gary Box can place them wherever you like. They can announce your image as they simulta- neously define a space. Jamie Perry of Excess Studios in Rochester, N.Y., used banners to advertise the studio’s presence at a big cheerleading event. “We didn’t really think of selling the banners until we saw that the girls loved them and wanted them for themselves. When their friends saw them, they wanted them, too.” Two hundred cheerleaders went home happy, and Perry had discovered another way to keep the studio’s printer busy. Highly translucent 3P Polyvoile lets light through and makes an ideal material for locations where viewers can see the image from either side. 66 • www.ppmag.com
  • 56. photographer Gary Box of Sapulpa, Okla., She uses thermal glue to secure the ©Chris Conraduses Polyvoile to separate his studio’s Water-Resistant Polypropylene to the lampwindow display from the gallery inside. frame; Polypropylene’s rigidity holds its Polyvoile is so porous that it should be shape. Lovett says the lamps can sustain sixprinted at 720dpi rather than 1,440dpi. to eight “really good” months outdoors inAfter 24 hours of dry-down, it’s safe to the shade before noticeable fading occurs.remove the backing material and hang or Southern exposure reduces the longevity tomount the banner. about three months. She offers economical Tracy Lovett took advantage of LexJet’s replacement prints to encourage herWater-Resistant Polypropylene banner customers to keep returning. For indoormaterial to create photo-lamps that she lamps, she uses LexJet Water-Resistantcalls Photo-Luminaria. Made in a process Satin Cloth.that Lovett and her husband developed, Any printing begs the question of longev-these indoor/outdoor lamps feature photos ity. While the answer ultimately depends onof her clients. “The inkjet printing was the numerous factors, Tom Hauenstein of LexJeteasiest part,” she says. “If you use profilesand soft proof in Photoshop, you’re fine.When printing for backlight situations, I Fibrous fine-art papers like Moabs Moenkopi paper Unryu provide a tactilelike to increase the saturation, but that’s a experience and stand out in presentationspersonal preference.” where backlighting is possible. March 2008 • Professional Photographer • 67
  • 57. THE GOODS: SUBSTRATES ©Tracy Lovett generally estimates that for the Polypropy- Bizan 300 sheets are handmade lene and the Satin Cloth materials, you can individually in Japan. Kozo has a relatively expect two to three years of indoor use smooth surface, while Unryu grabs your before theres noticeable fading. Outdoors, attention with the coarse texture of the he says six to 12 months is typical. He thick and thin fibers running through it believes most customers actually observe (“unryu” means “cloud dragon paper”). greater longevity. Is there an advantage to Slightly translucent, Unryu is ideal for having to replace your art periodically? For backlighting. Bizan has the most textured situations where seasonality, custom surface, both dimpled and wavy, and it has signage, or staying fresh is desirable, change hand-torn deckled edges. Bizan is sold will likely keep your audience’s attention. exclusively on the Moab Web site. Chris Conrad, among the first to print on FINE-ART PRINTS the new material, says the Moenkopi papers Most everyone admires the texture of are comparable to any high-quality fine-art Japanese papers and wants to handle them. paper. Printing is straightforward with Moab- It’s a shame to trap them behind glass. Moab supplied profiles; Conrad uses the Epson by Legion Paper recently introduced a line Enhanced Matte profile with equal success. of Japanese Washi paper, called Moenkopi Paper of character requires imagery to (moe-in-koe-pee), coated for both dye- and match. Conrad likes Unryu for his black- pigment-ink sets . The name is actually Native- and-white work. For color, he suggests American in reference to the paper’s environ- using muted tones to suit the paper’s mentally sensitive qualities; its distinctive “dreamy texture.” Jim Graham, another fan fibers come from mulberry plants, which of Moab papers, says the Moenkopis are remain unharmed by harvesting. best suited to images that will be enhanced Tracy Lovett makes indoor/outdoor luminaries from images printed on water-resistant polypropelyne. The three archival varieties reflect their by the paper’s “gentle nuances.” For respective weight and character. The Unryu presentation, both Conrad and Graham 55 and the Kozo 110 varieties, available in recommend taking non-traditional 44-inch rolls, are machine-made, while approaches. “I would try to show the entire piece of paper, mounting it somehow so it stands off its backing,” says Conrad, “it is a©Gary Box true tactile experience.” WALLPAPER If your photography dominates a wall so much as to be the wall, then photo wallpaper is the obvious answer. When a children’s oncology clinic wanted to soften the mood of an examination room, photographer Jack Puryear in Austin, Texas, found a solution in printing his image on LexJet WallPro, an inkjet- Think big. Murals printed on wallpaper can bring character and new dimensions to dull office and exam areas. 68 • www.ppmag.com
  • 58. Your monitor,compatible wallpaper that installs with Your GTI viewer, & You...standard wallpaper paste. Puryear used The basic ingredients for Perfect Color.profiles, made test prints, and applied two Only GTI can guarantee tight-tolerance viewer to viewercoats of protective coating to bring out the visual compatibility based on our proprietaryfull image quality on the wallpaper. The Graphiclite® 100 Color Viewing Lamps.image so inspired one child that he addeda creative contribution in Crayon. Withthe coating, it cleaned up fine withoutharming the image. For the treatment room, Puryear printedfive sections on 36-inch rolls at 100dpi. “Ifyou get really close, it looks grainy, but at anormal viewing distance it looks fine.” (Heallowed 1.5 inches for overlap.) The professional installation of Puryear’sphoto wallpaper took about an hour-and-a- -because you & your clientshalf. Although it’s a simple job, he recommends demand the best!hiring an experienced wallpaper hanger to The GTI Graphic Technology Inc.do it quickly and easily. Qual ty P:888-562-7066 • F:845-562-2543 of Li Light www.gtilite.com • sales@gtilite.comAVAILABILITYMany of these materials are available in rollsintended for professional wide-format inkjetprinters; most start at 24 inches wide. Checkwith the supplier for details, and if you don’thave an appropriate printer in-house, askthe supplier for referrals to studios in yourarea that will do the printing for you. Photographers interested in fabricswith even greater longevity and durabilityshould investigate dye-sublimationprinting on such materials as poly-silk,which is washable. New display and substrate ideas are indevelopment and help is available from manu-facturers and distributors who are becomingmore aware of the photographic end-user’sneeds and the importance of client support.Here are some Web sources to explore:www.breathingcolor.com • www.drytac.com• www.exhibitors-handbook.com •www.hahnemuehle.com • www.ivey.com •www.LexJet.com • www.moabpaper.com •www.pacificmount.com. I March 2008 • Professional Photographer • 69
  • 59. THE GOODS SOLUTIONS BY ANDREW RODNEY Nearly every modern photographer knows what Photoshop impossible to achieve on rendered pixels. can do. What does Lightroom bring to the table? For example, you can’t correct highlight data where none exists as a result of how the What’s the difference? initial pixels were originally rendered. Severe white balance adjustments are extremely difficult to correct on rendered images. I spend far too much time online reading your processor and slow your workflow. Altering an image that appears dark, has a various photo-centric Web sites, where the Photoshop has to work with rendered pixels. severe colorcast, or needs saturation same questions are often asked, such as, “I Rendered means that the color values, color adjustment requires changing pixel values, a have Adobe Photoshop and Bridge, why space and gamma are baked in. Like a cake slow process that causes data loss. would I need Adobe Lightroom?” It’s a recipe gone awry, it’s nearly impossible to However, in presenting you each and every logical question. There are significant remove the individual ingredients, remix pixel, Photoshop has the ultimate set of tools differences between the two. them properly and re-bake the cake. With to precisely select and edit only some of Photoshop was designed to edit pixels. Photoshop, you can make a good show of it, these pixels. Consequently, Photoshop works To do so, Photoshop needs access to every but it takes effort, and it’s just not as good as primarily with one image at a time. Droplets pixel, even if you’ll be editing only 22 out it might have been. and batch commands provide a limited of the 22 million in the file. That can tax Some image corrections are difficult or means of working with multiple images; still, each image has to be opened and every pixel has to be loaded into RAM before you can view and manipulate multiple images. Lightroom at its core is a raw processor. Though you can import existing rendered images, Lightroom is most powerful working with raw, non-rendered, essentially grayscale data to produce new colored pixels that represent how you want to render the image. A raw file is like having individual ingredients that you can remix and re-bake at any time. Rendering isn’t color correction, it’s image creation. You should minimize, if not eliminate, the need to globally color correct or “fix” pixel-based images. Lightroom uses instructions (metadata) to describe how a raw image should be processed into pixels. It doesn’t open a full- resolution, pixel-based image; it shows a series of previews based on how the final image will appear if you tell it to build those pixels. This process has a number of features that Photoshop doesn’t. First, it’s fast and Figure 1: Exporting one or more images selected in Lightroom brings up this dialog, where I can flexible. You view either a low-resolution specify how I want my pixels built from the metadata instructions. I asked for full-resolution, 16-bit preview of the entire image or a screen-size, ProPhoto RGB rendering. I could ask for smaller resolution images in differing ways and these new pixel-based documents could be built as specified. full-resolution preview (1:1 or greater). The 70 • www.ppmag.com
  • 60. THE GOODS computer doesn’t alter the pixels, it just shows you what the current metadata would produce. You can change your mind at any time, since all you’re doing is rewriting the metadata. Once you want to actually produce a pixel- based document, Lightroom performs a single computation of the metadata to produce a new set of pixels from the raw data, which is truly non-destructive editing. Metadata editing in Lightroom also allows you to quickly apply a set of rendering instructions to multiple images—just copy and paste the metadata instructions from one raw file to others. The computer doesn’t need to do the heavy lifting of generating pixels until you tell Lightroom to export the data (or print it from the Print module or upload a Web gallery) based on these instructions (Figure 1). Lightroom has some simple clone-like tools that produce what appear to be pixel- based edits, but are merely an additional set of instructions. Suppose you have 300 raw captures and notice that there was a dust spot on the camera sensor. You can clone out the single spot, and that instruction will Figure 2: If you have 1,000 images that need the same global correction, it takes only seconds to be applied when the rendered pixels are complete in Lightroom. I copied settings from the image in the upper left, then used the Sync Settings command to bring up this dialog, where I can specify which instructions onto paste to all of built from the raw. Better, you can copy and the highlighted images. paste this single set of instructions to all the other images (Figure 2). Lightroom will auto- matically select a clone source and apply the dust removal on all the other images, even if the orientation of the images varies. In Photo- shop you’d have to open each image, use the clone tool, then save the image to disk. Furthermore, if for some reason you don’t like how you edited the dust spot (or any instruction-based edit) in one of the 300 images, you can always go back to Lightroom and remove or update that one edit. Unlike Photoshop, the edit list (history states) remains with each image, even if you quit Lightroom. Figure 3. XMP metadata is seen here, opened using a text editor. It describes all the edits of one image, in The metadata instructions are either stored plain English. Once I convert my images into DNG, this data exists within the DNG, no sidecar files necessary. 72 • www.ppmag.com
  • 61. THE GOODS as small sidecar files or embedded into a DNG images. This saves time and disk space. One Photoshop becomes a necessity for (see www.ppmag.com/reviews/200709_ version could show the desired color and selective editing, compositing, and complex adobedng.pdf). tone instructions, others could show black blending of multiple images. In Lightroom, You can make virtual copies of one raw and white, with and without a split tone, one all instructions for color and tone are global; file and produce multiple sets of instructions a different crop. Each of them can be rendered there are no provisions (yet) for altering without having to create multiple pixel-based out to a pixel-based image at any time. only a part of an image. For precise pixel editing, true retouching and compositing, you need to render the images as pixels and work on the data in Photoshop. Try to conduct all the global tone and color rendering work in Lightroom, then hand off the rest of the work to Photoshop, with the goal of not going back into Lightroom for further global work—possible but somewhat counterproductive. I’ve concentrated only on Lightroom’s rendering abilities, but it has much more functionality. While Bridge is just a file browser, Lightroom is a database that can be the heart of your digital asset management. There’s a module for making Web galleries and a print module that takes printing multiple images to a new level. Too many people, some Photoshop gurus included, have failed to recognize that they should render the best possible data from the start of the process, at the raw rendering stage. Lightroom gives us the tools to properly render image data and go far beyond what Photoshop can “fix” on an existing pixel-based document. Investigate this exciting new process and think about editing instructions first, then pixels. I Andrew Rodney owns The Digital Dog, a digital imaging training and consulting business in Santa Fe, N.M. The author of “Color Management for Photographers” (Focal Press), he lectures around the country. Rodney is an alpha tester for Adobe Systems, was placed among the “Top 40 Photoshop Experts” by Wacom Technologies, and inducted into the NAPP Photoshop Hall of Fame in 2007. Learn more at www.digitaldog.net. 74 • www.ppmag.com
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  • 63. THE GOODS: TUTORIAL This tutorial shows you how to create an action that performs a set of general workflow tasks. It also shows you how to Figure 1: Begin by setting up folders for the new files you’ll create. use Photoshop actions if Adobe Lightroom is your main image editing program. BY RICK RALSTON Photoshop Actions THE EASY WAY TO AUTOMATE REPETITIVE TASKS Figure 2: To access the Actions palette menu, click on the button in the upper right corner. Adobe Photoshop records a series of tasks you do individually to create an action that you apply at once to a single file or a wholeFigure 1 folder of files. Photoshop records each task separately as a command that appears in its own block, which you can edit later. Figure 3: This is the copyright section of the File Info window. A set of commands (represented by a stack of these blocks) make an action. They’re fast to record, easy to edit and portable between Windows and Mac platforms. THE TUTORIAL 1. Create a main folder named Project 01, then create a folder inside it named Print and another named Web (Figure 1). It doesn’t matter where you put the Project 01 folder, as long as you know where to find it. These folders will store the new image files we create in this tutorial. 2. In Photoshop, open the Actions palette (Window > Actions) if it’s not already visible. Go to the Actions palette menu and select New Action (Figure 2). Type in Action 1 for the name Figure 4: The buttons at the bottom of the Actions palette and click the Record button. Photoshop will now record what are VCR-like. The square is Stop, the circle is Record and the you’re doing. right-facing arrow is Play. 76 • www.ppmag.com
  • 64. 3. Open a raw image file, make whatever adjustments you choosein Camera Raw (or use a preset) and click the Open Image button.In the Actions palette you’ll see that the first command has beenrecorded. You can click the right-facing arrow on the command tosee all the recorded settings. Photoshop is still recording. 4. Select Filter > Sharpen > Unsharp Mask and apply this filter.Later we’ll see how to exclude this command, delete it entirely, orrecord another filter. 5. Resize the image to 6 inches on the longest side at 300ppi. Tomake sure this works for both landscape and portrait images, go toFile > Automate > Fit Image and type in 1,800 pixels for both widthand height (6 x 300 = 1,800) to reduce the image appropriately forits orientation. 6. Go to File > File Info to enter some metadata. I’ve selectedCopyrighted in the Copyright Status pull-down menu and enteredinformation in both the Copyright Notice and Copyright Info URLfields (Figure 3). 7. Convert the color space by selecting Edit > Convert to Profileand selecting ProPhoto RGB from the Profile pull-down menu. 8. Save the image (File > Save As), navigate to the Project 01folder, and select the Print folder. Select TIFF from the Format pull- Figure 5: To exclude a command click on the check box to the left of the com-down menu and click the Save button. mand to deselect it. 9. With the image still open, resize it to 2.5 inches on the longestside at 72ppi (File > Automate > Fit Image) and type in 180 pixelsfor both width and height (2.5 X 72 = 180). 10. Convert the color space by selecting Edit > Convert to Profileand selecting sRGB from the Profile pull-down menu. 11. Save the image (File > Save As), navigate to the Project 01folder, and this time select the Web folder. Select JPEG from theFormat pull-down menu and click the Save button. 12. Close the file. 13. To stop recording, go to the Actions palette menu and selectStop Recording (or click the Stop button at the bottom of theActions palette as shown in Figure 4). You can run this action on a single image by first clicking on thecheck mark to the left of the Open command to uncheck it (Figure 5).The recorded command specifies the particular image you openedwhen you recorded the action. You’ll see why you recorded this stepwhen we get to the Batch feature. Single-click Action 1 to highlightit, then click the right-facing arrow at the bottom of the Actionspalette to run it. You can edit an individual command by double-clicking on it Figure 6: You can run an action on a folder of images using the Batchand changing the settings. You can exclude a command by settings above.deselecting the check mark next to it in the Actions palette. For78 • www.ppmag.com
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  • 66. instance, if you don’t want to include the Unsharp Mask filter, you can exclude it before running the action. You can also delete a command by selecting it and clicking the Delete key. To add another command, highlight the command you want it to follow and click the Begin Recording button at the bottom of the Actions palette, record a command and click the Stop Recording button. You can also rearrange commands by dragging and dropping them. This works from one action to another as well. To run this action on a folder of images, select File > Automate > Batch and make the selections as shown in Figure 6. Make sure to include the Open command before proceeding or the Batch process will not work. Note that we are overriding the Open commands, which bypasses the particular image recorded in the command, but keeps the Camera Raw settings. Also, by checking Suppress File Open Options Dialogs, the action won’t stop and wait for you to click the Open Image button when opening raw files. We’re not overriding the Save As commands because the action specifies two different folders, and the Batch command can specify only one. ADOBE LIGHTROOM If most of your workflow is done in Adobe Lightroom rather than Photoshop, you can do everything in the action above except run the Unsharp Mask filter. Lightroom is not a pixel editing program, so you’ll need to enlist Photoshop to do the tasks it can’t. In an automated workflow there’s only one way to do that. Save a Photoshop action as a droplet (converts an action into an application) in Lightroom’s Export Actions folder and specify that it’s to run when exporting from Lightroom. Lightroom’s Export command works first, then Photoshop opens the files, runs the filter and re-exports them. You’ll need to run this once for the Print images and again for the Web images. Let’s see what that looks like: 1. Record an action in Photoshop with only three commands: Unsharp Mask, Save As to the Web folder as a JPEG, and Close. 2. Select File > Automate > Create Droplet. This window is similar to the Batch window. First make sure None is selected in the Destination pull-down menu. The droplet has to be named (Unsharp Mask) and saved into a particular folder (Save Droplet In at the top of the window)—finding it isn’t easy. Click Choose. On a Mac, the location is Users > yourname > Library > Application Support > Adobe > Lightroom > Export Actions. On Windows it’s C: > Documents and Settings > yourname > Application Data > Adobe > Lightroom > Export Actions.80 • www.ppmag.com
  • 67. Note: On Windows some folders may be hidden. If you don’t see the Photoshop tutorial and the Web folder as the Export Location. YouApplication Data folder, highlight your user folder (in Documents can use the original raw images if you wish, but it’s faster to useand Settings) and select View > Customize This Folder > General tab the exported TIFFs in the Print folder. They are smaller andand click in the Hidden box until it is completely clear. have already had the Unsharp Mask filter applied. Import the For this droplet, confirm that the Override Action Open images in the Print folder and export them as JPEGs and skipCommands box in the Play section is unchecked. The other three the Photoshop droplet.boxes don’t matter in this tutorial. Name the droplet Unsharp Mask This action gives you one example of actions’ potential. Observeso you can identify it in Lightroom’s Export window. Click OK. what you do during a given day. Does your workday contain 3. In Lightroom import your raw files. Add the metadata repetitive tasks that don’t really require anything more of you(copyright info) using the Metadata panel. You can also do this than remembering all the steps and punching the buttons?during the import process. Your time is much more valuable than that. Think of the 4. In the Export window (File > Export) select the Print folder as Photoshop and Lightroom automation features as your assis-the Export Location, TIFF as the format, ProPhoto RGB as the color tants. They don’t ask for a salary, never call in sick and actuallyspace and Resize to Fit at 1,800 pixels for width and height (same as do what you tell them. IPhotoshop’s Fit Image). To run the Photoshop droplet, selectUnsharp Mask from the After Export drop-down menu at thebottom. If you’ve placed the droplet in the correct folder, it willappear in this menu. Rick Ralston works in the graphics group at The Coca-Cola Company in Atlanta. He is the author of “The Designer’s Apprentice: 5. Click the Export button. Automating Photoshop, Illustrator and InDesign” (Adobe Press). He 6. Do this again for the Web images using the settings from the also writes a graphics automation blog at www.theAutomatist.com. Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! • Web Exclusives: Fresh stories, • Photo Gallery tutorials and reviews you’ll • Profit Center ONLY find online! • An in-depth product review library • Archived features, organized • Online Classifieds relevant to your specialty. • Buyer’s Gallery FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter: http://ppmag.com/email.php
  • 68. Do you catch yourself daydreaming over your work, imagining romantic faraway places? If wanderlust is forever distracting you, there might be a profitable way to give in to it. WEDDINGS By Jeff Kent A©Garrett Nudd s mainstream wedding photography becomes more creative, more couples are attracted to the idea of importing a photographer to cap- ture their destination wedding. Such weddings typically include 25 to 80 guests, cost thousands to produce, and require the same care and forethought—if not more—as traditional weddings. And couples are willing to pay a premium for the service. Destination wedding clients want to docu- ment the destination experience as much as the actual nuptials, so the wedding photog- rapher must also be a travel photographer. He must know how to capture the soul of the location, as well as the spirit of the people who’ve chosen it. He must be flexible and adventuresome, yet bring order and expertise to the experience. The key to success in destination wedding photography is to view it as a business endeavor rather than a paid vacation. That means being completely prepared for every conceivable circumstance, and having the professionalism to deal with the unexpected. We talked to three in-demand pros about how they’ve become successful in this dynamic business. GARRETT NUDD FAVORITE DESTINATION: PARIS, FRANCE. “Photographing in Paris was pretty amazing, being that it’s one of the most romantic and Destination: Aspen, Colorado artistic cities in the world. Just being there was an inspiring experience.” Destination: Success Two years ago, Garrett Nudd Photography did zero destination weddings. This year, Business insights for destination wedding photography 82 • www.ppmag.com
  • 69. destination weddings will account forabout 30 percent of the studio’s weddingbusiness. The Chattanooga, Tenn.,operation has accomplished this impressivebusiness growth in two ways: One, thehusband-wife team of Garrett and JoyNudd actively promotes destination workin all the media; and two, they know howto inspire their clients’ confidence in them.“When a bride hires a photographer, it’snot just about the images; her primaryneed is a feeling of security,” explainsGarrett. “She wants a photographer who’sfamiliar with travel, who knows how tohandle an event, who knows what he’sdoing and makes her comfortable inknowing he’ll do the job right.” The Nudds opened their first studioin Orlando, Fla., one of the world’s mostpopular destination wedding locations.Though they weren’t traveling for wed-dings, they got plenty of experience dealingwith wedding parties that were. When theymoved to Chattanooga, the Nudds gotinvolved with a local university that ©Garrett Nudd Destination: Scotlandattracts an affluent, international studentbody. They began moving in a circle of Destination: Parispeople who travel extensively. They talkedup their penchant for destination work,and their experience with destinationweddings in Florida. They started landing gigs in Aspen,Santa Barbara, Savannah, St. Augustine,Key West, and as far away as Norway,Scotland, France and Italy. The Nudds customize a package for eachdestination wedding. These weddings tendto cost about 25 percent more than local ones,with packages averaging $8,000 to $10,000per wedding. If they’re working with a wed-ding coordinator who has referred the couple,the Nudds charge a flat fee for their servicesand add travel expenses. If the bride contactsthem directly, the fee is all-inclusive. ©Garrett Nudd March 2008 • Professional Photographer • 83
  • 70. WEDDINGS A key element in the Nudds’ pricing is being away from the business for several days. Beyond the profit and prestige of the number of days they’ll be away from the We have a young daughter for whom we need destination photography, the Nudds see studio. “That’s a cost people often overlook,” to make arrangements as well, so that’s another traveling as a way to expand their creative Garrett says. “Flight and hotel are obvious, factor. We look at each destination event indi- horizons and revitalize their photography. but lost income is very important—like vidually and decide if it makes sense for us.” “Being able to photograph in a different place is a great way to stay fresh and artistic,” says Garrett. “If we’re in the GARRETT NUDD’S LESSONS FROM THE ROAD Caribbean, I often get up before sunrise • Schedule plenty of time for travel on the front end. Planes can be late, connections for a walk on the beach to think and missed. Things can happen to prevent your being somewhere on time. reflect. That, as an artist, is so valuable—to • Carry the necessary electrical current adapters for your equipment on international trips. be far from home, to clear your mind. To • Foreign cuisine may not agree with you, so do some research ahead of time to me, that’s the biggest benefit of destina- locate places that will accommodate your special diet or preferred cuisine. tion weddings for a busy wedding • Figure out the best time to shoot outside—daylight hours are different in every destination. photographer.” • Sometimes when you’re staying at the same venue as the clients, you end up working for them all weekend. If that’s not in your contract, consider how you can work in time To learn more about Garrett Nudd Photog- for your own needs. raphy, check out www.garrettnudd.com.©Garrett Nudd Destination: Italy 84 • www.ppmag.com
  • 71. WEDDINGS©Gene Higa GENE HIGA FAVORITE DESTINATION: THE PHILIPPINES. “We shot seven locations in six days. It was the most exotic wedding I’ve ever done.” Like the others, Gene Higa kick-started his destination wedding business through word- of-mouth marketing. Beginning with his existing client base, in 2004, the San Francisco-based wedding photographer began spreading the word. He promoted his desire to work destination weddings to brides, then asked them to mention him to their bridal parties, their friends and their families. The more pleased the local clients, the more willing they were to talk him up in their social circles. Now Higa books events from Hawaii to Hong Kong, Tuscany to Thailand. Higa’s non-local bookings account for about 25 percent of his total workload, or roughly 10 destination events out of 40 weddings a year. In 2006, Higa hit nine countries and every major U.S. city. In 2007, he scaled back the travel by about 50 percent and began courting more high-end local clients. “There aren’t a lot of photog- raphers in the Bay Area who really focus on destination weddings,” says Higa. “That sets me apart. I show exotic destination images to everyone, even people who are planning to get married in San Francisco. You walk into my studio and see large photos of Greece, Peru, The Philippines. It gives clients the impression that I’m trusted enough to do these big destination events, so I can definitely handle their local event. My perceived value goes up significantly.” For Higa, destination weddings provide the additional benefit of filling traditionally slow periods. Many of his destination couples get married in warm-weather locations Destination: Thailand during San Francisco’s winter months. 86 • www.ppmag.com
  • 72. TIPS FROM GENE HIGAThings people don’t always thinkabout when planning adestination wedding jobSAFETY AND STABILITY. Keep upwith the news about the area you’llbe working in. It’s important to insureyour equipment and take plenty ofprecautions. Before leaving for a trip,I photograph all my gear and writedown the serial numbers. I make backupcopies of my passport and traveldocuments. I carry one copy withme and leave another with someoneback home.GETTING IN AND OUT. Research visa ©Gene Higa Destination: Barbadosregulations, entry documents and exitdocuments for your destination.Sometimes these documents need to bearranged far in advance. If you show upwithout them, you’re out of luck.STAY IN TOUCH. We carry a WorldPhone so we always have cell phoneaccess. Or you can buy a SIM card thatworks in that country for your mobilephone. Phone access is useful for keepingin touch with the bride and groom, aswell as the business back home.GET ACCLIMATED. The hardest part ofany destination wedding is getting there.I like to arrive a couple days before theevent so I can get acclimated, rechargeand get in the groove. ©Gene Higa Destination: Peru March 2008 • Professional Photographer • 87
  • 73. WEDDINGS When Higa would otherwise be tidying up to be included in the group lodging and travel world, and getting paid to do it! The best the studio and filing his income taxes, he’s rates that clients negotiate for their guests. part is coming home with all those beautiful, off in the tropics generating income. His fees include an associate photographer, exotic images. From a photographer’s Higa’s destination packages begin in the Ann Hamilton, who accompanies him on all standpoint, it’s pretty amazing.” $20,000 to $25,000 range. Like Claire and destination jobs. Their commissions range the Nudds, his custom quotes include his from one-day wedding coverage to week- services plus travel expenses. Higa makes his long shoots to document every adventure. For more from Gene Higa, including information on his Image X destination own travel arrangements, accumulating fre- “The experiences are second to none,” wedding workshop, visit www.genehiga.com quent flier miles and hotel points, but he asks says Higa. “I’m going out there, seeing the and www.imagexworkshop.com.Destination: Philippines 88 • www.ppmag.com
  • 74. WEDDINGSDestination: Cabo San Lucas“When I started the destination work, Iwas eager for the experience, and I treatedeach trip like a little vacation. That changedover time. The more you travel, the lessglamorous it is. If you want to run a seriousbusiness, you can’t forego your profitstaking vacations on someone else’s dime.” ©Jessica Claire JESSICA CLAIRE FAVORITE DESTINATION: SANTORINI, JESSICA CLAIRE’S DESTINATION WEDDING TIPS GREECE. “It was so beautiful, such an idyllic TRY IT BEFORE YOU BUY IT. Shoot a destination wedding before you invest heavily place to photograph a wedding.” in that market. Even if you lose money on that first job, the experience can be worth it. You’ll get a more realistic idea of what it’s like to work in that area. Orange County, Calif., wedding photographer Jessica Claire began doing destination wed- GET CONNECTED. Network with travel agents, local coordinators and vendors. Let dings with a 2004 assignment in Cabo San them know you love shooting at their venues or destinations and that you want to do it Lucas, Mexico. The bride, a referral from a again. Send them images. Don’t make it hard for them to refer someone from far away. local wedding coordinator, was active in destination wedding message boards. Blown DON’T BE A STRANGER. Respond to calls and e-mails quickly, especially when away by Claire’s work, the bride posted you’re dealing with a client who doesn’t live near you. Be totally available to non-local kudos up and down the boards. prospects, because it’s easier for them to work with someone closer to home. Before long Claire was getting five to 10 inquiries a day about doing destination DO IT YOURSELF. It pays to make your own travel and lodging arrangements. Include weddings. She snapped up the gigs that the costs in your total package price. interested her, in such places as Greece, 90 • www.ppmag.com
  • 75. WEDDINGS Hawaii, St. John and British Columbia. forego your profits taking vacations on some- sell for about double the price of a local wedding. It was fun. It was exciting. But profitable, one else’s dime. I took a hard look at my “Making money on destination weddings not so much. “When I started the destination costs and started raising my prices to make involves so much more than adding on the work, I was eager for the experience, and I it really worth it to do destination events.” cost of the flight and the room,” says Claire. treated each trip like a little vacation,” Claire Claire’s customized price quotes include her “There are also costs like parking at the remembers. “That changed over time. The travel expenses and commute time, even rev- airport, meals, shipping wedding albums to more you travel, the less glamorous it is. If enue she could have generated had she not been out-of-town clients, having equipment sent you want to run a serious business, you can’t traveling. In general, her destination packages to you, paying extra to travel with gear, Internet access fees at the hotel and all theDestination: Greece incidentals that come with traveling.” And then there’s the cost of opportunity lost. “If you travel for a wedding on Memorial Day weekend, you can shoot only one wedding. At home you could have shot two or three. You have to charge accordingly,” she adds. Word-of-mouth marketing and vendor referrals have been critical. As Claire’s prices increase, so do her clients’ expectations of personal service. With destination packages starting at $10,000, clients aren’t finding her in the Yellow Pages. They want someone referred by others of the inner circle. Claire works extra hard to establish relationships with all her clients, their friends and families, and naturally, the resort managers, wedding coordinators and travel agents who specialize in destination events. Claire includes destination event info on her Web site and writes about the weddings on her blog. “If I post about a particular destination, it will come up in search engines,” she explains. “Brides searching for info about those locations may come across my blog, where they can look at my recent work and learn more about me. There’s no one magic bullet for finding destination brides. They live all over, and they don’t hear about photographers from just one source. The challenge is to make as many connections as possible and let all those people know you do destination wedding photography.” I For more on Jessica Claire, visit www.jessicaclaire.net.©Jessica Claire
  • 76. Making the magichappen
  • 77. All images ©Jerry GhionisLauded Australian photographer Jerry Ghionis finds beauty and prosperity in reinvention. BY LORNA GENTRY
  • 78. hat a year 2007was for AustralianphotographerJerry Ghionis.In March American PhotoMagazine named him oneof the top 10 weddingphotographers in the world. In July, Microsoft anointed him an “Icon of Imaging.” Never one to rest on his laurels, Ghionis celebrated his success by reconfiguring his business model. This month Ghionis opened an eponymous boutique photography studio in the Docklands area of Victoria Harbour in Melbourne. His present studio, XSiGHT Photography and Video, in Melbourne, con- tinues to be run by his brother and business partner, Nick, an accomplished photographer as well. The new studio, run by Ghionis and his wife, Georgina, and his personal assistant Sally-Ann Sargood, will cater to an elite clientele, and have more individualized services and higher prices than XSiGHT. This month Ghionis also publishes his first coffee table book, and launches an online as well. Over the years Ghionis has given Professional Photographer: You’re at the pin- classroom called The I.C.E.Society. seminars and workshops worldwide and nacle of your career, so why change your studio? Maintaining the status quo was never won numerous international awards, including Jerry Ghionis: We’ve all heard the saying, enough for Ghionis. Even though his first four of the last five International Wedding “If it works, don’t fix it.” I prefer, “If it works, studio was successful, several years ago Album of the Year awards from Wedding & make it better.” There is always a better Ghionis changed the name to XSiGHT, Portrait Photographers International. way—a more efficient, less expensive and added a state-of-the-art theater, and doubled Professional Photographer caught up with more effective way. I would rather risk and his fees. He doubled the number of clients Ghionis between seminars in Melbourne. fail than be safe and boring. Rather than 96 • www.ppmag.com
  • 79. concentrating on being the best, I concentrate years since I started my own business, and I I grew tired of waiting for magic to happenon being better than last week and being dif- can’t wait for what the next 10 years will bring. on its own. An artist’s paintings say as muchferent. I encourage new photographers to be about the artist as the subject. Why shouldas passionate about their business as they Your approach to photographing weddings is photography be any different? Aren’t weare about their photography. My biggest rein- different from the popular photojournalism style. artists? I love beauty, glamour and fashion.vention yet is the introduction of my new What is your technique and why is it successful? In fact, those who inspire me most are fashionstudio. I am ready for the next phase in my When I started, I was told that a wedding photographers—Herb Ritts, David LaChapelle,career. I’m starting from scratch. It’s been 10 isn’t about me, it’s about the bride and groom. Patrick Demarchelier, Sante D´Orazio, March 2008 • Professional Photographer • 97
  • 80. Mario Testino, Horst P. Horst, Helmut Newton, my images appear as if I happened to be in emotions and demands attention. I never shootRichard Avedon, among many others. the right place at the right time. in black in white, but I do convert images to If I waited for moments on a wedding black and white. Black and white and sepiaday rather than create them, my albums What gives your images that touch of drama? represent about 10 to 20 percent of the imageswouldn’t look as dynamic as they do. My Through lighting—video light, candlelight, in my wedding albums.albums feature images that I captured as ambient light. I also use shadows andwell as those I created. When viewing her reflections. I vary angles, cropping and How many weddings do you shoot in a year?photographs, a bride first looks to see how perspective. Mainly it’s the last-minute People often have the perception that I don’tbeautiful she is and then looks for expression, finesse, the last direction. It could be a slight shoot much anymore because I’m away teach-emotion and storytelling. Ironically, the bride parting of the lips or tilt of the head. ing. In 2006 I was away from home for aboutwho wants to look beautiful doesn’t want to three months, collectively, but I still shot 65be posed, which tells me brides want to look You seem to love saturated color. Why? weddings. The same for 2007. But from thisglamorous and natural. Emotion often beats Because it’s exciting and stands out from what year on I’ll be photographing fewer weddings,perfection, but why not have both? I make other photographers do. Color evokes certain (continued on p. 102)
  • 81. MARKETING, “Rather thanTHE GHIONIS WAYFive key things photographers should concentrating onremember in planning marketing andadvertising for the year: being the best, 1. Work on marketing that costs you I concentratenothing—ask clients and vendors forreferrals and maximize relationships with on being betterpeople who can help you. 2. Try a same-day slide show at the than last week.”reception. It’s the best direct marketingyou will ever do and you can charge goodmoney for it. 3. Don’t be a tightwad! Don’t thinkabout the advertising dollars you’respending; think instead about the return. 4. When presented with an advertisingopportunity, ask yourself, Is there abetter way I can spend this money? 5. Don’t forget to consider yourself abrand. Build it and they will come.JERRY GHIONIS’CAMERA BAGCAMERAS:Canon EOS 5D (x2)Canon EOS 20DLENSES:Canon 70-200mm f/2.8L IS USMCanon 17-40mm f/4L USMCanon 24-105 f/4 L USMCanon EF 100mm f/2.8 Macro USMCanon EF 50mm f/1.4 USMCanon EF 85mm f/1.8 USMSanDisk CompactFlash cardsLIGHTING:Canon Speedlite 580EXCanon Speedlite Transmitter ST-E2Lowel id-Light video lightSunpak ringlight flash
  • 82. (continued from p. 98) made by Seldex Artistic Albums in Australia. setting up pose number 23 in locationdoubling my prices, and offering a more bou- In my new studio, every album will be cus- number 57. Comfort zones have never beentique service. Portrait and fashion photography tomized and tailored to suit individual clients. synonymous with artistic expression. Learnmake up about 20 percent of my business. to observe and listen to people. Become a good What is the number one way a professional communicator. My images are solid …What makes your wedding albums award photographer can improve his or her business? because of how I communicate with mywinning? Surround yourself with great people. Without clients. II believe it is the simplicity of design, which a good staff, your studio is only four walls. Stopallows the photography to speak for itself. A being a control freak and get some help. Educategood design goes unnoticed. It’s all about the yourself. Seminars and workshops can literally See more of Jerry Ghionis’ work and get info about his seminars, workshops, DVDs,images. It’s harder to be simple than it is to add change your life. After all, knowledge is power. and Picpockets educational tools ata lot of bells and whistles. Wedding albums Don’t be too precious about the work. www.jerryghionis.com.shouldn’t be too fashionable. I want my albums Consider yourself first a businessperson who A freelance writer based in Atlanta, Lornato look great 50 years from now. Most of our happens to be a photographer. Artistically, Gentry has covered the professionalalbums are a mix of matted and magazine styles, don’t be safe or stay in your comfort zone by photography industry for 15 years. “I grew tired of waiting for magic to happen on its own. An artist’s paintings say as much about the artist as the subject. … Aren’t we artists?”
  • 83. All images ©Parker Pfister
  • 84. “I want people to know me as a photographer. Not a wedding or a portrait photographer, just a photographer.” One of a kindParker Pfister’s special knack for turning the ordinary into the extraordinary BY STEPHANIE BOOZER
  • 85. “I’m kind of an inventor,” he says, as he describes theinexpensive lighting option he found at a neighborhoodWal-Mart. “About five years ago I unleashed the deerlight on the world, and the response was amazing.”A CV boot from an old Honda Accord and a hunting practice in which “guys drive around really miss film and large format cameras,”rechargeable deer light aren’t exactly typical at night with these huge spotlights hunting he explains. “I figured out that I could takegear for a camera bag. But for Parker Pfister, one deer,” says Pfister. “I thought, Wow! That the rubber CV boot from this ’84 Hondaman’s trash can be another man’s treasure. would be the coolest thing to light portraits with.” Accord, put my Canon body cap on one end, “I’m kind of an inventor,” he says, as he Pfister rigged a deer light with a soft box, and a large format lens on the other. Now Idescribes the inexpensive lighting option he and discovered some of the best artificial have a truly unique tilt-shift lens.”found at a neighborhood Wal-Mart. “About lighting he’s seen. “People kept asking me Pfister’s penchant for the organic qualityfive years ago I unleashed the deer light on how I was getting this gorgeous lighting. I of film led him into developing a set ofthe world, and the response was amazing.” love showing up with funky stuff like this at Adobe Photoshop actions that have become The rechargeable “deer light,” about the a wedding,” Pfister says. wildly popular. The set is saved in layers, sosize of a gallon jug, lasts 40 minutes on a full The CV boot? Pfister turned it into a tilt- photographers can alter them to suit theircharge. The lights are used in an unlawful shift lens for his Canon EOS-1D Mark II. “I own style and purposes.
  • 86. “Digital is way too clean. People have no ideawhat I shoot—film or digital—and I love that.” Pfister’s unconventional methods andbeautiful images have made him a popularspeaker and teacher. “I’m always in awewhen I watch Parker shoot,” says his wifeand business partner, Melissa. “He has anamazing way of seeing a shot that no oneelse ever would. And he’s very fast. He neverhesitates when he’s shooting.” Pfister was 6 when his grandmother gavehim his first camera, and he was hooked. At11, he won the county and state fairs ofOhio with an image of a toad, and eventuallytook second place in the world at the St.Louis Fair. From then on photographybecame his calling. He shot his first wed-ding in 1984 with his father, an ichthyolo-gist, who also happened to photographweddings on the side. After that wedding, says Pfister, “I sworeI’d never shoot another wedding.” Later,Pfister headed west to Oregon to pursuelandscape and large-format photography,and he accumulated a portfolio of fine-artwork as well. He reluctantly agreed to shootanother wedding, but only on his ownterms. “I fell in love with it,” he says. “I wasable to show my personality and my style,and really take on the wedding day.” Pfister has been shooting weddings andportraits exclusively since 1999. Hisinventive spirit keeps it fresh because he’salways got some crazy new idea to try. Hewon’t divulge his latest inventions, but hewill admit to rigging up his own ring lights,and says he’s having fun playing withWestcott Spiderlites, which are “super-dupercool and fit my style perfectly,” he says. “The biggest way I combat burnout isthat I never go in with a plan,” says Pfister,who scoffs at the idea of scoping out thelocation ahead of time. “It’s all about thelight anyway, which is always changing. Werun around looking for gorgeous light. It
  • 87. Situated in the mountain town ofAsheville, N.C., the studio is more of a fine-art gallery than a typical studio. There’s no camera room, and noportraits or wedding shots adorn the walls. The space is dominated by Pfister’s fine art and landscapes. may be in the ugliest part of the church, but if the light’s perfect, it’s going to sing.” Situated in the mountain town of Asheville, N.C., the Pfisters’ studio is more of a fine-art gallery than a typical studio. There’s no camera room, and no portraits or wedding shots adorn the walls. Instead, the space is dominated by Pfister’s fine art and land- scapes, making clients feel they’re taking in an exhibition as well as sizing up a wedding photographer. “I realized that this space is really my mar- keting tool,” he says. “People walk in and say, ‘Wow, this guy’s a real photographer,’ then sit down and look at the wedding books. When someone spends 10 minutes up front just looking at my pictures, I know they’re my kind of client.” The Pfisters limit their wedding bookings 110 • www.ppmag.com
  • 88. “Success depends on how"SuccessWare helped me you react to adversity.”become very profitable and createa wonderful debt-free life for myfamily through a business thatI dearly love. But in any business,adversity can appear at any time.The focus SuccessWare providesgives me the insight to keep mystudio on track - even throughback-to-back hurricanes."Frank DonninoDonnino Galleria Portraits | Boynton Beach, FLRead Frank’s story atsuccessware.net/success_stories. © 2008 Donnino Galleria PortraitsSuccessWare is the only studiosoftware that manages your clients,prices your products, pays your bills,and helps you plan for more profit.All this…plus financial reports thatactually make sense! Frank teaching The Baby Plan at a workshop.successful photographers have a lot in common. creativity. passion. successware. Carol Andrews, Sam Puc, Jason & Tammy Odom, Audrey Wancket, Mary Fisk, Jamie Hayes, Lori Nordstrom, Susan Michal, Jeff & Julia Woods, Jed & Vickie Taufer. Michael Redford, Sarah PettyPURCHASE OR LEASE | WINDOWS & MACGET YOUR FREE DEMO AT WWW.SUCCESSWARE.NET | 800.593.3767
  • 89. to 20 a year, portrait sessions to 30 or so.They do everything themselves, fromshooting to printing to hand-bindingalbums. Designated both a CanonPrintMaster and Canon Explorer of Light,Pfister prints all final images with a CanoniPF 8000 printer onto Hahnemuhle paper,though he’s looking forward to testing a new“all-green” album printed on bamboo paper,a renewable resource. The Pfisters use a traditional Englishsignature binding method with their albums,which are popular among both wedding andportrait clients. Most important, theyreserve time to develop strong personalrelationships with their clients. “We try to create a one-of-a-kind expe-rience for our clients,” says Melissa. “We wantthem to be able to look at every image andremember how they felt in that exact moment.” “We actually call our bookings ‘commis-sions,’” says Pfister, who averages about$12,000 per wedding and $4,000 to $5,000per portrait sitting. “We meet with our clientsas often as we can, have drinks, dinner,whatever, so that we’re really comfortable atthe wedding. We couldn’t do that if we weredoing 40 weddings a year.” Limiting commissions also provides timefor Pfister to continue to explore the worldwith his camera. “I have to shoot daily,” hesays. “I shoot random things just to see howlight reacts, see different angles. Once yousee something in a different way, you canmold it to whatever look you want to create.”Pfister is content with his present workload,and enjoys a happy balance of teaching,photography and inventing. “I’m always trying to see how I can dothings differently,” says Pfister. “I want people toknow me as a photographer. Not a wedding ora portrait photographer, just a photographer.” ISee more of Parker Pfister’s wedding portfolioat www.parkerjphoto.com, or check out hisAdobe Photoshop actions at www.pjddr.com.
  • 90. LEARN FROM JERRY GHIONIS ONLINEinspire challenge educate
  • 91. SAVE 10% IN MARCH & APRIL JOIN NOW! The Ice Society is an online classroom dedicated to empowering photographers to take their business and photography to new heights. It has been created by one of the industry’s premier educators and celebrated photographers – Jerry Ghionis. Each month, members will have access to a new Chapter – each Chapter includes video footage, tutorials, invaluable critiques, lessons and a growing list of frequently asked questions among other topics of substance. Members will also receive discounts on products, seminars and workshops. View Chapter 1 for free. Join in March & April and receive 10% off (PPA members promo code 1PPA2008) www.theicesociety.com
  • 92. All images ©Mike Colón
  • 93. ENGINEERING A NICHE The tale of Mike Colón and the spiraling wedding market BY JEFF KENT
  • 94. ith each new price point, there is so muchmore that’s expected. You’re dealing with acompletely different group with different wants and needs. The trick is tounderstand what’s required and deliver it without being asked,” says Mike Colón.
  • 95. As an electrical engineering student at Colón’s skill with a camera opened doors, Colón began by shooting a mix of actionCal State Fullerton, Mike Colón spent his and his business acumen helped him make the sports and sports portraits, along with anextracurricular hours working at three photog- most of his opportunities. Now one of the most occasional wedding. He hooked up with anraphy studios. The more he photographed, recognized names in wedding photography, established wedding shooter who taught himthe less he wanted a career in engineering. Colón runs a studio that averages about $25,000 the ropes, then sent him referrals for a fee. InDeciding his future lay in photography, he per wedding. He speaks at industry events the first year with the photographer, Colóndidn’t switch his major to art and photog- around the country, maintains a quiver of big- booked some 25 weddings, and fell in loveraphy, but to business. “I wanted to learn name sponsors, and sees his images gracing with it. “I was in a happy place everyhow to run a business,” says Colón. “I had no major ad campaigns—all this in about 10 years. weekend. It was good pay, consistent work,intention of being a starving artist.” Working out of Newport Beach, Calif., and I got to be my own boss,” he says.
  • 96. In January 2000, with wedding refer-rals flowing in, Colón dropped everythingelse to focus solely on weddings. He figuredthat by dedicating his energy to marketingand building a specialty business, he couldestablish himself as an expert. Expertstatus draws experts’ pay. Colón’s first investment was a top-notchWeb site. He started advertising in maga-zines and bridal publications, going intodebt to buy full-page ads like the majorplayers. He also started building relation-ships with other wedding photographers,such as fellow SoCal shooters Becker, JonBarber and Joe Photo. At Becker’s instigation, the group organ-ized an online calendar to post open dates,so they could refer prospects to one anotherif they were already booked. The systemhelped all of them build their businesses inthe otherwise cutthroat competition of theSouthern California market. The kick-start in drawing a client baseemboldened Colón. “Every time I felt like Iwas making progress, it would give meconfidence and I would get more aggressive,”he says. “Rather than sitting back, I wouldactually spend more money. I would maxout my credit cards to invest in the business.With each new investment in the business, Iwould raise my fees.” At first, he bumped up prices incremen-tally to get his packages on par with theA-list photographers in the area. His first bigincrease was from $4,000 to $6,000. Thenhe upped it to $7,500. Then $10,000. Colón decided to decrease his bookingsand really focus on the upper tier market.In one fell swoop, he doubled his rates to$20,000 per wedding. It was an enormousrisk, but it if worked it would take Colón tothe level he wanted to retain for the rest ofhis career. He wasn’t being haphazard, butexecuting a plan, backed by increased ser-vice, product quality and personal respon-
  • 97. COLON’S GEARCAMERA: Nikon D3LENSES: 200mm Nikkor f/2G ED-IF AF-SVR; 70-200mm Nikkor f/2.8G ED-IF AF-SVR Zoom; 105mm Nikkor f/2.8G ED-IF AF-S VR Micro; 85mm Nikkor f/1.4D AF;50mm Nikkor f/1.4D AF; 24-70mm Nikkorf/2.8D ED-IF AF-S Zoom; 14-24mm Nikkorf/2.8G ED-IF AF-S Zoom; TC-20E II (2X)AF-S, AF-I TeleconverterON-SITE DISPLAY EQUIPMENT: EpsonPowerlite 1810P Multimedia Projector;Epson 80-inch portable pop-up screen;Apple 17-inch MacBook ProDIGITAL DARKROOM: Apple Mac Proswith Cinema Displays; Epson Stylus Pro3800, 4800 and 7800 printers; MitsubishiCP9550DW dye-sub printer; AppleAperture 1.5; Alien Skin Exposure 2.0STORAGE DEVICES: Tamrac Big WheelsRolling StrongBox 692; Epson P5000Multimedia Storage Viewers; Lexar Pro 8GB300X CompactFlash cards; SmartDisk80GB FireLite mini external drives; 7.5TBSonnet SATA mirrored RAID enclosures
  • 98. sibility for his clients’ happiness. “Witheach new price point, there is so muchmore that’s expected,” says Colón. “At eachlevel, you’re dealing with a completelydifferent group with different wants andneeds. The trick is to understand what’srequired and deliver it without being asked.” Word in the industry spread like juicygossip. Who was this kid? Competitors,vendors, sponsors and clients saw him in anew light. “The price increases did morethan target the clients who wanted tospend that amount of money, they createdbuzz. They helped me stand out from thepack,” says Colón. Colón’s success confirmed his instinctabout his new target market and helpedestablish him as a leader in the industry. Hebegan speaking and giving seminars,creating a name for himself as a weddingphotography expert. In the era of Internet-fueled informationexchange, says Colón. “Shoppers for high-end products do their research.” “When abride has money to spend, she wants thebest. She looks in the magazines, searchesthe Internet, and sees whose name keepspopping up. If I keep to myself and nevershare my knowledge with anyone, then Idon’t have a chance at that bride. But if Ibuild a network and a reputation, ittranslates into people knowing me andrespecting me.” “I’ve worked very hard to create a brandthat appeals to the high-end bride. Somuch of that brand is based on a con-fidence that I will do a great job no matterhow high the stakes,” says Colón. Whenyou have that confidence, there’s no limit towhat you can accomplish.” ITo see more from Mike Colón, visitwww.mikecolon.com.122 • www.ppmag.com
  • 99. © 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.
  • 100. calendar April 13-15 June 16 C: Montana PPA, Billings, Montana; Scott S: PP of Massachusetts; Steve Meier, Fairbanks, 406-761-2059; smphoto@comcast.net; www.ppam.com info@montanappa.org; montanappa.org June 22-23 April 14 S: Kentucky PPA; Embassy Suites, S: Connecticut PPA, Crowne Plaza Hotel, Cromwell, Lexington, Ky.; Randy Fraley, 606-928-5333; Conn.; Harvey Goldstein, 203-430-8276; rgimage1@aol.com; www.kyppa.comSubmit your organization’s convention, work- ppanepub@aol.com; www.ctppa.comshop, seminar or exhibition dates to Professional June 22-24Photographer at least six months in advance. April 21 S: PP of North Dakota, Northern Light Seminar,Editors reserve the right to select events to beannounced on these pages, and to determine S: PP of Massachusetts; Steve Meier, smphoto Doublewood Inn, Bismarck, N.D.; Poppy Mills,when announcements will appear. Editors are @comcast.net, www.ppam.com 701-222-3040; fowlerphoto@midconetwork.comnot responsible for conflicting or incorrect dates.For readers’ convenience, each event is identi- April 26-29 June 22-25fied by a code preceding its name: C=Convention, C: New Hampshire PPA; North Conway, N.H.; S: Texas PPA, YO Ranch Resort, Kerrville, Texas;W=Workshop, S=Seminar, C/E=Approved PPA Lorraine Bedell, 603-743-5732; Doug Box; 979-272-5200; dougbox@mac.com;Continuing Education Seminar, E=Exhibit. Send lbedell@worldpath.net; nhppa.com www.tppa.orgall Calendar of Events additions or correctionsto: Sandra Lang, Professional Photographer, August 2-5 April 27-29229 Peachtree St., NE, Suite 2200, Atlanta, GA C: PP of New Jersey, Bally’s Hotel & Casino, C: PP of Louisiana, New Orleans, La.; Dayna30303; FAX: 404-614-6404; slang@ppa.com. Altlantic City, N.J.; Leslie Meltzer, Ponthieu, 318-359-6633; www.ppla.net 866-985-4300; secretary@ppanj.com; wwwppanj.com August 15Current Events May 18-20 C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson, 615-509-5737;April 4-8 S: PP of Louisiana, Marksville, La.; Dayna photo4u2b@aol.com; tnppa.comS: PP of Washington, Wenatchee, Wash.; Ponthieu, 318-359-6633; www.ppla.netRadley Muller, 360-676-9279; radley@yarypho- September 12-15to.net; www.ppw.org May 18-23 C: PP of Oklahoma, Radisson Hotel, Tulsa, W: Imaging Workshops, Mountain Summit, Okla.; Ted Newlin, tednewln@aol.com;April 6-9 Breckenridge, Colo.; Jeff Johnson, 303-921-4454; www.ppok.orgC: PPSNY, Hilton Rye Town, Rye Brook, N.Y.;Barbara Bovat, 518-851-2187; bovat@aol.com; president@ppcolorado.com; www.coloradoworkshops.com September 13-16www.ppsnys.com C: PPA of New England, Radisson HotelApril 12-15 June 15-16 Nashua, N.H.; Roland Laramie, P.O. Box 316,C: Heart of America, Mid America Center, Council C: PP of Oregon, Mt. Bachelor Resort, Bend, Willimantic, CT 06226; ppanerl@aol.comBluffs, Iowa.; Stephen Harvey, 620-624-4102; Ore.; Arlene Welsh, 800-370-5657;sharveymo@yahoo.com; www.hoappa.com pporegon@teleport.com; www.pporegon.com September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum; 770-972-8552; gppaed@bellsouth.net; www.gppa.com January 11-13, 2009 PPA EVENTS Imaging USA, Phoenix October 3-7 C: Southwest PPA, Sheraton Arlington Professional Photographers of America (PPA) January 10-12, 2010 Hotel, Arlington, Texas; Michael Scalf, Sr., has a proud tradition of providing its members Imaging USA, Nashville Box 1779, Blanchard, OK 73010-1770; with outstanding educational opportunities 405-485-3838; michael@swppa.com; through its annual events, PPA-Merited classes and its PPA Affiliate School Network. Don’t www.swppa.com miss out on the vital knowledge you’ll gain at Certification Exam these events! For information on PPA events, October 5-6 April 6 S: Kentucky PPA; Hyatt Regency, Lexington, call 800-786-6277 or visit www.ppa.com. Washington Ky.; Randy Fraley, 606-928-5333; June 6 April 10 rgimage1@aol.com; www.kyppa.com 117th Annual International Print California Competition Deadline for Entries October 12-13 For a complete list of exam dates, go to C: PP of Colorado, Denver, Colo.; Jeff Johnson; July 22-23 www.ppa.com and click on Certification. 303-921-4454; president@ppcolorado.com; Judges Workshop, Daytona Beach www.ppcolorado.com April 7 Super Monday Image Review October 20 S: PP of Massachusetts; Steve Meier, October 9-18 Online submission: smphoto@comcast.net; www.ppam.com PPA Fall Cruise May 9, August 8, & October 10 126 • www.ppmag.com
  • 101. 2008 PPA-AFFILIATED SCHOOLSPPA members receive both merits May 18-22 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/128 • www.ppmag.com
  • 102. October 20-21 March 28-31, 2009 C: Wisconsin PPA, The Osthoff Resort, C: Heart of America, KCI Expo Center,PPA-Approved Elkhart Lake, Wis.; Donna Swiecichowski, Kansas City, Mo.; Stephen Harvey,Continuing 920-822-1200; Paul Tishim, 715-384- 620-624-4102; sharveymo@yahoo.com; 5454; Deb Wiltsey, 866-382-9772; www.hoappa.comEducation Seminars wppa-online.com April 3-8, 2009PPA members receive both merits October 26-27 C: Minnesota PPA; Joanie Ford,and the best-published prices. C: PP of Iowa, Airport Holiday Inn, Des 763-560-7783; joanieford@comcast.net; Moines, Iowa; Chris Brinkopf, P.O. Box 108, mnppa.comApril 21 Sumner, IA 50674; 563-578-1126;C/E: Arizona Spring Fling, Phoenix Airport ppichris@iowatelecom.net April 4-8, 2009Hilton, Phoenix, Ariz.;bob@bcphotography.com; C: Northern Light, Minnesota, Jeff Fifield, October 26-28 218-722-377; fifieldjg@aol.com; Nicolewww.arizonappa.com/seminars.html S: Northern Light/Minnesota PPA; Bugnacki, P.O. Box 567 Ironton, Minn.; Nicole Bugnacki, 763-390-6272; 56455; 763-390-6272April 28-May 2 nicole.bugnacki@gmail.comC/E: David Ziser’s Digital Master Class;Cincinnati, Ohio; 800-292-2994; April 25-28, 2009 November 2 C: SEPPA, Athens, Ga.; TomMcCollum;www.davidziser.com S: PP of Louisiana, Northern Exposure, 770-972-8552; seppa@bellsouth.net; Shreveport, La.; Dayna Ponthieu, www.4seppa.comMarch 3-8 318-359-6633; www.ppla.netC/E: Painter Panache Master; Jeremy Sutton,San Francisco, Calif.; 415-626-3971; August 8-12, 2009 November 9-10 C: Tennessee PPA, Marriott Cool Springs,www.jeremysutton.com C: PP of Ohio, Hilton Easton, Columbus, Frankin, Tenn.; Ernie K. Johnson; Ohio; Carol Worthington, 615-509-5737; photo4u2b@aol.com;May 5-9 carol@ppofohio.org tnppa.comC/E: From Traditional to Digital; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.com November 15-16, 2009 C: PP of Ohio, Hilton Easton,July 12-18 Columbus, Ohio; Carol Worthington,C/E: Copan Honduras Study Abroad carol@ppofohio.orgExcursion with Paul Wingler, Suzette Allen &Jon Yoshinaga; 800-483-6208; Future Events February 26-March2, 2010pwphoto@mindspring.com; January 31 - February 3, 2009 C: Wisconsin PPA, Radison HOtel, Greenwww.suzetteallen.com/copan C: PP of Iowa, Airport Holiday Inn, Des Bay, Wis..; Donna Swiecichowski, Moines, Iowa; Chris Brinkopf, P.O. Box 108, 920-822-1200; Paul Tishim,August 1-4 Sumner, IA 50674; 563-578-1126; 715-384-5454; Deb Wiltsey, 866-382-C/E: Oxford Painter Workshop; Jeremy ppichris@iowatelecom.net 9772; wppa-online.comSutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.com February 20-23, 2009 April 10-13, 2010 C: PP of Oregon, Mt. Bachelor Resort Bend, C: Heart of America, KCI Expo Center,September 12-17 Ore.; Arlene Welsh, 800-370-5657; Kansas City, Mo.; Stephen Harvey,C/E: Great Gatsby Impressionist Workshop; pporegon@teleport.com; 620-624-4102;Jeremy Sutton, San Francisco, Calif.; www.pporegon.com sharveymo@yahoo.com;415-626-3971; www.jeremysutton.com www.hoappa.com February 20-25, 2009October 20-23 C: Virginia PPA, Renaissance Hotel, November 14-15, 2010C/E: Painter Creativity; Jeremy Sutton, San Portsmouth, Va.; William Garrett, C: PP of Ohio, Hilton Easton,Francisco, Calif.; 415-626-3971; 434-836-2751; bgarrett25x25@juno.com Columbus, Ohio; Carol Worthington,www.jeremysutton.com carol@ppofohio.org February 26-March 4, 2009November 2-6 C: PP of North Carolina; Sheraton Imperial March 4-9, 2011C/E: The College! Master Biennale; Jeremy Hotel, Durham, N.C.; Loretta Byrd, C: PP of North Carolina, Sheraton ImperialSutton, San Francisco, Calif.; 415-626-3971; 888-404-7762; ppnc@earthlink.net; Hotel, Durham, N.C.; Loretta Byrd,www.jeremysutton.com www.ppofnc.com 888-404-7762; loretta@ppofnc.com; www.ppofnc.com February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference April 2-5, 2011 Center, Madison, Wis.; Donna C: Heart of America, KCI Expo Center, Swiecichowski, 920-822-1200; Paul Tishim, Kansas City, Mo.; Stephen Harvey, 715-384-5454; Deb Wiltsey, 620-624-4102; sharveymo@yahoo.com; 866-382-9772; wppa-online.com www.hoappa.com 130 • www.ppmag.com
  • 103. PPA AFFILIATE SCHOOLSBahamas International School of Professional Photography (Bahamas)—www.bispp.com California Photographic Workshops (CA)—www.cpwschool.com Carolina Art & Photographic School (NC)—www.capsartschool.com Delta School (MS)—www.deltaschool.com East Coast School (NC)—www.eastcoastschool.com Evergreen School of Professional Photography (WA)—www.ppw.org. Florida School of Photography (FL)—www.fpponline.org Georgia School (GA)—www.gppa.com Great Lakes Institute of Photography (MI)—www.glip.org Golden Gate School of Professional Photography (CA)—www.goldengateschool.com Illinois Workshops (IL)—www.ilworkshops.com Image Explorations (British Columbia)—www.imageexplorations.ca Imaging Workshops of Colorado (CO)—www.coloradoworkshops.com International Photographic Arts School (IN)—www.ppofi.org Kansas Professional Photographer School (KS)—www.kpps.com Lamarr Williamson School of SC (SC)—www.ppofsc.com Long Island Photo Workshop (NY)—www.liphotoworkshop.com MARS (Mid-Atlantic Regional School) (NJ)—www.marsschool.com Mid-America Institute of Professional Photography (IA)—www.maipp.com New England Institute (MA)—www.ppane.com PP Oklahoma School (OK)—www.pposchool.com PPSNY Photo Workshop (NY)—www.ppsnysworkshop.com Texas School (TX)—www.tppa.org/school.htm Triangle Institute (PA)—www.trianglephotographers.org West Coast School (CA)—www.prophotoca.com Wisconsin Professional Photographers School @ Treehaven (WI)—www.wiprophotoschool.org
  • 104. TODAY MARCH | 08 PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA PresidentGREETINGSAs you read my rst message as the Now, every year, we look forward to FRIENDS MET ALONG THE WAYPPA President, I am thrilled to tell spending time with old friends…and Sae Lee, M.Photog.Cr., F-ASPyou that the organization has just making new ones along the way. West Hollywood, Californiasurpassed the 20,000 member mark. This year in Tampa we had lunch byWhat a privilege to be President during the bay with our good friends from In July 2000 I had the opportunitythis exciting time for the Professional Montana, Clark and Rachel Marten. to present a program to thePhotographers of America. After all, Not only did we discuss our respective Professional Photographers of Korea.being a PPA member (since 1987) is businesses, we also shared stories Sae Lee, a photographer fromone of the most important things I about our children and enjoyed the California (originally from Korea),have done for my photographic brief time spent with old friends. And organized the trip and traveledcareer and business. we again had the opportunity to with Tyler, my son, and I. It was an make new friends, David and Ally experience that opened my eyesI was a member for two years before McKay from California. David was and heart to a very gracious group PPA News & NotesI attended my rst PPA convention in in a Christian Rock band before of photographers and a culture that I1989. My wife Lori and I never thought photography, and we actually met had never experienced before.we had time to attend. But as Ron via that connection.Nichols, now PPA Vice President, was My son was 10 years old at the time,receiving his Masters Degree that year, As you can see, PPA is more to me and I thought it would be great for himwe thought we would sacri ce the than just another trade association. I to accompany me on this trip. Saetime to support our friend (and make can belong to a number of different Lee introduced us to Mr. Kim and hisour rst trip to Las Vegas). During that organizations that will help me with son Tae Hung, who was also 10 years rst convention, we were introduced my photography skills and my business old. These two boys from differentto so many new experiences: the knowledge. But there is only one countries, different cultures, andoverwhelming tradeshow, programs organization that provides the best different languages bridged all thosethat inspired as they taught, and— learning opportunities, mentors that barriers in about ve minutes. Youmost importantly—a new network truly care, and friends that will go the would have thought they had knownof friends in the industry. Our PPA extra mile and last a lifetime. each other forever. Tyler still talks aboutexperience was just beginning. his special trip with me and the people And that brings me to what I would he encountered along the way. like the President’s Message to become this year. I have been so Sae opened my world (and my son’s) blessed with my PPA experience and to a culture and people that we have the people I have met, so I will feature both come to love. These kind and a different person from my journey caring photographers have been each month. They might be from in uenced by Western photographers my travels this year as president or while maintaining their own styles. someone who has made an impact For the introduction to such creative on my life in the past. I hope this will photographers and wonderful give you a glimpse into the wonderful friends … Thank you, Sae. people that make up PPA and help you re ect on those you have met during your own walk through life. Again, thank you for this incredible opportunity to serve as your president this year. May we all grow and prosper…not only in business, but Dennis Craft, M.Photog.Cr., CPP, API, F-ASP also in our friendships. 2008-2009 PPA President © Dennis Craftnews from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P1
  • 105. TODAY BOARD MEMBER SPOTLIGHT Dennis Craft, M.Photog.Cr., CPP, API, F-ASP PPA Member since: 1987 Shoots: CHILDREN & FAMILY PORTRAITS Location: MICHIGAN Dennis Craft, new PPA President and After three classes, his brother—an To him, education and networking owner of Craft Photographic Gallery, accountant—told Dennis of a are the two biggest advantages. didn’t understand photography or photography business one of his clients “A lot of associations try to emulate business when he bought his rst wanted to sell. “Well, I bought it. Back PPA, but they don’t come close,” he photography studio. “I wouldn’t then, if you were a photographer, you says emphatically. In his mind, a lot of recommend it,” he says wryly. He’s had business—it was a much smaller PPA’s strength comes from the Af liate learned a lot since then. industry, I feel,” comments Dennis. “I network. “That structure is brilliant, survived those rst few years.” allowing us all to keep interacting and It started with a vacation to Hawaii. growing under PPA.” With the local, He wasn’t about to take a trip to that So how did he “survive” so successfully? state, and regional Af liate groups,PPA News & Notes island paradise with just a point-and- He took the advice a lab rep gave—he photographers can retain stronger ties shoot, so he bought his rst 35mm “real” joined his local and state photography to each other, to education, and to camera. But when he got off the plane, associations. “My best education the photographic community. it didn’t work. While a lab xed it, Dennis was from all the people I met in the decided he better learn to use what associations,” Dennis adds. “And once I Just as he relishes the connection PPA he had bought. Back in Michigan, he joined PPA, my opportunities expanded. and the Af liates provide, Dennis also took some photography classes at a I could network and learn from cherishes the connection his art allows. community college, started to learn the photographers all over the country. “As photographers, we can connect intricacies…and became absorbed. I absorbed information any time I with our clients in a way other industries could ask questions.” can’t,” he says. “It’s how I know that I really did nd the right profession.” PPA QUICK NOTES… CONGRATULATIONS TO AWARDS NEW PPA WEBINARS THANKS IMAGING USA & DEGREE RECIPIENTS Don’t have the time or money to travel VOLUNTEERS! People came from all around to to your education? Let us bring it to you! If you didn’t know already, Imaging congratulate recipients at this year’s With PPA’s new webinars, you can learn USA—our record-blowing educational Awards & Degree Ceremony during in the comfort of your home or studio. convention and tradeshow—would Imaging USA. For a complete list of These online seminars—produced by never have been the success it was award and degree recipients, please both PPA and Studio Management without all the convention volunteers. visit the Competition & Awards section Services (SMS)—feature business and of www.ppa.com. photography experts. Watch your inbox for information about the upcoming SUPER MONDAY: ONLINE AND topics and times. NEXT MONTH It’s back in April…the event that makes 2008 COUNCIL MEETING Monday the treasured day of the week: ATTENDANCE Super Monday. On (and around) April The 2008 PPA Council meeting was held 7, 2008, photographers around the January 9 in Tampa, Florida. A record of country will open their intellectual doors attendance is available in the Members to others. See all the courses detailed Only section of www.ppa.com. online at http://events.ppa.com. Pick your favorite and get ready to learn.P2 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
  • 106. TODAYMEET PPA’S 2008-2009 NEW BOARD MEMBERSWe are pleased to introduce the three newest members of your Board of Directors. Check out www.ppa.com forbiographies on your entire Board of Directors. Doug Box, Don MacGregor, Kevin Casey, M.Photog.Cr., API M.Photog.Cr., API (Industry Advisor) A professional MacGregor Studios President & CEO, photographer with started in 1974, Collages.net many hats (he even growing from Kevin Casey owned a child care humble beginnings founded and built center for 18 years), in an apartment to Collages.net fromDoug lives on his hobby, a 110-acre a 3500 sq. ft. building in Vancouver. scratch with no previous experiencecattle ranch in Caldwell, Texas. A PPA Don focuses on wall portrait and in the photography business. ButApproved Juror and Councilor, he has wedding work, and he has visited after holding key roles in two start-upbeen a PPA member since 1980 and the awards podium virtually every companies (medical and clinical labhas owned a studio for 35 years. He has year since obtaining membership. industries), Kevin gained the necessaryinstructed at the International Wedding Numerous Best of Class, Gallery, know-how. His technical sales andInstitute, 18 PPA Af liate schools, and Epcot, Fuji and aggregate awards in marketing experience—ranging fromseminars and conventions located almost every portrait and wedding product development to buildingthroughout the U.S., Canada, Mexico, class…he can claim them all. In markets for a wide range of innovativeScotland, Wales and England. On the addition to his awards (which also products, services, and tests—publishing side, Doug’s articles and includes the National Award and the prepared Kevin to lead Collages.netimages have graced most professional Ross Sanddal International Award), to success. The idea to scan photos PPA News & Notesphotographic publications. He is Don has spoken at many platform and for photographers and post themthe author of The Power of Business convention programs for national, online has quickly evolved into a multi-marketing systems and several books, state and provincial conventions million dollar corporation. Collages.including Professional Secrets of over the years throughout Canada net’s leading work ow, online posting,Children’s Photography, Professional and the United States. Along with and printing solutions now help overSecrets of Photographing Weddings, serving as a PPA Board member, he 10,000 pro photographers increaseand Natural Light Photography. is the Past President of Professional their competitive advantage. Photographers of Canada and In addition, Kevin has a BA inAlong with serving on the PPA Board, Professional Photographers of BC. Don Mathematics from College of the Holyhe is currently the Executive Director is also a member of the prestigious Cross and an MBA from Rensselaerof Texas Professional Photographers Cameracraftsmen of America. Polytechnic Institute. He even spentof America (TPPA). He has served 6 years in the U.S. Air Force as a B-52as Past President of TPPA, Executive combat crew member.Director of American Society ofPhotographers, publisher of ASPMagazine, and chairman/memberof many PPA committees. 2008-2009 PPA BOARD MEMBERSGuiding the world’s largest professional photography association is a tough job, and PPA is fortunate to have the rightvisionaries at the helm. Our board of directors understands exactly what you face daily and knows the programs,education, bene ts, and services you need to be successful. After all, they are practicing professional photographersjust like you.We’re pleased to introduce this year’s PPA Board of Directors:Dennis D. Craft, President Don Dickson Susan MichalM.Photog.Cr., CPP, API, F-ASP M.Photog.Cr., CPP M.Photog.Cr., CPP, ABIRon Nichols, Vice President Sandy (Sam) Puc’ Tim WaldenM.Photog.Cr., API M.Photog.Cr., CPP, ABI M.Photog.Cr, F-ASPLouis Tonsmeire, Treasurer Ralph Romaguera, Sr. Doug BoxCr. Photog., API M.Photog.Cr., CPP, API, F-ASP M.Photog.Cr., APIJack Reznicki, Carol Andrews Don MacGregorChairman of the Board M.Photog.Cr., ABI M.Photog.Cr., APICr.Photog.Hon.M.Photog., API Kevin Casey, Industry Advisor President & CEO of Collages.netnews from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P3
  • 107. TODAY AFFILIATE SCHOOL SPOTLIGHT FPP FLORIDA SCHOOL OF MID-AMERICA INSTITUTE OF PROFESSIONAL PROFESSIONAL PHOTOGRAPHY PHOTOGRAPHY May 18 – 22, 2008 | Daytona Beach, Florida June 1 – 5, 2008 | Cedar Falls, IA Daytona Beach Community College Contact: maipp@pcsia.net Contact: Teri Crownover; 800-330-0532 Web site: www.maipp.com Web site: www.fpp oridaschool.com Tuition: $625 members; $675 non-members (tuition only) Tuition: $500 FPP/PPA members; $650 non-members Course information: Course information: Photoshop for Fun & Pro t (advanced) - Suzette Allen Vital Photoshop Skills - Suzette Allen Seniors, Families & General Portraiture - Fundamentals of Photoshop - Al Audleman Jean, Dave, & J. D. Wacker Environmental Portraiture - Doug Box Introductory Portrait Techniques - Doug Box TurboCharge Your Work ow - Mark Campbell The ABC’s of Business - Aletha Speakar & Steve Larson Foundations of Portraiture - Bruce Evensen Taking It to the Next Level - Monica Sigmon & Michael Taylor Intro to Corel Painter - Jane Conner-ziser Portraying Families & Children - Dennis Craft Portraits & Weddings - Hanson Fong & Janice Wendt Think Inside the Box - Gary & Pamela Box Power Marketing - Mitche Graf Photoshop (intermediate to advanced) - Mark Campbell High Octane Weddings - Curt Littlecott The Walden Experience: A Journey through Imaging - High School Seniors - Larry Peters Tim & Beverly Walden Learn to See & Control Light - Barry Rankin, Mastering the Techniques: The Next Level with Corel Painter - Jeremy Sutton How to be a Complete Photographer - Hanson Fong Mastering the Light - John Woodward Brand New Course for Brand New PhotographersPPA News & Notes Master’s Class - Al Gordon, Tim Kelly & Greg Daniel (basic level, 2-day course) - Robert Lloyd Mastering the Light - John Woodward IN MEMORY…ARTHUR J. REED, JR., CR.PHOTOG. Art Reed, retired from Eastman had great pride in being a member Kodak, passed away on January of the Kodak corporate family. Art 16, 2008. Art, who was 82, died from understood the value of relationships complications while hospitalized for a and was committed to helping others. fall. He is survived by his wife, Marj, two children and two grandchildren. Art Art recognized that the needs of the was a honorary life member of SEPPA, professional photography market, Georgia and Florida Professional as well as his staff’s, were constantly Photography Associations and a long- changing. He is credited with coining time PPA and PMA member. the phrase “we have to remain rigidly exible!” “Find out what keeps your He graduated from the Rochester customer awake at night and then go Institute of Technology and began x it” was another favorite that led to his professional photographic career improved customer satisfaction. in Auburn, NY. He was invited to join the Eastman Kodak Co. for a 35-year The world and the photographic career—in both the domestic and industry have lost a true gentleman international markets—and retired in and a devoted friend with the passing Atlanta as Regional Manager. He is of Art Reed. remembered for his patriotism as a WWII veteran and a citizen, one who CONVERSATIONS ON OURPPA.COM Super Monday is next month, and designed to let you connect with other http://www.ourppa.com/forums/ the International Print Competition is professional photographers because forumdisplay.php?f=30 gearing up. So what can you do to sharing thoughts leads to even better get ready? Ask questions, get ideas discoveries and skills. http://www.ourppa.com/forums/ for the best programs, debate the forumdisplay.php?f=10 best competition print choices, and more…all on OurPPA.com. The forum isP4 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
  • 108. 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.
  • 109. LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES March 2008 • Professional Photographer • 139
  • 110. LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES140 • www.ppmag.com
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  • 112. LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES142 • www.ppmag.com
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  • 114. LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES144 • www.ppmag.com
  • 115. LabTab ad specs: Ad size: 31⁄2” x 21⁄2 12x rate: $400.00 gross per month Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge. Contact Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information. Corporate Color/Prolab Express (www.prolabexpress.com) . . . . . . . . . . . . . . 139 Miller Professional Imaging (www.millerslab.com) . . . . . . . . . . . . . . . . . . . . . 13 PROFE SSIONAL Contemporary Photography/J. Hartman (www.jhartman.com) . . . . . . . . . . . . 150 More Photos (www.morephotos.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Custom Brackets (www.custombracket.com) . . . . . . . . . . . . . . . . . . . . . . . . 146 Morris Group (www.themorriscompany.com) . . . . . . . . . . . . . . . . . . . . . . . . 147 Custom Color Corporation (www.customcolor.com). . . . . . . . . . . . . . . . . . . . 139 MyPhotopipe (www.myphotopipe.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Dalmatian Lab (www.dalmatianlab.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 National Direct Marketing Services (www.ndmservices.com) . . . . . . . . . . . . 149 Denny Manufacturing (www.dennymfg.com) . . . . . . . . . . . . . . . . . . . . . . . . . 151 Neil Enterprises (www.neilenterprises.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Denny Manufacturing (www.photonovelty.com). . . . . . . . . . . . . . . . . . . . . . . 151 Nik Software (www.niksoftware.com/ppadfine . . . . . . . . . . . . . . . . . . . . . . . 123 Digineg (www.digineg.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Nikon (www.stunningnikon.com/challenge.com) . . . . . . . . . . . . . . . . . . 3, 18-19 Diversified Lab (www.diversifiedlab.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Noritsu (noritsu.com/M300) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633D LightMaster (www.3dlightmaster.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Draper Imaging (www.draperimaging.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 147 North American Photo (www.naphoto.com) . . . . . . . . . . . . . . . . . . . . . 142, 144Adorama (www.adorama.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129, 131 Drive Savers (www.drivesavers.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Onlinephotofix.com (www.onlinephotofix.com) . . . . . . . . . . . . . . . . . . . . . . . 151Advanced Photographic Solutions (www.advancedphoto.com). . . . . . . . . . . . 140 Dury’s (www.durys.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 PR Photo Lab (www.prphotolab.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Album Crafters (www.albumcrafters.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Dyna-Lite Inc. (www.dynalite.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Pacific Mount (www.pacificmount.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Albums Inc. (www.albums inc.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-65 Ed Pierce Seminars (www.edpierceseminars.com) . . . . . . . . . . . . . . . . . . . . . . 7 Perfection Distributing Inc. (www.perfectiondistibuting.com). . . . . . . . . . . . 148AlbumX/Renaissance Albums (www.renaissancealbums.com). . . . . . . . . . . . 45 emotion Media Inc. (www.emotionmedia.com) . . . . . . . . . . . . . . . . . . . . . . . 147 Photobook Press (www.photobookpress.com) . . . . . . . . . . . . . . . . . . . . . . . . 69Allied Photographic & Imaging Lab (www.alliedphoto.com) . . . . . . . . . . . . . 140 Epson (www.epson.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35 Photoprism Color Lab (www.photoprismcolorlab) . . . . . . . . . . . . . . . . . . . . 144AllStar Photo Imaging (www.4allstar.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Express Digital (www.expressdigital.com/cheer) . . . . . . . . . . . . . . . . . . . . . . . 77 Pictobooks (www.pictobooks.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146, 149American Color Imaging (www.acilab.com) . . . . . . . . . . . . . . . . . . . . . . . 89, 142 Filmet (www.profilmet.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Pictology (www.go.pictology.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148American Student List (www.studentlist.com) . . . . . . . . . . . . . . . . . . . . . . . 147 Focal Point Studios (www.notecard.info) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 PocketWizard (www.pocketwizard.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23ARK-LA-TEX Color Lab (www.altcolorlab.com). . . . . . . . . . . . . . . . . . . . . . . 139 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Printmakers Chicago (www.printmakers.com) . . . . . . . . . . . . . . . . . . . . . . . 144Asukabook (www.asukabook.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Fredericks Photo Lab (www.fredericksphotolab.com) . . . . . . . . . . . . . . . . . . 140 Profoto (www.profoto-usa.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cover IVB & H Photo-Video (www.bhphotovideo.com) . . . . . . . . . . . . . . . . . . . . 124-125 GP Albums (www.gpalbums.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Portrait Weavers (www.portraitweavers.com) . . . . . . . . . . . . . . . . . . . . . . . . 150BWC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Graphic Authority (www.graphicauthority.com) . . . . . . . . . . . . . . . . . . . . . . . 80 Sekonic (www.sekonic.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Backdrop Outlet (www.backdropoutlet.com). . . . . . . . . . . . . . . . . . . . . . . . . 146 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . . 139 Simply Canvas (www.simplycanvas.com) . . . . . . . . . . . . . . . . . . . . . . . . 79, 145Backgrounds by David Maheu (www.backgroundsbymaheu.com). . . . . . . . . . . . 147 GTI Graphic Technology Inc. (www.gtilite.com) . . . . . . . . . . . . . . . . . . . . . . . 69 Sony (www.sony.com/dpf). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Bay Photo Lab (www.bayphoto.com) . . . . . . . . . . . . . . . . . . . . . . . . . 50-51, 139 Hallmark Imaging (www.hallmarklabs.com) . . . . . . . . . . . . . . . . . . . . . . . . . 144 Speedotron (www.speedotron.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Bellies & Babies 2008 Tour (www.bellies-babies.com) . . . . . . . . . . . . . . . . . 127 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Sto-fen (www.stofen.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Big Black Bag (www.bigblackbag.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 HiTi Digital America Inc. (www.hi-ti.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Student Marketing Group Inc. (www.studentmarketing.net) . . . . . . . . . . . . 149Bogen Imaging Inc. (www.bogenimaging.us) . . . . . . . . . . . . . . . . . . . . . . . . . 47 Jerry Ghionis (www.theicesociety.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 114-115 Studio Dynamics (www.studiodynamics.com) . . . . . . . . . . . . . . . . . . . . . . . . 135Brightroom Inc. (www.backprint.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Jonathan Penney Inc. (www.jonathanpenney.com) . . . . . . . . . . . . . . . . . . . . 151 Studio Logic (www.studiologic.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Buckeye Color (www.buckeyecolor.com). . . . . . . . . . . . . . . . . . . . . . . . . . 57, 142 Kambara USA Inc. (www.kambara.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Studio Pro Group (www.studioprogroup.com). . . . . . . . . . . . . . . . . . . . . . . . 143Paul Buff Inc. (www.white-lightning.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 The Levin Company (www.levinframes.com). . . . . . . . . . . . . . . . . . . . . . . . . 146 Successware (www.successware.net) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111CPQ (www.cpq.net) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Lustre Color (www.lustrecolor.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 143 Tamron (www.tamron.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Candid Color Systems Inc. (www.candid.com). . . . . . . . . . . . . . . . . . . . . . . . 143 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Unique Photo Supplies (www.uniquephoto.com) . . . . . . . . . . . . . . . . . . . . . . . 4Canon (www.usa.canon.com/dlc) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 McKenna Pro (www.mckennapro.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Used Camera Buyer (www.usedcamerabuyer.com) . . . . . . . . . . . . . . . . . . . . . 57Canvas Artworks.com (www.canvasartworks.com . . . . . . . . . . . . . . . . . . . . . 147 Mamiya (www.mamiya.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27, 29 Veach Co. (www.veachco.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Chimera (www.chimeralighting.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Meridian Professional Imaging (www.meridianpro.com) . . . . . . . . . . . . . Cover II White House Custom Color (www.whcc.com) . . . . . . . . . . . . . . . . . . 8-9, 24-25Christopher Imaging (www.chrisimaging.com). . . . . . . . . . . . . . . . . . . . . . . . 141 Michel Company (www.michelcompany.com) . . . . . . . . . . . . . . . . . . . . . . . . 149 White Glove (www.wgbooks.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Cindy Baxter Studios (www.cindybaxterstudios.com) . . . . . . . . . . . . . . . . . . 149 Michigan Photo (www.michiganphoto.com). . . . . . . . . . . . . . . . . . . . . . . . . . 141 Zookbinders (www.zookbinders.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Collages.Net (www.collages.net). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 30-31 Microtek (www.microtekusa.com or www.artixscanm1.com). . . . . . . . . . . . . . 39Color Incorporated (www.colorincprolab.com) . . . . . . . . . . . . . . . . . . . . CIII, 140 Midwest Sports (www.midwestsportslab.com) . . . . . . . . . . . . . . . . . . . . . . . 142 Publisher not responsible for errors & omissions March 2008 • Professional Photographer • 145
  • 116. 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.146 • www.ppmag.com
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  • 120. Buyer’s Gallery ad specs: Ad size: 21⁄4” x 43⁄4 12x rate: $550.00 gross per month 6x rate: $600.00 gross per month Contact your advertising representative: Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information.150 • www.ppmag.com
  • 121. ProductMall SOMETHING HERE YOU NEED... PROFESSIONAL PHOTOGRAPHERCLASSIFIED ADVERTISING RATES• $1.50 per word• $2.00 per word/words with allcaps or bold face.• $10.00 per issue—ConfidentialReply Box Ads (Optional)—$30 min. per ad• Closing date is 20th of thesecond month proceeding issue date.• Remittance must be receivedwith order. NO ADS ACCEPTED BY PHONE. Remittance to: Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303 800-339-5451, ext. 221 FAX 404-614-6405 March 2008 • Professional Photographer • 151
  • 122. ClassifiedAdvertising CANVAS MOUNTING HELP WANTED CLASSIFIED ADVERTISING RATES CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. HELP WANTED: Assistant photographer for contemporary Original McDonald Method. Considered best AVAILABLE. photojournalistic wedding coverages in Orange County, CA Classified rates: • $1.50 per word; • $2.00 Realistic canvas texture. Large sizes a specialty. area. Must have digital equipment. E-mail John at per word/ words with all caps or bold face. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. johnnam1@yahoo.com. • $10.00 per issue—Confidential Reply Box WWW.CANVASMOUNT.COM WEDDING PHOTOGRAPHERS: Experienced Digital Ads (Optional)—$30 minimum per ad. Photographers in South Florida with back up equipment. Must Closing date is 20th of the second month COMPUTER/SOFTWARE be creative and consistent. Email info@creativefocusinc.com. proceeding issue date. Remittance must be SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Well established Studio in CODY WYOMING seeking received with order. NO ADS ACCEPTED BY Monteith, the nation’s foremost studio management business partner. Must have a minimum of 10 years PHONE. Remittance to: Professional experience in running your own studio operation. Photographer Classified Ads, 229 Peachtree consultant. Call today for a FREE SuccessWare® Tour 800- 593-3767 or visit our Web site www.SuccessWare.net. www.singerphotography.com/partner for details NE, Ste. 2200, Atlanta, GA 30303; 800- 339-5451, ext. 221; FAX 404-614-6405. Learn how you can revolutionize customer and order PORTRAIT PHOTOGRAPHER tracking and ignite your marketing fire with customized NORTHEASTERN WISCONSIN software that knows what’s going on in YOUR business— Harmann Studios is a progressive portrait company with even when you don’t! More professional photographers multiple locations with emphasis in seniors, children, trust Photo One Software, powered by Granite Bear families, sport, and school photography. We have been in than all other studio management software combined! 5 business for more than 45 years and have unlimited ACCOUNTING Powerful Guarantees: 5 days to customize your Photo resources to make our portraits stand out. We are seeking One to match your studio; personalized phone training for a candidate with 5 years of portrait experience, goodCPAs FOR PHOTOGRAPHERS. Business set-up, tax you and your staff; 75 minute no-hassle guaranteed organizational skills, exceptional understanding of DSLRplanning and preparation, business valuations and support call-back time; 365 days of unlimited support and cameras, and most of all, a fun and adaptive personality.consulting. Decades of experience. Darryl Bodnar, CPA, usable upgrades and a 365 day unmatched money back Health, vacation, and flexible scheduling are just some of(410) 453-5500, dbodnar@nlgroup.com. Visit our website guarantee! Zero-Risk. Only $299.00 deposit gets you the benefits we offer. Please send resumes and sampleat www.nlgroup.com. started. Call 888-428-2824 now for your free working images and sample images to John Harmann at demo or visit www.photoonesoftware.com. Photo One, jharmann@harmann.com. ALBUMS Building better businesses, one studio at a time. PORTRAIT PHOTOGRAPHER.GP ALBUMS (formerly General Products L.L.C.) is focused Company: Club Services of America. Description: Family portraiton flush mount and digital offset albums along with our DIGITAL photographer with wanderlust. Great earning potential forNEW extensive line of self-mount albums and folios. GP’s DIGITAL PHOTOGRAPHERS—Kessler Color produces excellent family photographer with quality portraitOptimus, Quick-Stick, Digital Vision, Tempus, and Eclipse STUNNING images from digital files. Try our rapid FTP site experience. Photograph and sell to Country Club membersalbums are the products that will help take your photography and get a FREE 16 x 20. New Service—E-Vents from throughout the United States. Many assignments arebusiness into the future. You will experience the same great Kessler Color. Get 8x10 units for $.90. where the weather is good: south in the winter and northquality with a whole new look. As a manufacturer, GP Albums info@kesslercolor.com. 800-KES-LABS. in the summer. OK to travel with spouse. PPA Certified oralso has the ability to create custom photo packaging Masters of Photography are preferred. Requirements:products upon request. GP Albums continues to offer variety SCHOOL PHOTOGRAPHERS—Kessler Color’s digital units Must have tools of the trade and a dependable automobile.and flexibility allowing photographers to design the perfect start at $.90 each. Beautiful color and great value! Call Family portrait photographer. Some sales experience.product that will last a lifetime. For more information, please 800-KES-LABS. Excellent knowledge of digital photography. See ourvisit us at www.gpalbums.com or call 1-800-888-1934. website at: www.clubservicesofamerica.com. Email resume EDUCATION/WORKSHOPS and sample portraits to clubservices@cox.net. BACKGROUNDS DIGITAL PAINTING FORUM. The Digital Painting Forum, PHOTO LAB MANAGER—Responsible for digital photoTHE DENNY MFG. CO., INC. is the World’s Largest Manufacture hosted by Painter Master Marilyn Sholin has thousands of processing. Large in house production lab. Must haveof Hand Painted Backgrounds, Computer Painted Backgrounds, international members and over 50,000 post about Corel® general knowledge of photography. Candidates will beMuslin Backgrounds, Studio Sets, Props, Lift Systems, and Painter, Essentials, and Photoshop.Forums include proficient in producing color correct portrait qualityrelated Studio Accessories. Contact us today to receive our tutorials, brushes, digital painting, art, and the business of images. Fax cover letter and resume to FCS 315-733-3214.FREE 180 page color catalog filled with exquisite products creating, marketing and selling digital art. This forum has No phone calls please.and ideas to help you succeed in Photography. Write P.O. a small subscription fee that is well worth the educationBox 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit gained. www.digitalpaintingforum.com INCORPORATION SERVICESour Web site at www.dennymfg.com. WALL PORTRAIT CONFERENCE. April 20th-25th, 2008. Six INCORPORATE OR FORM an LLC today! Your art isSTUDIO DYNAMICS’ muslin and canvas backdrops offer day Wall Portraiture concept to completion. The original wall a business. Treat it like one. The Company Corporation canquality and value at outlet prices! Call 1-800-595-4273 portrait school. Has changed the lives of many! Emphasis on help you incorporate or form a limited liability company infor a catalog or visit www.studiodynamics.com public acceptance, concepts, sales, portrait finishing and more. as little as ten minutes. We are fast, accurate andCHICAGO CANVAS & SUPPLY—Wide Seamless Canvas and Yakima, Washington, 509-248-6700, www.wallportrait.com affordable. Provide additional credibility to yourMuslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, photography studio or business at the fraction of the costSharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, EQUIPMENT FOR SALE of using an attorney. Call 1-800-206-7276 or visitGesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track www.corporate.com today!& Hardware for Moveable Curtains and Backdrops—Easily DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEWinstalled. Quick turn around time. Our prices can’t be beat. Visit & USED, FACTORY AUTHORIZED. INSTALLATION AND LAB SERVICESour website or call for a free catalog and samples. 773-478-5700; TRAINING. FINANCING—$600 UP. DELIVERY—INSURED. ACADEMY PRODUCTIONS INC.www.chicagocanvas.com; Email@chicagocanvas.com WWW.DIRECT-RESOURCES.COM; 877-318-3015. INNOVATIVE PRINTING SOLUTION HENSEL INTEGRA 500, 3 heads, power packs, stands, Complete Imaging Service for today’s professionalKNOWLEDGE BACKGROUNDS—The #1 manufacturer of snoots, case, cords, complete. Like new! $750 or best photographer Processing—Proofing—Film—Digital Filesquality handpainted canvas and muslin backdrops. Proudly offer. Call: 319-389-0723. —SOS—handcrafted in the U.S.A. Call today toll free: 888-849- Self Ordering System powered by ROES7352 for your free copy of our 2008 Product Catalog; orvisit us on the web at: www.knowledgebackgrounds.com FRANCHISE OPPORTUNITIES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors CAMERA REPAIR PROSHOTS STUDIOS—Always dreamed of owning your • Studios—Store Promotions—Fundraisers—Weddings own portrait studio but don’t know where to start? With a • Composites—Collages—Other Unique ProductsHASSELBLAD REPAIRS: David S. Odess is a factory Proshots franchise you can be open for business in as little • High Tech Printing Equipment—Scanning Servicestrained technician with 31 years experience servicing the as 4 months. NO exp. necessary! Our all digital full service • Free Marketing Seminars—Expert Product DesignersHasselblad system exclusively. Previously with Hasselblad studios come complete with everything you need to be in • Superior Customer Service—Detailed Technical SupportUSA. Free estimates, prompt service, reasonable rates and business. We train, support and walk you thru each step. • Competitive Pricing—Quick Turn Arounda 6 month guarantee. Used equipment sales. 28 South Total investment including your franchise fee only CALL US TODAY: 800-421-3523Main Street, #104, Randolph, MA 02368, 781-963-1166; $60,000. For more information call Darrell Collie at 6100 ORR ROAD • CHARLOTTE, NC 28213www.david-odess.com. 864.350-6735 or visit us at www.proshotsstudios.com www.PicAcademy.com152 • www.ppmag.com
  • 123. PECHMAN PROFESSIONAL IMAGING MARKETING CHARMING, well respected NORTHERN CALIFORNIA (DIGITAL OR FILM) full service portrait studio in a cute country town which has REVEALED: HOW TO GET MORE REFERRALS AND always supported a photography studio. OriginallyPortraits & Units 8x10 16x20 REPEAT BUSINESS THAN EVER BEFORE! Studies established in 1996 as strictly a wedding business,Print-By-Inch $1.45 $5.80 show you can see a 10, 25, EVEN 100% INCREASE in expanded based on consumer demand. PHENOMENALStudio-Color Corrected 1.90 11.99 referrals and repeat business by ‘staying in touch’ with a visibility on primary Business Route in the downtown area. client newsletter. But who has the time? Photographers No competition for 25 miles. Recent recipient of down-Lab-Color-Corrected 2.57 13.99 using my unique, “DONE-FOR-YOU” NEWSLETTER system town beautification award from Chamber of Commerce.Raw-File-Services 3.15 16.40 report spending only around 60 minutes on their newsletter Growing high school senior, photo restoration and•Undergrad-Sport-Event Pkgs. 8x10 @ $.96 and getting $750-$18,500 back every month! See for commercial markets. Successware, Roes and LLC in place.•Fully Assembled Albums-10x10 print included-9 to 18 yourself… Request your FREE Special Report and Sample Strong web presence (www.ricecreekphoto.com). Regionalpages from $149.99, (100’s of templates available) Package at www.TheStudioNewsletter.com to learn more. and national advertising in place. Selling due to death in•Proofs from $.25 family and relocation. Owner will assist transition. 100% STOP WASTING YOUR TIME AT BRIDAL SHOWS. No hassle turn-key. $90K negotiable; ricecreekphoto@sbcglobal.net.•Proof Books-spiral bound-8x10 page @ $1.60 system automatically follows up and gets referrals. FREE• 48 Wal Gold Stamp Special-next 48 free 24/7 toll-free recorded message. 800-301-2062, Ext. 703. HOME/ STUDIO FOR SALE. Three bedroom Cape Cod•Spray-Mount-Texture PHOTO RESTORATION with 20 x 30 x 10h addition, with full bath and basement•Digital Retouch $2.50, Art-$1.00 per minute on corner lot. (Perfect for home studio) Busy street, 1st PHOTO RESTORATION FREE! Try us, you’ll like us! separate office entrance, parking in front and side of ROES®, LABPRINTSTM, FTP OR DISK. Point & click easy. No sign up cost. 100% guarantee. house. Five minutes to I-95, fifteen minutes to 800-777-0221 Online leader since 1993. Wholesale only to professionals. Philadelphia, Pennsylvania and/or Wilmington Delaware. WWW.PECHMANIMAGING.COM www.hollywoodfotofix.com or call 888-700-3686. Retired, asking $ 295,000. Phone 610-859-8596 Cell 610-505-4018.SCHOOL/WEDDING Photographers. Low package prices PRESENTATION BOXESstarting at 19 images. Wedding 10x10’s, you design we STUDIOS WANTEDprint $2.49. www.PhotoPrintPros.com. BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast COLUMBUS CAMERA GROUP, INC. buys whole studios delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", or any part including cameras, film, darkroom, long roll,PLATINUM GICLEETM FINE ART B&W from your digital 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEYfile or negative up to 40 x 60. New DuraFiberTM lighting, and misc. No quantities too small. Call 800-325- AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 7664. Ask for Eric.Media provides deep blacks and waterproof, non-scuff (phone); 757-440-1149 (fax); 888-440-1146 (toll free).surface, great for hand-coloring. Also available in www.aufengerbox.comsepia, color, split-tone. Call for free sample. JonathanPenney, Inc., Master Printmakers. 631-874-3409. PRESENTATION BOXES available for immediate shipment;www.jonathanpenney.com 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800-861-4528. BUYSPORTS PHOTOGRAPHERS The most versatile sports DIRECT AND SAVE. NPD Box Company, 3000 Quigleyprogram available. Digital or film, quality & service is our Road, Cleveland, OH 44113. www.NPDBox.commotto. See www.sportsphoto.com PRESENTATION BOXES-BOX MANUFACTURER BUY Better than ever!HAND PAINTED OILS; Transparent, Deluxe, and CanvasStretched up to 40x60. A complete photo art lab serving DIRECT AND SAVE. Complete line of Print and Proof boxes. Hinged presentations. Better Quality, Lower Prices. Professionalphotographers since 1965. Traditional and Digital printingservices. Fiber based B&W up to 30x40. Giclee Fine Art Product mfg in our own plant. Customize with logo, and choose colors with ease. Tissue included! Call 401-725- 3646 for free samples. H-B Packaging Group 575 Photographerprints. Restoration. Free estimates & pricing guide. 800-922-7459 Venetian Arts www.venetianarts.com Lonsdale Ave. Central Falls, RI 02863 www.h-bphoto.com. Online has exciting UNITED PROMOTIONS, INC. RETOUCHING new features for you. • FULL SERVICE DIGITAL & FILM LAB• WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fast10% DISCOUNT from our low List Price for prebuilt orders service, a retouch that looks like the photo was never submitted in ROES (free software), Photolynx, OzE, altered and the lowest prices in the industry. If you demand At ppmag.com, we don’t simply Workstream or other pre-approved software via our web the best log onto www.retouchup.com and your first 10 recreate the magazine online, site, FTP or on CD’s. Fast Delivery. Wallets to 40" wide prints. retouches are free just to prove our claims—the best—theVOLUME PACKAGE PRINTS - Pre Schools, Day fastest and the least expensive or call 888-700-3686. Professional Photographer Online Cares, Underclass, Proms/Dance, Cap & goes far beyond that with loads of Gown, Store/Malls, Glamour, Church, Fund SALES AIDS cool, useful and inspiring content. Raising and Family Packages.SPORTS & EVENT PACKAGE PRINTS BOXES—FROM THE ORIGINAL BLACK BOX MANUFAC- And it’s all all yours free. Go toWEDDING - SENIORS - CANDID - STUDIO PRINTS TURE—FREE SAMPLE—Fast delivery, Finest quality www.ppmag.com today!ADD ONS TO ORDERS - Retouching, Proofs on 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”. Envelopes, School Service Items, CD’s, Fun Packs AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, (laminated & die cut), Plastic ID Cards, Groups, Big VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 Prints, Composites, Trader Cards (2 sides), Magazine (fax); 888-440-1146 (toll free). www.aufengerbox.com Covers, Memorymates, Digital Groupmates, Photo Magnet Cutouts, Statuettes, Buttons, Magnets, CREATIVE FRAMES…Designed frames for the professional Mirrors, Calendars, Locker Prints, Photo Pennants, wedding, portrait and school photographers. Our frames Mouse Pads, Fun Posters, Admission Tickets, Sticker are manufactured here in the USA. Visit us at Prints, Banner Prints, Collages, Gold Foil Stamping WWW.CREATIVEFRAME.COM to see our full line. Laminating, Mounting, Posting Images Online and many 5000 POSTCARDS $149 UV Coated more services for the professional photographer. 5,000 Business cards for $60.00NEW PRODUCTS - Dye-Sub Photo Plaques and www.colorphotobusinesscards.com Gallery Wraps on Canvas. $10 off /with ad UNITED PROMOTIONS, INC. 433 Lawton Road STUDIO FOR SALE Charlotte, NC 28216-3317 FLORIDA STUDIO: High-End 35-year business in (800) 362-4441 - Toll Free beautiful Tampa Bay available at $460k with owner www.upilab.com financing. Nets over $150,000 annually without weddings. sales@upilab.com Magnificently landscaped real estate is also available. Retiring and ready to sell call VR Business Brokers 727- FREE 20X30 499-6500 or e-mail veronica@vrtampabay.com. Wallets to 6ftx14ft Goldencolor WESTERN COLORADO—just hours from national parks. 9020 W. Olympic Blvd. 40 year-old established studio plus client list. Amazing Beverly Hills, CA 90211 outdoor photo park. Thriving economy in this sunny 310-274-3445 college town of 150,000 - a great opportunity. Owner will www.goldencolor.com assist your transition. Call 970-596-1975. March 2008 • Professional Photographer • 153
  • 124. 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. ©Allen Stross several nonprofit associations, pursues per- sonal documentary projects, and works with local art and community fairs. His work with the NBSC began with a volunteer gig photographing food for the center’s meal program. “I documented the good and the bad,” he remembers with a laugh. After giving his food photos to the NBSC’s nutritionist for displays and menus, Stross started documenting NBSC field trips, officer elections, on-site programs, parties and other events. “I decided years ago that I wanted to document the senior experience,” he says. “So that is what I’m doing. I’m creating a photo record.” For others interested in volunteering at a senior center, Stross recommends first get- ting to know the staff and senior denizens. Familiarize yourself with the programs and Centered on seniors the people, and you will be welcomed, he says. Stross also suggests leading classes for seniors; in particular, many seniors areI ALLEN STROSS PURSUES LIFE AS A PHOTO PHILANTHROPIST eager to learn about digital photography. Looking back on more than a half centu- n our youth-obsessed culture, senior citizens a decade. He serves on the NBSC Advisory ry in professional photography, Stross is are often a forgotten population. From Hanna Council, the City of Berkeley Commission pleased by what he has accomplished, and Montana to High School Musical, it’s all on Aging, and the Berkeley Historical excited by what he has yet to contribute. about the craziness of kids (and big profits Society. He also volunteers as the NBSC’s de “I’m a photo philanthropist,” says Stross. “I for Disney). The focus is on youth, and the facto photographer, covering events, outings take photos and I give them away. Forget message is “Out with the old, in with the new.” and special programs. He donates all the the money. When you donate your photo- Not so in Berkeley, Calif., where the images to the center and to the senior citi- graphs, you get the satisfaction of supplying North Berkeley Senior Center (NBSC) has zens pictured. something for people that lasts beyond you. created a model for active, involved seniors. “Not only does Allen take photos, he has It’s your legacy, and you will be appreciated One of the most successful centers of its them developed within a few hours, and then for it. There are not many professions where kind, the NBSC offers a nonstop smorgas- passes them out free of charge to the delight you can do that.” I bord of activities, educational programs and of his subjects!” says Suzanne Ryan, recently To learn more about Berkeley’s senior pro- community meal services. Allen Stross, retired director of the center, who continues grams, visit www.ci.berkeley.ca.us/hhs. M.Photog., a PPA member since 1955, is one to express gratitude for Stross’ services. of the center’s most active participants. He’s At 84, Stross isn’t even thinking of retire- Share your good works experience with us by e-mailing Cameron Bishopp at been attending events at the NBSC for about ment. He provides event photography for cbishopp@ppa.com 154 • www.ppmag.com
  • 125. © John Russo T F LIGH PA S SION O sly abou t ten years ag o for an ew that Australia Jaime n was ime Pres utter I kn she ed with Ja pushe d the sh ork with, “I first w ork second I asy to w the she co ol and e ast Magazin e. From nly was amera. F e’. Not o for the c be ‘Big Tim ility to turn it on going to nique ab work it! en rk, that u can still nd but th that spa that girl other bra had ars later and ol. I o wned an ekend . It was – ten ye s in scho for a we forward hen I wa his gear back. ed P rofoto w orrow some of was no going I first us sors let me b After that there y profes rugged. one of m incredibly SO Profoto y to use and n.” JOHN RUS fast, eas my visio ! ComPact Low Price PLUS ts m e capture Profoto leNew ComPact Kits now include a FREE custom case, two umbrellas and two light stands.Profoto-USA.com F O R M O R E D E TA I L S V I S I T W W W. P R O F O T O - U S A . C O M 914 347 3300 ComPact Acute2 Acute2R D4 ProB2/7b Pro-7a