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  • 1. APRIL 2008 | WWW.PPMAG.COM | $4.95 ©Allison Rodgers Photography
  • 2. Manfrotto. 100% Carbon Fiber.Enough said. Up to $50 Rebate on Manfrotto! For details, go to www.bogenimaging.us/promotions To locate a Manfrotto dealer with products on display and in stock Go2 www.bogenimaging.us 100% carbon fiber tubes Manfrotto US subsidiary: Bogen Imaging Inc. 201 818 9500 Magnesium die castings www.bogenimaging.us info@bogenimaging.com Quick central column system
  • 3. CONTENTS PROFESSIONAL PHOTOGRAPHER | APRIL 2008Features86 DESIGNING DUO Allison & Jeff Rodgers bring ad agency service to studio clients by Jeff Kent94 BRILLIANT A glittering gallery by the Diamond Photographers of the Year by Jeff Kent66 PORTRAITS: JOY RIDE Michael Gan & Leslie Artis-Gan: It’s a pleasure to be creative for a living by Stephanie Boozer72 PORTRAITS: BOLD BLACK AND WHITE Portraitist Kerry Brett brands her distinctive style by Lorna Gentry82 PORTRAITS: CLASSIC BEAUTY Portraitist Tim Kelly shares the secrets of his success by Lorna Gentry IMAGE BY ALLISON RODGERS PHOTOGRAPHY
  • 4. CONTENTS 14 FOLIO 106 CALENDAR 111 PPA TODAY 130 GOOD WORKS PROFESSIONAL PHOTOGRAPHER | APRIL 2008 | WWW.PPMAG.COM©Kerry Brett Departments C O N TA C T S H E E T 20 Eye of the storm: Jim Reed 22 Chris Lommel’s Greenspace 26 Copyright help is a click away by Maureen Cogan 28 Led by passion by David McKay PROFIT CENTER 33 What I think: Allison Rodgers 36 Web sites: Online & on your mind by Angela Wijesinghe 40 Web sites: Tap the power by Kammy Thurman 44 The joy of marketing: Stay true by Sarah Petty THE GOODS 49 What I like: Julia Gerace 52 Pro review: Canon imagePROGRAF iPF6100 by Ellis Vener 56 Labs: Spring tryouts by Joan Sherwood 62 Photoshop and Lightroom: What’s the difference? Part II by Andrew Rodney72 ON THE COVER: Kit and Alicia Teeter instructed Allison Rodgers to capture the true nature of their 5-year-old twins Cassie and Kinsey and their 3-year- old sister, Kyleigh. Our cover image, captured with the Canon EOS 5D and a 24-70mm 2.8L lens, was one of nine images that Allison and Jeff Rodgers Portrait artist and Improper Bostonian photographer Kerry Brett loves designed to go in the Teeter’s home as a grouping. Rodgers recalls, “So many expressions, so many a challenge. Whether it’s time restraints with celebrity clients or having too little space to moods. This image captures just one second in the life of the Teeter girls.” Read more about Allison work in, creative problem solving heightens her delight in photography. Rodgers Photography in our feature on page 86. 6 • www.ppmag.com
  • 5. 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.
  • 6. Mind. Body.
  • 7. Photography.A Picture-Perfect Relationship
  • 8. P ROF E S S I ONA LEDITORIAL director of publications CAMERON BISHOPP cbishopp@ppa.com senior editor art director/production manager JOAN SHERWOOD DEBBIE TODD jsherwood@ppa.com dtodd@ppa.com Investigative reporting features editor LESLIE HUNT manager, publications and sales/strategic alliances KARISA GILMER THE VALUE OF A GOOD Q&A SESSION lhunt@ppa.com kgilmer@ppa.com editor-at-large sales and marketing assistant What a client wants and what a client says she wants can be two JEFF KENT CHERYL PEARSON different things. jkent@ppa.com cpearson@ppa.com technical editors In journalism, there are fundamental questions every story is ANDREW RODNEY, ELLIS VENER supposed to answer: who, what, when, where, why and how. If the director of sales and strategic alliances reporter can elicit the answers to these six questions, he’s armed SCOTT HERSH, 610-966-2466, shersh@ppa.com with the facts he needs to write the full story. western region ad manager BART ENGELS, 847-854-8182, bengels@ppa.com The idea of a thorough question-and-answer session applies to eastern region ad manager portrait photographers as well, at least those interested in SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com circulation consultant maximizing every sale. MOLLIE O’SHEA, moshea@ppa.com Most clients aren’t familiar with the dramatic strides in por- editorial offices Professional Photographer trait-making in the last few years, and the plethora of new media 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. and photo products now available. They need the photographer’s 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly expertise to walk them through the selections. To provide true subscriptions counsel, you have to know not only what the client wants, Professional Photographer P.O. Box 2035, Skokie, IL 60076; 800-742-7468; but what he really needs. You have to put on your reporter’s cap FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com and find out. member services PPA - Professional Photographer “When clients come in, I ask a thousand questions about who 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com they are and what they’re looking for,” says Allison Rodgers, who, Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 along with her husband, Jeff, runs a successful studio in Olive, Miss. Subscription rates/information: U.S.: $27, one year; $45, two years; “I want to see the color palette of their house, the layout, the style. $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. We look into all of these elements so that we can provide a solution Back issues/Single copies $7 U.S.; $10 Canada; $15 International. that fits them.” PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation The Rodgers, profiled on p. 86, are both former art directors, Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; and accustomed to demanding corporate clients. Their experience FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. in the rough-and-tumble advertising world taught them how to Postmaster: Send address changes to Professional Photographer magazine, anticipate their clients’ requirements. P.O. Box 2035, Skokie, IL 60076 Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. In the end, says Allison, “It’s about helping people understand Article reprints: Contact Professional Photographer reprint coordinator at what they need.” And isn’t that the most effective sales strategy Wrights’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, there is? � 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, Cameron Bishopp GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. cbishopp@ppa.com Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Director of Publications 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
  • 9. 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.
  • 10. 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 Board “Melancoly” by Joseph and Louise Simone12 • www.ppmag.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. JIM CARPENTER ©Jim Carpenter Jim Carpenter, CPP, of Gitchells Studio, Inc. in Charlottesville, Va., captured “Crayola Cafe” as a self-assignment afternoticing the colorful umbrellas from the highway. He gotpermission from the University of Virginia to climb onto a roof, where he snapped the image with a Fujifilm FinePix S2 Pro digital SLRand 17-35mm Nikkor f/2.8 D IF-ED AF-S Zoom lens, exposing the frame for 1/250 second at f/8, ISO 400. He used AdobePhotoshop only to remove a crack in the concrete. “The umbrellas are really that color,” he says. This Loan Collection image won a Fujifilm Masterpiece Award.14 • www.ppmag.com
  • 12. Introducing New Square Albums and Books to the Miller’s Line With Innovative LayFlat Functionality and 18 Different Colorful Cover Options www.millerslab.com 800.835.0603
  • 13. ©Rich Newell RICH NEWELL While out photographing Italian architecture one afternoon, Rich Newell, M.Photog.Cr., of Photography by Eicher’s in Springboro, Ohio, noticed these three gentlemen with a baby carriage. “What were they talking about so intently, and why was there a baby carriage?” Newell wondered. With an answer in mind, Newell captured “I Told You to Use Protection” with a Fujifilm FinePix S2 Pro digital SLR and 80-200mm Nikkor f/2.8D AF ED lens, exposing the frame for 1/250 second at f/4.5, ISO 100. “This was one of those real-life moments that you just couldn’t make up,” says Newell. TINA TIMMONS While showing a client some fine-art pieces, Tina Timmons, M.Photog.Cr., of The Portrait Gallery in Frankenmuth, Mich., came up with the idea for “It’s a Girl Thing” when the client expressed interest in a photo of purses. “My mom was making photographic purses and totes for gallery resale,” says Timmons. With her Fujifilm FinePix S3 Pro digital SLR and 18-200mm Nikkor f/2.8 G IF-ED AF-S DX VR lens, Timmons ran down to the purse shop and exposed the image for 1/125 second at f/5.6, ISO 800. She used her own special combination of Adobe Photoshop, LucisArt, BuZZ, and Nik Color Efex Pro software to achieve the final image. ©Tina Timmons 16 • www.ppmag.com
  • 14. © Clay BlackmoreFor ultimate Color accuracy Color Management with i1Display 2If seeing is believing, you will want to see your images in their true colors. Monitors and graphic cardsinterpret color in their own unique ways, and they’re all different. i1Display 2 ensures that what you see onyour monitor is the real color in your digital files. It’s simple to use and includes everything you need to getaccurate on-screen color throughout the digital workflow, both in your own studio or in acollaborative production environment. XritePhoto.com 914 347 3300 X-Rite is a trademark of X-Rite, Incorporated
  • 15. No digital SLR on the planet could take this shot. So we built one. The Nikon® D3™ is here.©2008 Nikon Inc.
  • 16. See more of Sandro’s awe-inspiring D3™ images at stunningnikon.com/challenge.The revolutionary new Nikon D3 will change the way you shoot sports or action of any kind. With a 12.1megapixel FX-format CMOS sensor, 9 fps speed at full FX resolution, and incredibly low noise even at ISO6400, the Nikon D3 means you’ll never again have to choose between blazing speed or brilliant imagequality, particularly in low light situations. In the words of Nikon Pro Sandro, “There’s nothing more Icould possibly have asked of this camera. I’m absolutely blown away.” The Nikon D3. Do the undoable. Brainerd Int’l Raceway. Dusk. Turn 8. 1/5000 of a sec. f/4 ISO 6400. NIKKOR® 14-24mm f/2.8 Lens.
  • 17. CONTACT SHEET Eye What’s New, Events, Hot Products, Great Ideas, Etc. storm of the BY JEFF KENTAll images ©Jim Reed
  • 18. For the better part of two decades, Jim Reed orologically it’s a battleground for atmos-has lived on the edge of a tempest. That’s pheric conflict.”not a metaphor. Reed is a world-renowned From a photographic perspective, Reedstorm chaser and award-winning weather relishes the opportunity to interact withphotographer who has witnessed the fury of nature and produce jaw-droppingcountless floods, blizzards, tornadoes, and “atmospheric portraits.” From a social andhurricanes. His work has appeared in environmental perspective, he enjoysNational Geographic, Nikon World, The knowing his work can affect our perceptionNew York Times, Reader’s Digest, and Time, of nature. “I am convinced that we’reand the Web sites of the National Oceanic moving into a period of increased frequencyand Atmospheric Administration and the of harsh weather challenges. I’ve learnedWorld Meteorological Organization. Reed that if you are not prepared, not engagedis also the author of “Storm Chaser: A Pho- with nature, there will be traumatic results.tographer’s Journey,” winner of widespread Photography plays a critical role in helpingcritical acclaim. people realize what’s going on around them, Reed’s career began in Los Angeles as a and motivating them to learn to adapt.”filmmaker and writer, working on a varietyof commercial projects. But his childhood To see more of Jim Reed’s weatherfascination with weather began to reassert photography, and for information on his book, “Storm Chaser,” visitits pull, as televised coverage of severe www.jimreedphoto.com.weather became more immediate, and hebegan shadowing weather researchers. Well before the movie Twister thrilledaudiences with the tumultuous life ofstorm chasing, Reed had secured a nichedocumenting extreme weather. In the early’90s, with a spate of severe weather lashingacross the country, Reed turned his focus tothe skies full time. While everyone elsewas running for shelter, he stepped intothe maelstrom. Reed moved from Los Angeles toWichita, Kan., in 1992 and set up a weatherphotography operation. He chases storms,journeys to major weather events, and sellshis images to the media and stock and fineart houses. “Kansas is amazing because ofhow energized people are in terms of talkingabout these life-changing storms,” saysReed. “And Kansas is at the geographiccenter of the United States, and as thecrossroads of weather patterns, mete-
  • 19. CONTACT SHEET cabin on the property, and to partially restore GreenspaceAll images ©Chris Lommel a fieldstone farmhouse in another section. And there’s always the ongoing work of planting, weeding, mulching and maintenance. The cycle begins in winter, when Portraiture Lommel seeds some 40 flats with annuals, thrives in Chris leaving them to sprout under the grow lights in his basement. When the frigid Minnesota Lommel’s garden winter eases into early spring, Lommel BY STEPHANIE BOOZER moves the flats to a greenhouse. Memorial Day marks prime planting time, and friends and family come to help with the task. “There’s always something to do in a garden,” says Lommel, whose mother, too, tends to the gardens in the growing season, putting in more than 30 hours a week. “It really is a labor of love, designing and creating things outdoors. I’m fortunate that I can work in both areas that I love so much.” See more of the Lommels’ landscape and portrait work at www.chrislommelphotography.com. For Chris Lommel, M.Photog., CPP, of Chris circle the ponds. “The kids have a great time Lommel Photography in Big Lake, Minn., feeding the fish and playing in the yard. I can “going green” is more than a buzz word. His capture kids just being themselves.” 4,000 square-foot home and studio sits on Caring for a sizeable garden takes much two-and-a-half acres landscaped into idyllic time and manual labor, which Lommel was settings for portraits, the culmination of his feeling acutely in 2001, when he learned he love of both photography and landscape design. had multiple myeloma. Lommel immediately “I love being in tune with nature and the began an aggressive campaign of treatment, evolution of things,” says Lommel, who works including intense chemotherapy and, alongside his wife and high school sweetheart, eventually, a stem cell transplant. Recovery Kim. “My photography reflects that, too, meant a year-long hiatus from the studio because I’m always trying to grow and change.” and his beloved garden, and another two The Lommels planted the garden’s first years of working part time. seeds in 1995, and it’s been sprouting in new His family, members of the Rotary Club and directions ever since. In 1999, they installed others in the Lommel’s community tended water features, a pond 50-feet in diameter, the grounds, while photographers in the and a smaller pond that runs into a rocky area volunteered time in the studio to keep creek bed with a series of waterfalls. his business going. “It’s a great place to capture candid photog- “Last summer, the doctor said I’m cured raphy with the kids,” says Lommel. Conditioned until proven otherwise, so we’re back to by Lommel’s hand-feeding, the Koi and adding to the landscape,” says Lommel. He goldfish follow alongside visitors as they plans to add a rustic floor and roof to the log 22 • www.ppmag.com
  • 20. PHOTO BOOKS Tell your story with a Photo Book from Mpix. Our new Custom Hard Covers give you complete freedom to add vibrant, colorful images to the front and back of your book. Now your story starts before you even reach page 1. TX.Image courtesy of Sallee Photogaphy, Dallas, Visit www.mpix.com to see our full line of photographic and press products.
  • 21. CONTACT SHEET Copyright help is a click away How photographers are using the PPA Copyright Kit to protect their intellectual property BY MAUREEN COGAN, CPP If you want to protect your copyrights, PPA’s we stamp a copyright notice on our images, Copyright Kit will show you how. Prepared and what constitutes copyright violation. The by the PPA Copyright and Government brochure accompanies every order we deliver. Affairs Department, the kit is an exclusive It’s not difficult for consumers to scan, service for PPA members. Formatted as a copy and enlarge prints, but if we educate 40-page downloadable PDF file, the kit our clients, we can stem unintentional includes clear explanations of copyright copyright violation. laws; steps to take to protect your rights; At DeMartini Photography, in San filing how-tos; interactive, printable U.S. Diego, Calif., Christie DeMartini goes over Copyright Office forms; sample usage contracts with each client, highlighting key licenses; model release forms; copyright points, including her copyright to the transfer contracts; and more. images, and asks the client to initial each Our company, MoCoPhoto, incorporated point. She also inserts a PPA-supplied the information and forms in the kit into a copyright notice in each order. Further, she brochure for clients that explains our legal embeds her copyright in the metadata of copyright over the images we create, how copy- each digital image file, and clearly marks it right protection is vital to our business, why on every image on her Web site. “I market to a clientele who appreciate fine art,” says Vanessa Ard, of Vanessa’s The back of every print that leaves MoCoPhoto©Maureen Cogan is stamped with a copyright notice (left). Cogan Photography in Ellicott City, Md. She encloses brochures on copyright info with every screens clients and educates them during order (above). their initial consultation. She uses projection rather than paper proofs, and only rarely agrees to post a lo-res Web gallery online, register images of celebrities or singular and then for a limited time. Her final prints events that might be widely used. are textured and mounted, which both “My advice is to be as careful as you can raises their perceived value as fine art and with your images,” says Mecey. “But I think makes copying them virtually impossible. losing sleep over thinking someone may be At Mecey Enterprises, Inc. of Beverly copying or using one of your images Hills, Calif., most of David Mecey’s images without permission is a no-win situation. are made for limited use in catalogs or Restrict the use of your images, and always brochures, so he doesn’t usually register get it in writing." them with the U.S. Copyright Office. Instead, Mecey writes the terms of the client’s usage of his images into every job Maureen Cogan, CPP, owns MoCoPhoto in proposal, and reiterates the terms in every Columbia, Md. (www.mocophoto.com). invoice. He clearly states that the client is To obtain a free Copyright Kit, PPA members buying usage rights for a limited time and can visit www.ppa.com, click on the purpose only, and that ownership of the Copyright tab on the left, and select photographs remains his. He does formally Copyright Downloads. 26 • www.ppmag.com
  • 22. 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
  • 23. CONTACT SHEET ESSAY Led by passion “When you’re truly excited about your work, your clients will see it … and believe in it, too.” BY DAVID MCKAY, CPP Pricing wars, retail giants, and a shaky economy are only a few of the reasons why niche mar- keting your art is crucial to your studio’s success. To attract clients who want art rather than cookie-cutter mediocrity, your work needs to be fresh and unique, and capture ©David McKay 28 • www.ppmag.com
  • 24. the imagination. The market is ripe for is uniquely yours, your competition isn’t with we took on every kind of photography, we’dinnovation that’s driven by artistic passion. other photographers, it’s with a value system. devalue our work. If your business is known for doing a certain We don’t do portraits in the park like Be who you were created to be, a truetype of portraiture (ours is wall decor in brown some photographers in our area, and, yes, artist who lives with passion and purpose,tones), and nobody can match your quality, we lose a few clients when we say no. The and you will succeed in your chosen career.your marketing should attract clients who want clients we do attract know what we’re going McKay Photography is in El Dorado Hills,your work and expect to pay a premium for to do for them and how much it will cost. If Calif. (www.mckayphotography.com).it—we have wealthy clients, but we also haveclients who save up to purchase a McKay. Start by following your passion and listento your inner voice. When you’re trulyexcited about your work, and you know it’svaluable artistically, your clients will see it inyour body language and believe it it, too. Others may try to imitate your style, butnobody can duplicate the passion you put intoyour images. Others are trying to imitate ourbrown-tone style, but clients tell us that theirwork just doesn’t have the depth and emotionof our portraits. When you create art that ©David McKay April 2008 • Professional Photographer • 29
  • 25. Collages.netAlbums Make You and Your Clients Look Good.©2008 Collages.net Inc. All rights reserved. Photos ©2007 April Rocha Photography and Boucher Photography.
  • 26. Why Choose Collages.net’s Print and Bind Album Solution?Quality: Each album is carefully handcrafted andmeticulously reviewed. You can be confident thatCollages.net will deliver you nothing less than aperfect product – every time.Innovation: Collages.net developed an innovativealbum solution, perfect for filling a variety of studioneeds – from wedding albums to guest books tomaternity albums.Savings: With Collages.net, you will save time andmoney letting one vendor take care of your printand bind needs, and with our online ordering system, Collages.net albums feature the smallest page break in the industry (1mm) and incredible lay-flat properties.you will experience workflow ease.Customer Service: You will receive the same live,knowledgeable, and dedicated customer serviceyou have come to expect at Collages.net. For more information, visit www.collages.net/albums or contact Customer Service at (877) 638-7468 30% OFF STUDIO or customerservice@collages.net. SAMPLESAlbums | High-End Cards | Gallery Wraps | Press Printed Books | Professional PrintingCheck out Collages.net’s comprehensive product line at www.collages.net/products.
  • 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 StrategiesWhat I thinkAllison Rodgers raises afamily of loyal clientsWhat do you wish you knew when you were first start-ing out? I wish I had invested in studio managementsoftware to manage the mass of information I gathered.Once you develop a client base, one of the mostimportant things you can do is nurture that list.You can’t do it with sticky notes.What’s the biggest business risk you’ve ever taken?In November 2005 we moved into a 3,000-square-foot building with triple the rent of our previoustwo-location setup. I wanted to get all of us intoone place so we could work as a unit with room togrow. And guess what—we grew! We addedframing and three more employees. It was a bigrisk, but it’s been so worth it.What’s your deal breaker? When parents try to runmy child portrait sessions.What’s the secret to running a successful photog-raphy business? We always say that things changeevery six months. We are constantly re-evaluatingand putting new things in place to make theexperience of Allison Rodgers Photography better.You have to figure out what your clients’ needs areand meet them. Go above and beyond. Create anenvironment for your clients where they feel likethey’re the most important client you have. And,most important, be generous with your time andyour talent. Being generous will help you create afamily of clients that will be forever loyal.IMAGE BY ALLISON RODGERSPHOTOGRAPHYWWW.ALLISONRODGERS.COM April 2008 • Professional Photographer • 33
  • 29. PROFIT CENTER: WEB SITES AN-NE Award winners use smart Web design Braniff ’s original site was elegant enough to show off their unique style and personality. with its featured black-and-white images and traditional style, “But it wasn’t all of me,” she BY ANGELA WIJESINGHE says. “My work had changed enough that I Online & needed a fresh look, a more complete portfolio, and more information about A LOOK AT TWO GREAT myself in a new blog.” STUDIO WEB SITES on your mind Braniff arranged her online galleries to spotlight bright, fun photos, caught-in-the- act poses and location shots. People find a wealth of portrait ideas on the site, and often come in with requests for specific poses and styles they’ve seen there. “Your Web site is terrific!” That’s what Farrah about www.portraitsbywendy.com, the Building on a gray background, Braniff Braniff heard when her recently overhauled second AN-NE Web winner. “I looked at lots designed the entire Web site in Photoshop, Web site, www.farrahbraniff.com, landed of photography sites and saw the same stuff. adding swatches of various colors and one of this year’s two PPA AN-NE Marketing I wanted to be different,” says Rouleau. textures, then dropping in images and text. Awards for Best Web Site. Braniff is the The AN-NE awards recognize creative and On her Portfolio page, this background sets owner of Farrah Braniff Photographs in effective marketing strategies and campaigns. off the filmstrips of images showing various Houston. The goal of the site redesign, she Farrah Braniff recalls a saying she once styles and categories. An image mouseover says, was to “mirror what we do, our heard, “The only thing that nobody has but personalities, our studios, and our work.” you … is you.” She wanted her site to convey Wendy Rouleau, owner of Portraits by her unique style and personality through Farrah Braniff needed a fresh look to reflect the changes in her work. She designed the site Wendy in Buford, Ga., also heard rave reviews both words and images. herself and hired a programmer to make it work as she envisioned.©Farrah Braniff 36 • www.ppmag.com
  • 30. PROFIT CENTER draws a circle around the frame and brings clients, which they in turn can send to “We believe our studio space helps define up the image category, such as family. A friends. “It’s just one more avenue to reach who we are, that it’s part of the experience,” click takes you to that gallery. The look is people,” she says. she says. The studio is located at the top of a reminiscent of a modern scrapbook. Braniff was able to design the site herself, staircase in an old brick building in historic Big and bold, Braniff ’s images explode but she did hire a programmer to do the Buford, Ga. First-time visitors don’t know onto the screen throughout the site. Wanting coding for all the interactions. Web sites with what to expect as they climb the stairs, but the images to make an impact from the unworkable links and unsophisticated features their first word upon entering is usually, “Wow.” opening slideshow, she conceals most of the are worse than not having a site. After all, Images of the space capturing its archi- site’s navigation tools until you roll over them. Braniff says, “Your first impression needs to tectural features appear throughout the site. A small link takes you to pricing and pack- be outstanding to get clients to call.” The tabs are images in slide mounts, and aging information at the bottom of each gallery. Wendy Rouleau hired a talented firm to a postage stamp leads to the contact us page. Braniff believes you should tell people what transfer her ideas to her Web site. She The site has short movies geared to elicit they want to know up front, which in this wanted to control the design, yet she knew parental emotions, and a studio blog. Rouleau case also helps screen out price shoppers. the firm would add the polish to inspire expanded her online marketing to include Throughout the site, the vibrant text clients’ trust in her abilities. Rouleau wanted handsomely designed e-mail promotional looks handwritten. Headers include “Rave her site to be her main marketing tool. campaigns with links to the complimentary Reviews” (testimonials), “True Love” (wedding “I don’t want to imply that I’m something pages on the Web site. It’s such a fluid gallery), and “Me, Myself, and I” (Braniff ’s I’m not. I want clients to want my style of transition that Rouleau also won a PPA bio). “I wanted the site to not only look photography and not to be surprised when AN-NE Marketing Award for Best E-mail personable, but sound personable,” she says. they come,” says Rouleau. Marketing Campaign. Braniff ’s frequently updated blog contains Rouleau looked at sites in several industries. Both sites illustrate the power of smooth both personal and professional information. She “I saw what I liked and what was possible … transitions, polished graphics, and person- also uses it to display post-session images for I didn’t have to stay with a template,” she alized text, yet they reflect the unique explains. And it helped her define the qualities qualities of each studio. � that make people remember and return to it. The Portraits By Wendy site incorporates wow- Opening Rouleau’s home page is like inducing images of the studio itself, creative Angela Wijesinghe is a PPA staff marketing navigation tabs, and short movies to elicit emotions. peeking at her studio through a keyhole. specialist.©Wendy Rouleau 38 • www.ppmag.com
  • 31. PROFIT CENTER Having a Web site is no longer an option in E-MAIL MARKETING business. Besides showing off your beautiful BEST PRACTICES images, you can make your site pay off big time. E-mail marketing these days isn’t as BY KAMMY THURMAN simple as putting together a list and sending e-mails. Internet service providers Tap the power and spam filters use sophisticated techniques to protect users from spam. If you don’t follow the rules or know what to include in your text—like an opt-out option and your contact information— YOUR WEB SITE CAN BE AN AUTOMATED MARKETING MACHINE your mail might never find the inbox, or worse, you could be blacklisted as a spammer. Asking your readers to add With some 77 percent of American adults on beautiful images; now it’s time to fully tap the your e-mail address or domain to their the Internet, it’s more than important to have power of the Web as a marketing machine. address book or allowed-sender list will an effective Web site. It’s necessary. “If you’re Statistics show that fewer than 1 percent also help you avoid their spam filter. You not on the ’Net, it’s as if you don’t exist,” of Web surfers ever return to a site unless want e-mail recipients to see you as a says marketing expert Ilise Benun. “It’s not they have a special reason. How can you give welcome visitor to their inbox, not a just the tech-savvy who expect you to have them a reason to return? nuisance. Reputable automatic responder a Web site, these days it’s almost everyone.” Here are five pointers on boosting the services can guide you in adhering to Professional photographers have risen marketing power of your site by as much Internet requirements for responsible e- to the challenge with sophisticated sites and as 72 percent: mail practices. If you prefer to try it on your own, enter “e-mail marketing best practices” in your preferred search engine and do your homework first. —Joan Sherwood, Senior Editor • Use your site to begin a relationship. On average, a mere 2 percent of the prospects who visit a studio’s site will decide to book a session right then and there. Most visitors are researching, trying to get a feel for the photographer behind the site and looking for a good reason to call you—or not. Once they leave, you have no way to continue the relationship with 98 percent of your visitors, who could be perfectly wonderful clients. Since most people need to hear from a marketer seven to 10 times before buying, you need to find a way to keep in touch. On every page of your site, put an e-mail capture form “above the fold” where people are sure to see it. • Give potential clients a good reason to 40 • www.ppmag.com
  • 32. Serious Photography Demands a Serious LabRed hot photograph by Michelle Reed.Michelle is the owner of Michelle Reed Photography.She is also a long-time CPQ customer and our mostrecently featured photographer here at cpq.com.Please visit our web site today to see more of Michelle’sexciting work and to see why such incrediblephotography finds a comfortable home with CPQ. CPQ Professional Imaging Lab TRY CPQ - ABSOLUTELY FREE! 800.537.8399 Call us or visit our website to sign up for www.cpq.com a free account and a complimentary $50 credit, good toward your first order with CPQ. ppa0408
  • 33. PROFIT CENTER sign up for your newsletter, invite her to seven to 10 messages over a 30-day period request a specific article, report, photography after the first visit, followed by regular and posing tips or a free premium, and say contact at least once a month. you’ll give her your monthly newsletter, too. You can use these messages—also called That’s two valuable items in exchange for auto-responders—to talk about how the cus- her name and address. tomer will benefit from your services, to deliver You’ll want to have an e-mail management a short e-course or your e-newsletter, and program on your Web site, where visitors can seasonal promotions. Just don’t make them leave their contact info and ask questions. Don’t all sales messages—remember the content have her just send you an e-mail to request needs to be high-value (80 percent high- the premium, or you’ll waste gargantuan value to 20 percent selling is a healthy mix). amounts of time sending out premiums to • Put your message-writing self on one person at a time. I suggest subscribing to autopilot. Schedule the time to sit down and an e-mail capture system like Constant write your messages once a month, or even Offer something of value to the prospect in Contact (www.constantcontact.com) or AWeber once a year, choose how often you want exchange for their contact information. It’s a good idea to do this for each product line, as (www.aweber.com). I find AWeber easy to use, them sent, then forget about them and you’ll have a different target market for each. and it has effective safeguards against spam. concentrate on your photography. You can create a form for your site to cap- return to your site. I’ve seen many top-notch ture prospects’ contact info, which is then sites with absolutely gorgeous images that show housed on the capture provider’s server. the photographer’s best work. But what about (AWeber has tutorials that show you how to the potential client? create the forms.) A few minutes after your visi- Put yourself in her shoes. She’s been tor fills out the e-mail form, she receives your checking out the sites of studios in her area premium and a thank-you note automatically. to see which best fits her needs. After looking • Stay in touch with prospects and cus- at a dozen or two other sites, what will tomers. It’s one of the most important aspects When someone gives their e-mail address, you receive a notice with all the info you ask for in the motivate her to call you instead of another of marketing, and also one of the hardest. A e-mail capture form. This is the info we capture on studio with a beautiful site? You have to program like AWeber can simplify the task. our contact page. You now also have their snail mail info so you can send direct mail promos, too. offer something that will elevate your value You can write multiple messages and store over the others. As non-artistic as it sounds, them in the program until you want them the something needs to be information, sent. A good timeline seems to be sending Statistics show that continued contact enough useful information to make the viewer with site visitors brings them back again comfortable with deciding to call you. and again, increasing sales by as much as 72 Our studio Web site routinely lands new percent. At that rate, isn’t it worth taking clients who tell us they chose us because of all another look at the marketing opportunities the information we provided. They feel they lurking within your Web site? � know us by the time they call, and that gives us the opportunity to differentiate ourselves Kammy Thurman is a direct-marketing copywriter and consultant, and co-owner of from our competitors in a number of ways. Anchor Photography in Laurel, Mont. For • Give high-value information in exchange We send premiums (free gifts) of interest to the more marketing strategies, read her free for the potential client’s contact information; specific target market for each of our product “Photography Marketing Report: 15 Ways to lines. These should all be created before offering Boost Your Marketing Return—Without this is a marketing technique called reciprocity. them online, or you’ll spend a lot of time trying Increasing Your Marketing Budget,” at Instead of asking your potential client to merely to catch up when people start requesting them. www.anchorcreative.com 42 • www.ppmag.com
  • 34. TM THE JOY OF MARKETING S A R A H P E T T Y, C P P Branding is more than design and decoration; it’s communicating your style to the kind of clients you want to attract. Stay true WHY BRAND CONSISTENCY IS CRITICAL Your brand is conveyed in the unity of every- but your brand must stay true to your identity. thing that identifies you, from your logo to Tim Walden, M.Photog.Cr., F-ASP, and your photography to the look of your studio. Beverly Walden, M.Photog.Cr., of Walden’s of In the years to come, you’ll update your studio Photography in Lexington, Ky., are experts The Waldens are known for their elegant style décor, see your photography evolve, and infuse in brand building. In their seminars they of family portraiture in black and white. Every element of their marketing reflects this style. your marketing campaigns with fresh elements, present proven strategies for branding and mar-All images ©Walden’s Photography keting that are applicable to studios of any size and specialty. Let’s take a look at a few of them. “I am less concerned that everyone likes what I do as that they know what I do,” says Tim Walden. When a studio has a well-defined style, the Waldens say, and when people love it, they’ll travel any distance and invest whatever sum it takes to get it. The people who don’t like their style will go elsewhere, and that’s just fine with them. “The customer is always right, but not everyone is our customer,” he says. Narrowing your focus to a few specialties and well-defined products helps your busi- ness grow quickly. It doesn’t mean you have to do just one kind of photography for the rest of your life, just define what you do early on, communicate it clearly, and be consistent. “Every decision is a style decision,” says Tim. The Waldens’ chosen style dictates how they decorate their studio, what equipment they purchase, and how they promote their business. No fad will sway them from being
  • 35. NEW WEBINARS (online seminars) PPA and SMS are bringing education to you, and Plus, you can watch the archived all you need is a computer and the Internet. Keep versions at your convenience. Just visit watching your inboxes for information on live the Events section of PPA.com and click business webinars about: on Webinars to reach: ß Marketing ß Income Tax Strategies ß Financial Planning ß Pricing for Profit ß Managerial Accounting ß The Art of Pricelists ß Top Performing Studios ß QuickBooks: Getting Started ß Starting a Photography Business ß And more… ß Business Basics ß Sales ß And more… 3�DAY BUSINESS PLAN WORKSHOP NEW BOOKKEEPING SERVICES With Carol Andrews, Ann Monteith and Sarah Petty Behind on your bookkeeping? Our Now’s your chance to increase profitability and Bookkeeping Program can help! With receive instruction on essential elements for competitive pricing and programs tailored to business success (in both group settings and meet your studio’s individual needs, SMS can one-on-one consultations). help ease your headaches and get your studio ß June 9-11 off to a great start. ß Call Eric Hathaway 800.339.5451, ext. 240 for more information. Classes fill up fast…Register today.Professional Photographers of America www.ppa.com | 800.786.6277
  • 36. Professional Photographer P R E S E N T S Products, Technology and Services What I like Julia Gerace connects with digital technology What makes your workflow flow? Adobe Light- room. I wasn’t sure shooting raw was worth the hassle until I tried Lightroom. Now I love it. What’s the best equipment investment you’ve ever made? Photoshop. Until I went digital, I outsourced tasks as simple as retouching a few pimples. Now I feel like I can create, explore new concepts, and learn to my heart’s content. Little thing, big difference … My ExpoDisc. It’s been great for getting accurate white balance in some very odd lighting. Has a piece of equipment ever changed the way you approach photography? My Canon EOS 5D camera. The files are huge, and I’m not as concerned about cropping into an image and losing information. Is there a non-photographic item that you’ve adapted to your work? Makeup. I knew becoming a certified makeup artist would be a great service for my clients. A useful item for your studio is a basic skin mattifier—a clear gel you apply if a client’s face is too shiny. What’s the one piece of gear they’d have to pry from your cold, dead fingers? A reflector. There is not one lighting situation where I don’t use a reflector. IMAGE BY JULIA GERACE WWW.JULIAGERACE.COM April 2008 • Professional Photographer • 49
  • 37. ALBUM EPOCA. GORGEOUS QUALITY, AND EQUALLY GORGEOUS STYLE. It’s incredibly easy to get Italian style with the Album EPOCA concept. And, you won’t believe the value: ALBUM EPOCA Bride & Groom*: 10˝x 10˝, 25 page, 50 sides, with Ecoleather photo cover, using our patented continuous binding system.......... $366 *The Album EPOCA layout is duplicated in the albums below. ALBUM EPOCA FAMILY ALBUM: 8˝x 8˝ layout is duplicated on typographic paper using our patented continuous binding system..........$125 8˝x 8˝ layout is duplicated on photographic paper using our patented continuous binding system.......... $175 BEST FRIENDS ALBUM: FRIENDS ALBUM: ACCESSORIES: 10˝x 10˝..........$75 5˝x 5˝..........$15 per, $75 for 5 Calendar..........$20 8˝x 8˝..........$25 per, $50 for 2 Photo Agenda..........$20 10˝x 10˝..........$45 per, $90 for 2 CD Viewer..........$20Plus free EPOCA software, along with free software updates and technical support, make album design fast,easy and efficient! Everything after the photography 1.800.662.1000 • www.albumsinc.com
  • 38. {11 }1-3 4-6 78 9 1011
  • 39. THE GOODS: PRO REVIEW Canon improves the user interface, fills the size gap and introduces a color calibration system with its next-generation wide-format printers. BY ELLIS VENER Much improved CANON IMAGEPROGRAF iPF6100 Canon’s first serious salvo in the wide-format printer market came in 2006 with the imagePROGRAF iPF5000, the iPF8000 and the iPF9000 pigment ink printers. In my testsAll images ©Ellis Vener with the iPF5000, print quality was excellent, and despite the environs—a relatively dry and pet-infested house—it never suffered paper jams, clogged heads or ink dropouts. But there were problems. The two-part user interface was confusing; Canon’s generic profiles for Canon brand papers were sub par; there were problems with the roll feed mechanism on many iPF5100 printers; and the 17-inch iPF5000 and 44-inch iPF8000 models left a huge gap in output size. Canon announced replacements for the first iPF printers in early summer 2007, the imagePROGRAF 100-series (iPF5100, iPF6100, iPF8100 and iPF9100), which would not have these problems and would have new features as well. I tested the new 24-inch iPF6100 and found several welcome changes. Topmost are the greatly improved user interfaces and generic profiles, and the addition of the GAROS plug-in for Adobe Photoshop CS3 to enable 12-bit-per-channel printing. Like HP, Canon has also started to build in color management features with the iPF printers. The 100-series printers still use 12 Lucia pigment inks: yellow, photo cyan, cyan, The Canon GAROS plug-in for Photoshop CS3 enables 12-bit-per-channel printing and somewhat simplifies color management in the output stage. 52 • www.ppmag.com
  • 40. photo magenta, magenta, black, matte papers. And the iPF6100 uses ink sparingly. But calibration is not the same as havingblack, photo gray, gray, red, green and blue. Print speed remains fast: a 16x24-inch, a built-in profiling system, such as theWith the exception of the blacks and two high-resolution, 16-pass, 12-bit per channel X-Rite i1 Color Spectrophotometer systemgrays, the eight-color formulation remains print takes less than 10 minutes. in HP Z3100 printers. If you decide to useunchanged. The gray, photo gray, black and One of the biggest headaches of printing papers other than Canon-brands, you’llmatte black inks were reformulated to in-house is color management. The iPF 100 need to make your own profiles.reduce bronzing type metamerism, lessen series incorporates a color calibration system The Kyuanos color management systemthe appearance of “grain” in the deep designed to keep them working to factory spec- introduced in the 100 series is compatible solelyshadows and blacks (I never saw it in ifications. Normally, the calibration needs to with the Microsoft Vista operating system. IiPF5000 prints), and make the prints more be done only once, at setup, but if you move don’t use Vista, so I can’t comment on it.resistant to scuffing and scratching. the printer or change heads, it’s a good idea Ease-of-use is a critical factor in color man- As in the first iPFs, there’s an active system to recalibrate the printer back to factory agement. As it now stands, the best way inthat automatically detects clogged and non- specs. There’s an added benefit for studios Photoshop to print is to make a dupe of thefiring nozzles. If it detects a problem mid- with multiple printers, even in different master image, convert the dupe to the destina-print, it remaps the ink flow to another sizes: with all of the printers working at tion profile, sharpen for output size and media,nozzle and clears the offender when the factory tolerance, they can share profiles for then go through the Photoshop print dialog,print is complete, minimizing waste in time the same media and the prints will match. where you have to instruct both the Photoshopand materials. With both matte and photo Canon rebuilt its generic profiles for Canon- printer dialog and the print driver not to applygrays and blacks onboard, there’s no brand papers, which now include some fine additional color management steps. The processdowntime or expensive ink waste when you Hahnemuhle papers. Compared to my own is a distracting, time consuming, and somewhatswitch between matte and gloss/semi-gloss custom profiles, these new profiles are first rate. arcane art until you’ve mastered it.
  • 41. THE GOODS: PRO REVIEW specs: Canon imagePROGRAF iPF6100 The Canon GAROS Photoshop Export plug-in for Photoshop CS3 improves this in two ways: it allows you to print 12-bit-per- channel color, and only once requires you to PRINTER TYPE: 12-color pigment inkjet specify that you want no further color MEDIA WIDTH: 8- to 24-inches (cut sheets and rolls) management. You still have to make sure to MEDIA THICKNESS: Top-loading manual feed 0.08-0.8 mm (3.2-19.6 mil), front- loading manual feed 0.5-1.5 mm (19.6-59.0 mil), roll 0.08-0.8mm (3.1-31.4 mil) specify the correct size and media type, which BORDERLESS PRINTING WIDTH: Roll media only—10-inches, B4, A3+, 14-inch, Canon certainly could make clearer (see 16-inches, A2, A2+/17-inches, B2, A1, 24-inches www.usa.canon.com/dlc to find Canon’s PRINT HEAD: PF-03, user replaceable, six colors per print head, two print heads profiles and media type selections). (12 colors total), 2,560 nozzles per color (30,720 nozzles total) How good are the prints made with the NOZZLE PITCH: 1,200dpi, non-firing nozzle detection and compensation Canon iPF6100? With high-end papers—my INK DROPLET SIZE: 4 picoliters INK CAPACITY: 130ml per color, starter ink tanks packaged with the printer have less current favorites are Canon 300gsm Polished capacity than the replacement ink tanks specified here Rag for both color and black and white, Canon/ INK TYPE: Pigment-based LUCIA ink Hahnemuhle 188gsm Photo Rag for mono- DIMENSIONS: 46.3x33.9x39.1 inches chrome “toned” prints, and Moab by Legion WEIGHT: About 150 pounds with stand 190gsm Entrada Rag Natural—print quality PRICE: $3,495 is state of the art. Colors are clean and exhibit no magenta contamination in the light blues One thing keeps the iPF6100 from being time. For multiple printmaking, you’ll (due to the use of an actual blue ink), the perfect: When I use sheet rather than roll appreciate the savings in using rolls, but it’s blacks are inky, and the highlights are clean. paper, I have to feed in each sheet one at a a hassle if you’re making portfolios. � 54 • www.ppmag.com
  • 42. Whatever you shoot, make the most of it with ourunparalleled digital photo printing.You work hard to get those great shots. You deserve a creativepartner that consistently delivers perfect photo nishingservices. For nearly 30 years, professional photographers around Photo printing Press printingthe country have trusted us for unmatched results. Gallery wraps Online hostingNeed proof? Call 800.382.2101 or go to fullcolor.com. and much more
  • 43. THE GOODS: LABS You don’t know what you’ll get until you’ve got Adding a new item or two to your product it in your hands, so it’s wise to take time to lineup can freshen up your sales presentations and boost your profits. But before you make preview a supplier for service and quality. the investment to incorporate a new product in your Web site, marketing materials, pro- B Y J O A N S H E R W O O D, S E N I O R E D I T O R Spring tryouts motions and price lists, you need to know that it’s right for your brand and that the lab will deliver what’s promised. With such a bounty of eye-catching specialty products available from profes- HOLD YOUR OWN PRODUCT AUDITIONS sional photo labs, you need a strategy for choosing both the products and the provider.All images ©Joan T. Sherwood First, go window shopping to find products that excite you—if it doesn’t excite you, you can’t sell it. Then narrow the list to the products that will sell in your target market. Once you’ve settled on a product, you’re ready to hold your tryouts. A big part of working with a professional photo lab goes beyond prices and products, to customer service, prompt delivery and the ease of integrating the ordering system with your workflow. With this in mind I set out to order several print products from selected labs. (I chose labs advertising specialty products that I’d noticed attracting interest at trade shows and, while not exclusive to a single lab, were not saturating the market yet.) Without identifying myself as a Profes- sional Photographer editor, I signed on as a new client with three labs. I researched the products, went through the ordering process, and contacted customer service. For comparison, I ordered similar products from two of the labs, metallic prints on Kodak Professional papers from MPix and prints on Fujicolor Crystal Archive Pearl Paper from BWC. I ordered a product sampler from Dalmatian Black & White Custom Lab offers a Digital B&W Sample Packet that features seven print types using your own image for $110. It’s a great way to sample the line and see how your photos work with different print methods. 56 • www.ppmag.com
  • 44. Dalmatian, specialists in black-and-whiteprinting. As you would probably do, I made a listof the product qualities and lab services thatare most important to me, and kept notesthroughout the ordering and delivery process.It’s easy to get fuzzy about the details, andsuch notes help you make a sound decision.DALMATIAN BLACK & WHITECUSTOM LABBy partnering with Ilford and Durst,Dalmatian’s product line includes digitalblack-and-white silver gelatin fiber-based400dpi prints on True Ilford MultigradeFiber Base Paper processed through TrueB&W Chemistry. Dalmatian gives you a choice of three samplepacks under the Customer Service tab on itsWeb site. One is a free sample pack of sixdifferent print types, including silver gelatinfiber, and silver gelatin RC and black-and-white giclée. On request, they’ll add samplesof canvas and traditional fiber. The two StudioSample Packets contain 8x10-inch prints ofa user-provided image. The Traditional B&Wpack includes five types of prints and costs $70.I ordered the Digital B&W Sample Packet,which includes a borderless digital machineprint; a full-frame black border digital machine Mpix prints on Kodak Professional Metallic Endura paper with pearlescent finish (top) made colors more vibrantprint; a custom digital RC print with your and shadows darker than in BWC Photo Imaging prints on Fujicolor Chrystal Archive Pearl paper (above).choice of border; a custom digital fiber printwith a border of your choice; a B&W giclée onphoto rag paper; a giclée on photo rag paper sentative will call you and answer any questions. answers to most of them in the FAQ underwith your choice of color or sepia ink; and a Ordering. The online order form has fields the Resources tab. If not, call.giclée on canvas with your choice of B&W, to type in your own file names, order specs Customer service. I called to ask how tocolor, or sepia ink. This sample packet costs (size, quantity, etc.), and room for additional fill out the order form to request a sample$110. Other kinds of print samples are instructions—no pull-down menus. A lab pack. I also asked about my choice of bordersavailable for an additional fee. rep calls you if an item on the form needs in the sampler; they weren’t on the Web site Account Setup. Call customer service or clarification, such as when I inadvertently as of press time. Within minutes of my call,fill out an online form with a field for you to combined the names of two borders when Dalmatian e-mailed me a PDF showing thedescribe the kind of photography you do. Fill requesting just one. If you have questions choices. I got prompt response, straight-out a payment and shipping information form about such things as supported file formats, forward answers and excellent personal service.and fax or mail it to the lab. A Dalmatian repre- resolution, color space or dpi, you’ll find My original image. A 3,008x2,000-pixel April 2008 • Professional Photographer • 57
  • 45. THE GOODS: LABS paper and the Ultrachrome Inks. Shadows and midtones were a bit richer than the original. The machine prints looked fairly standard and true to the original. The sepia canvas print (about 12.75x11 inches with a 7.5x5-inch image area) held surprising detail in the trees and water reflections, and even in the subtle ripples in the water. The Ilford fiber-based silver gelatin print looked and felt as you might expect, with rich, deep blacks, sharp detail and definitely darker in the sky and shadows than the original. The custom digital RC print was the most impres- sive of the lot. The printmaster had notice- ably improved the file, bringing out fine detail in trees and shadows, better defining muddy areas and bringing up the tone of the building on the right to make it pop. MPIX A division of Miller’s Professional Imaging, Mpix provides easy online ordering for pros, and requires no credit application as Miller’s does. Mpix offers a range of specialty and press products and papers, in addition to forums and photo-sharing galleries. I ordered 8x12 prints with a pearlescent finish on Kodak Professional Endura Metallic paper. Account setup. Easy as joining any consumer Mpix prints on Kodak Professional Endura Metallic paper (left) punch up the yellow and make online photo sharing site, requiring only shadows rich. The Fujicolor Chrystal Archive Pearl prints (right) from BWC Photo Imaging portray your name, e-mail address and a password. skin tones more realistically and retain more detail in the shadows. Ordering. A simple create-an-album setup. Create an album of your images, then color file converted to grayscale in Adobe box padded with bubble wrap, prints placed order prints of selected images. You can Photoshop Lightroom, unsharpened. Saved in glassine envelopes. The 8x10s were in an request only one kind of paper per order, but as a TIFF at 400ppi, and zipped for upload. order envelope, and the canvas print with a variety of optional frames and finishing Dalmatian encourages clients to send RAW sandwiched between corrugated cardboard services. You can crop images directly in the files along with unsharpened TIFFs for flats. All well protected. ordering interface and request color correction certain print types. Quality. Sample prints are identified by services. Go to Help > FAQs for info on file Costs. Sample pack $110; shipping $8.50 type, paper and ink on the backside in clear formatting and technical answers or to request Turnaround. Order placed February 22, handwriting. The giclée prints on an ICC profile. Under Tips for great images, shipped UPS ground service February 29, Hahnemühle Photo Rag had a velvety feel, you can download some questionable advice arrived March 4. and the B&W version was still slightly warm in a document called “Simple Color Manage- Packaging. Sturdy corrugated cardboard toned, likely due to the combination of the ment Techniques,” which suggests you adjust 58 • www.ppmag.com
  • 46. THE GOODS: LABS your monitor to match your print order. list of products, just e-mail links to a received a response within 15 minutes. There’s Customer service. E-mail contact only. specialist in the department. no customer service or help tab. I found phone There’s no phone number for personal service. Account setup. I could order without numbers and a customer service description I e-mailed a question about color correction setting up an account. To get an account, under the About Us tab. I called the 1-800 and got a response within 5 minutes. you fill out an application. I called to have number, asked a question about metallic My originals. An album of 3,872x2,592- mine e-mailed to me. The Customer Access and pearl prints and got a clear answer. pixel color JPEG files at 300ppi. The album account tracking feature was being revamped Costs. 8x12 prints $5.57 each, pearl adds upload interface was a little quirky with at press time and was not available. 16 percent to the base price of $4.80; no Firefox, better with the File Browse option. Ordering. I should have used the simple shipping charge. Costs. 8x12 prints at $3.99 each, browser-interface E-ZPics option, but I went Turnaround: Order placed February 25, shipping $4.95. directly to Send Us A File and tried to use the shipped UPS ground commercial on the Turnaround. Order placed February 25, ROES ordering system that many pros use. 27th, arrived on the 29th. shipped priority mail on the 26th, arrived on ROES populated my desktop with many Packaging. UPS box, prints in a glassine the 28th. windows, some convoluted with the text sleeve with thin cardboard backing tucked Packaging. Flat cardboard box, prints in overlapping until I enlarged them. I found into another plastic sleeve, wrapped in glassine envelopes, sealed with plastic to a the Welcome to ROES window at the brown craft paper. Well protected. corrugated cardboard sheet and cushioned bottom of the stack, and from there I could Quality. The color in the Fujicolor prints with packing foam. Very well protected. figure out the ordering. was much truer to the original than were Quality. The pearlescent metallic prints As an individual making a first-time the Kodak pearlescent metallics. The colors brought out a vivid color that practically order of a few prints, this interface seemed were vivid but more natural, and without radiated like an RGB display. Blacks were overly complex; a studio that orders specific the punch of a boost in yellow. The shadows super rich. Yellows were particularly sets of print types and sizes would benefit were not as dark as in the Mpix metallics, pumped up. Medium-brown skin tone more. Unlike the Mpix album setup, your and showed more detail. As the BWC rep became a warm coppery brown, and a pale files don’t go through the upload process explained when I called, the Fujicolor Pearl pink complexion gained color as well but was until you’ve placed the order. I liked that you finish is recommended for portraits because not overly yellow. Specular highlights and could have your logo added to the image, it’s truer to skin tones, while Kodak’s metallic subjects gleamed. In some areas the but I didn’t try this option. I ordered a set of metallic paper, which they also offer, is recom- shadows went dark enough to obscure some Signature Portraits on Fujicolor Crystal mended for landscapes and edgier images. color and detail. Archive Pearl Paper with the same images It only takes a modest budget and a little from my Mpix order. time to be sure that a new product and its BWC PHOTO IMAGING Customer service. My e-mail to digital- provider will complement the rest of your ‘‘ This full-service digital lab also provides printing@bwc.net was bounced back to my offerings and be an asset to your studio. Take visual communication and marketing Yahoo account. I e-mailed info@bwc.net and a look at the field and make your pick. � products. BWC offers creative services and products that most labs don’t, like trade show exhibits, design services, and store merchandising decor. Of the three lab Web With such a bounty of eye-catching sites I tried, BWC’s was the least intuitive. specialty products available from professional photo labs, you need Customer service indicated that site revamping was going on. Some tabs were still in development, including Price Book. There’s a host of products and services a strategy for choosing both the under Photo Lab Services, where I found Photo Digital Printing. But there is no one products and the provider. 60 • www.ppmag.com
  • 47. $6,999Mamiya ZD Digital Back 22 megapixel. Medium Format Quality. • Designed for the Mamiya 645AF/AFD/AFD II and the RZ67 Pro IID medium format cameras • Large 48mm x 36mm Dalsa CCD Sensor produces medium format results • FREE Adobe® Photoshop® Lightroom™ software included • FREE firmware upgrade for Mamiya 645AF cameras with purchase of the ZD digital back Compatible with Mamiya 645AF/AFD/AFD II and RZ67 PRO llD cameras. T: 9 1 4 . 3 4 7 . 3 3 0 0 · W W W. M A M I YA . C O M
  • 48. THE GOODS SOLUTIONS BY ANDREW RODNEY Save time and space by knowing when to use Once you have a single black-and-white Adobe Lightroom, when to use Photoshop, conversion you like, you can copy and paste and how to transport files between the two. the metadata instructions onto the other 299 images (Figure 2). It’s a lot faster than What’s the difference? PART II doing it in Photoshop, and you can still alter individual images as desired. The original full-color TIFF files containing the retouch Last month I suggested that to produce opti- the files for your client. They love the work, work remain untouched. When you export mum image data in the shortest time you but decide they want one album in split- the toned variations, you’ll create new TIFFs should render images from raw data in toned grayscale and one in full color. with the black-and-white instructions applied. Lightroom, then use Photoshop’s powerful Because you did so much localized pixel You could have done the conversion with selective tools to do the necessary retouching, work in Photoshop, you’ll have to work with the raw files with less data loss, but because compositing and other non-global corrections. the rendered images to accomplish that. you’d worked on the original color files in Lightroom can also work with rendered If you use Photoshop’s black-and-white Photoshop, that wouldn’t be the best solution. JPEGs, TIFFs and PSDs. There are both conversion tools, you have to open each image, For efficient workflow, it’s better to bring advantages and disadvantages in applying apply a color tint and save a new copy to the images back into Lightroom than to corrections to such files in Lightroom. disk. Instead, you could import all the TIFFs manipulate the existing pixels in Photoshop, Suppose you processed 300 raw files from a into Lightroom, make virtual copies of the then save new versions. In fact, if you plan to wedding in Lightroom, then worked hours files, and convert just one color image to print the images from Lightroom, you’d be on the rendered images in Photoshop, doing black and white using the Split Toning controls storing only the original pixel-based TIFFs; retouching, local corrections and perfecting to apply the effect you desire (Figure 1). the black-and-white versions would only be generated as the data is being sent to a localAll images © Andrew Rodney printer. You wouldn’t need to store two sets of rendered image data, only the metadata instructions for the black-and-white print work. If you crop 100 of the 300 images in Photoshop, the data you crop away is gone forever after you save the document. If you did the cropping in Lightroom, you’d only build a set of crop instructions, not actually cropping out data. You can print the image, export the image, or change your mind about the crop anytime you wish. Making round trips between Lightroom and Photoshop has advantages in speed, flexibility and storage. Yet it’s important to recognize the difference in image quality that results from rendering data directly from raw files, as opposed to applying edits via metadata on rendered images. Figure 1: You can build a better black-and-white than the grayscale button delivers and save time. In Lightroom’s When you edit a rendered image and Develop module, move the all the saturation sliders to -100 (make a preset). Use the HSL controls to alter the tonal relationships of the actual color data by sliding over the image using the direct select tool. Apply a split tone. export it to Photoshop as a pixel-based (See http://lightroom-news.com/2007/08/24/tips-for-better-black-and-white-conversions/) document, Lightroom makes a copy of the 62 • www.ppmag.com
  • 49. Figure 2: You can synchronize one B&W rendering to every image selected (above, grid view). Copy and paste only the grayscale and split toning editinginstructions made in Figure 1. 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
  • 50. THE GOODS Lightroom also allows you to build any with layered documents and maintain them number of iterations in different sizes without after being edited in its environment. Lightroom having to resize the full-resolution file and builds a flattened copy, so keep this in mind save another version. You can determine the if you plan round trips between Photoshop and size you need when you export or print Lightroom and you have to maintain layers. though Lightroom’s Print, Slideshow or Web Lightroom will not edit CYMK or Lab modules. When you want to make an 8x10, Color documents. I have little use for Lab 11x14 or 3x5 print in-house, you simply because Lightroom tools often provide all define the size in a print template, and let the necessary functionality to render RGB Lightroom send the resizing instructions to images, and CMYK documents are output- your printer from the Print module. ready (or they should be). By the time the Whether you’re working with a retouched, document is in CMYK, it should no longer high-res rendered image or the original raw need editing in Lightroom. data, you can build any iteration from a single Lightroom can’t import images with more data source. This saves tremendous hard drive than 10,000 pixels in either dimension. Figure 3: These options appear when you instruct space and greatly simplifies image management. Hopefully future versions will allow users to Lightroom to allow you to edit an existing rendered As for its limitations, Lightroom can’t work edit panoramas and other large images. � image in Photoshop CS3 (Photo > Edit in Adobe Photoshop CS3). If you want to edit an image that has Lightroom adjustments, select the top radio button, which builds a copy of the original first, and if the file has layers, flattens it. original, converts the 16-bit data into its internal color space (ProPhoto RGB), and applies the edits. Then you have to choose the resolution and color space you want on the back-end (Figures 3 and 4). Lightroom supports sRGB, Adobe RGB (1998) and ProPhoto RGB. Keep this in mind because it’s possible to end up in a different color space than you started with, depending on what you select in the export dialog. Also note that camera-generated JPEGs differ from other JPEGs in initial image quality. Before any Photoshop editing, camera JPEGs are just one generation from the raw data. They generally show less damage than a JPEG from another source that’s been edited before it hits Lightroom. Global correc- tions on camera JPEGs cause less damage and process faster in Lightroom. If selective editing is required, use Photoshop and save the docu- Figure 4: In the Export dialog, you can build a rendered image in one of three color spaces and select ment as a TIFF rather than a JPEG. (More on the bit depth and file size. Notice on the left in the dialog that I was able to create my own settings the benefits of doing so in an upcoming article.) and save them as user presets. 64 • www.ppmag.com
  • 51. Feeling stuck, bored, burned out? Michael Gan and Leslie Artis-Gan rediscovered the joy of portraiture, and their workshops and programs aim to help you find the path to your artistic inspiration, too. F PORTRAITS By Stephanie Boozer©Leslie Artis-Gan rom excited newbie 30 years ago, to-burned-out businessman and now re-energized veteran, pro- fessional photographer Michael Gan, M.Photog.Cr., has cycled through enough ups and downs to have gained a comfortable wisdom. If his name sounds familiar, perhaps you’ve seen it on the OurPPA online forum, where Gan regularly comments and advises. “A lot of people get into photography because it’s a creative endeavor, then they turn off that creativity,” says Gan who with his wife, Leslie Artis-Gan, M.Photog.Cr., CPP, owns Meritage House of Photography in Pleasanton, Calif. The disconnect, says Gan, happens when photographers “spend more time copying what other photographers do instead of creating a style all their own.” It’s understandable, he says, that they’d try to do something they know will sell in order to make a living. Both Gans are teaching photographers how to recover their creativity. First, they say, photographers need to grasp that they’re artists, creative thinkers and inventors, not simply picture takers. Inspired by Santa Barbara photographer Joyce Wilson, M.Photog.Cr., API, F-ASP, who teaches at the Brooks Institute of Photography, the Gans have begun to take a historical perspec- tive of portraiture. “Somewhere along the line, the art of portraiture disappeared,” says Gan. “We’re trying to bring it back so that the art and the client are one.” Joy Ride Back in 1995, Gan realized that while he was busy photographing weddings, babies, seniors and other kinds of portraits, he was Its a pleasure to be creative for a living 66 • www.ppmag.com
  • 52. PORTRAITS©Michael Gan merely going through the motions. He was House of Photography, with the mission of seemed natural to me, but I realized I’d concentrating on volume sales rather than merging their talents in a perfect blend of spent years getting people’s hearts and nurturing his self-expression. Conflicted and photographic acumen and creativity. spirits into their paintings, and I had these feeling burned out, he took a break to refocus. Not long after the opening, Artis-Gan’s skills under my belt.” The following year he met Artis-Gan, then a repetitive stress injuries from painting Seeing a need, the Gans developed painter, who helped him rediscover his dictated a switch from brush to camera. In workshops and speaking programs to help creativity and find a new direction. her first year of entering print competitions, photographers grapple with the basic Drawing on his collegiate background in the Northern California Professional Pho- question of how to keep the joy alive. “We’re photographic art history, Gan returned to tographers association named her a 2004 not teaching f/stops and shutter speeds, or the studio hoping to revive the spirit of the Photographer of the Year, and she received Photoshop actions,” says Gan. “You really masters of black and white from the early an offer to teach in a night school program. need to go beyond what I call ‘the actions days, and rediscover the romance of platinum- “I e-mailed enrolled students to find out mentality,’ which pigeonholes you. Take a palladium printmaking. With Artis-Gan’s what they really wanted to learn,” she says. painter’s approach, where you see something experience in painting and his photographic “They all came back with the same question and draw it.” experience, the Gans opened Meritage —‘how do you get your inspiration?’ It had The Gans find fulfillment in teaching, 68 • www.ppmag.com
  • 53. “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
  • 54. PORTRAITS and it stimulates their portrait business. Averaging around $10,000 for a portrait session, the Gans involve clients in the creative process, finding out what’s important to them, what feelings they want to convey to viewers through the portrait. “The higher you raise the bar on your own work, the more you don’t have to worry about the competition. If you create from your soul, you will excel,” says Gan. In classes, the Gans show photographers how to tap into their background and interests in developing a personal style of their own, which will be the deciding factor that sets them apart from everyone else. “My best advice is to stay true to yourself,” says Artis-Gan. “Turn off your brain and listen for the whispers, because nothing is obvious. Like Michelangelo, who said he was simply setting the figure of David free from the stone, you have to allow your creativity to happen.” � To view the Gans’ portfolio and find details about their teaching schedule, visit www.meritageonmain.com. ©Michael Gan©Leslie Artis-Gan
  • 55. © 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.
  • 56. Celebrity or not, every subject gets the special star treatment from Kerry Brett. From babies to adults, her portraits have a fresh, in-the-minute appeal, whether taken on the beach or in the studio. K PORTRAITS By Lorna GentryAll images ©Kerry Brett erry Brett, M.Photog., CPP, giggles recalling the first picture that made her money and launched her career in photography. It’s her moxie she laughs about. Her father, award-winning Boston Globe photojournalist Bill Brett, was out on assign- ment one night, when Brett, then 17 years old, heard on his police scanner that a car had just crashed into a house. She grabbed her dad’s 35mm Nikon F3 camera, loaded a roll of Tri-X black-and-white film, and headed to the crash site. “I went under the police tape and told the fire chief I was covering the story. I got up on the fire truck, found a good angle and fired away. Then I went home and called the newspaper to tell them that I had Page One.” To her father’s utter surprise, Kerry’s picture did indeed land on the front page of the next morning’s paper, and earned her $50. Brett trailed her dad into the darkroom and on his newspaper assignments from the time she was 3 years old, breezily switching between her Fisher-Price camera and her dad’s Nikon. The senior Brett fostered a passion in his daughter that drove her first to photojournalism—she, too, worked for a time at the Boston Globe—then into portrai- ture. In 1997 she opened a studio in Hingham, Mass., an affluent bedroom community on the coast 15 miles southeast of Boston, and specialized in black-and-white portraits. “I created a recognizable style and then Bold black and white branded it,” says Brett. “I felt strongly and passionately about the look I created, but it was kind of a gutsy move at the time because Portraitist Kerry Brett brands her distinctive style 72 • www.ppmag.com
  • 57. PORTRAITSI was afraid I would pigeonhole myself as a and white tones makes the subjects pop from the public and brings in wardrobe, hair andblack-and-white specialist,” thus scaring the background with an almost 3-D effect. At makeup technicians, who set up stationsaway those who wanted color portraits. “The first, Brett shot all her work on film and hand- near the camera room. Brett works directlyflip side is that I have such a recognizable printed it. The diehard film fan didn’t convert with the magazine’s editor, art director andstyle that people know my work.” to digital until 2004, and it was a tough tran- photo editor, who watch the shoot progress sition, she confesses. But now, says Brett, “I love on monitors in an upstairs room.IN THE MOMENT digital because of the instantaneous feedback.” The work is always exciting and challeng-Brett is perhaps best known for beach portraits, That’s especially helpful during celebrity ing, she says, which is why she loves it. “It’swhich began with a space dilemma in her first shoots for Improper Bostonian magazine, so much pressure—I have less than 5 minutesstudio. Subjects in tow, she bounded onto the where she’s been the staff photographer for with some celebrities, and it gives me suchbeach to photograph them with long lenses and 14 years. “I have such limited time with them, an adrenaline rush—there’s nothing like it.reflectors. “On the beach, I work like a photo- and I have to respect their schedules,” says The hardest thing is dealing with celebrities’journalist,” Brett explains. “I shoot fast and in Brett. Digital enables her to “know that I handlers or entourage, who are protectivethe moment so portable lights wouldn’t work.” have the money shot for the cover so that I and don’t trust anyone. I have to zone all All Brett’s portraits have that in-the- can then do something artistic for the that out to create a good portrait.”moment, fresh look. From babies to adults, inside” photos. Digital has given her moreshe connects with people in a way that opens confidence, she confides. ATTRACTING TYPE Aup their faces. Her creamy lighting gives a When Brett photographs actors, athletes, Brett’s bread-and-butter customers are well-richness to her portraits, and the contrast musicians and trendsetters for the monthly educated working professionals who “tendbetween razor-sharp focus and soft black, gray magazine’s covers, she closes her studio to to be Type-A personalities,” she says. “They “On the beach, I work like a photojournalist. I shoot fast and in the moment so portable lights wouldn’t work.”
  • 58. PORTRAITSwant someone who has a good reputationand they want perfection. For them it’s aboutquality not quantity.” To attract this clientele,Brett positions her studio in the public eyeas much as possible through advertising,charity work and displays. “I love marketingas much as I love photography. I don’t sitaround waiting for the phone to ring.” She felt it was important as well to investin creating a studio that bespeaks profession-alism and success. In a prime location nearHingham Square, Brett bought a dilap-idated, historic 1890 mercantile building in2004 and turned it into a contemporarystudio (see “Urbane Antique,” ProfessionalPhotographer, October 2007). The renovationtook more than a year, a slew of contractors,and patient compliance with the HinghamHistorical Society’s exacting specs. Brett’s investment in both the studio andmarketing has paid off handsomely. Her por-traiture is highly sought after, as evidencedby her calendar, which is continually bookedthree months in advance. Brett shoots morethan 300 portraits a year, 120 of which aretaken on the beach. She relies on two DSLRcameras to handle the workload, a CanonEOS-1D Mark III and a Canon EOS-1DsMark II. The lenses she most often uses area 70-200mm f/2.8, a 28-70mm f/2.8, a300mm f/2.8, and a 20-35mm f/3.5. Hermemory card of choice is a high-speedSanDisk. For studio lighting Brett uses Photo-genic PowerLight 1250s with Larson SoffBoxes. She uses Adobe Photoshop CS3 forphoto editing, and Adobe Lightroom for imagemanagement, both running on four PowerMac G5 computers. Two employees help her runthe studio, while Brett does all the shooting. Brett would like to do a book on her celebrityphotography one day, but for now she’s enjoyingshooting portraits and watching history repeatitself: her 4-year-old, Morgan, follows behind76 • www.ppmag.com
  • 59. Where portrait photographers learn Photoshop! ® Every day, the National Association of Photoshop Professionals teaches portrait photographers from around the world how to turn ordinary into extraordinary and memories into masterpieces. We’re your ultimate resource for Adobe Photoshop training, education, and news. ® ® Join today and receive... Photoshop User magazine And, as a bonus, you’ll get “The Best of Photoshop User: The 10th Year” DVD Use code NAPM-1UM for your bonus gift. National Association of Photoshop Professionals Photography by David Ziser, Professional Photographer and Photoshop World Instructor ©2007w w w. p h o t o s h o p u s e r. c o m o r c a l l 8 0 0 - 7 3 8 - 8 5 1 3 Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated. *Prices are for U.S. residents only. Corporate, Educational and International rates are also available.
  • 60. PORTRAITSher camera, just as Brett followed her dad. “Iused to go with my dad and sit on the sidelinesof the Celtics games when I was little, wherehe would photograph Larry Bird and all thegreats. Just recently I shot Celtics stars KevinGarnett, Ray Allen and Paul Pierce, the newCeltics dream team, for Improper Bostonianmagazine. I walked into the gym just momentsafter they were photographed for the coverof Sports Illustrated. I said, ‘I’m Kerry Brettand I’m here to photograph Kevin Garnett.‘Are you Bill Brett’s daughter?’ they asked. Iwas so proud. It’s been amazing to mimichis career. Dad and I have a bond because weare both so passionate about photography.” �To see more of Kerry Brett’s photography,visit www.brettphotography.com.Lorna Gentry is a freelance writer in Atlanta.78 • www.ppmag.com
  • 61. April 2008 • Professional Photographer • 79
  • 62. Starting out with a multi-faceted business gave Tim Kelly experience and insight that enhance his portraiture. Always growing artistically, he’s added digital painting to his lineup, and clients love it. PORTRAITS By Lorna Gentry Classic beauty everything from weddings to commercial work. It’s what suits Kelly’s sensibility best. In the 1980s, Kelly’s handsomely litW Portraitist Tim Kelly shares the secrets of his success commercial work earned him an impres- sive $175 an hour. Orlandoans with fam- hile on the the candidate for a magazine and less ilies began asking for portraits, too. His campaign trail than 1 minute of direct eye contact, thanks competition charged $75 sitting fees, an in Florida early to the phalanx of reporters squeezed into untenable amount to a man earning this year, Republican the camera room, peppering Huckabee commercial rates. Kelly asked $250 per presidential candidate with questions. Kelly got the cover shot, session, unsure anyone would be willing to Mike Huckabee stopped no sweat. pay that much. But the high price boosted by the studio of Tim The name Tim Kelly has become the perceived value of his work, and clients Kelly, M.Photog.Cr., in synonymous with portraiture. That’s the multiplied. By the early 1990s, he was a Lake Mary, a northern suburb of Orlando. only kind of photography he’s done for the full-time portraitist. Kelly had only 10 minutes to photograph last 18 years, after 20 years of shooting Now Kelly’s creation fees range from $500All images ©Tim Kelly
  • 63. to $1,500, which covers only his time behindthe camera. Finished portraits run $8,000to $15,000. A custom-designed, perfect-bound, leather photo album with 24 to 30pages from a single session sells for $4,000 to$8,000. In 2007 Kelly did about 175 sittings,nearly half the number of previous years. Heattributes the decline to the weak economy. But his clientele is affluent enough tostave off cutbacks on essentials, like picturesof their children. “Our clients are establishedfamilies with two to three children rangingin age from 4 or 5 all the way to college age,”Kelly says in a soft, relaxed tone. Thoughmany of his clients live near the studio,some live to the south and southwest ofOrlando and will drive 45 minutes to getthere and not think twice about it. Such customer loyalty comes from anappreciation of Kelly’s classic approach toportraiture. The poses look natural, yet thesubjects are sculpted by luscious lighting;“It’s product lighting for people,” he laughs.When he was doing commercial work, Kellydevised a way to wrap light around the sub-ject to delineate it from the background. “Iuse two to three boxes on one side and reflec-tors on the other, which gives the effect ofnorth light coming through a window,” hesays. “Multiple light sources enable me tocorrect skin, hair or background tone to beexactly the value I want.” In the studio Kellyuses Photogenic monolights on a rail system “We stress quality. To keep perceivedwith Larson Soff Boxes. His favorite camera is the Canon EOS5D with Canon L-series lenses, most often a70-200mm EF f/2.8. Kelly also has a value high, we tell our customersmedium-format camera with a 33- delivery takes four to six weeks. Theymegapixel Leaf Aptus digital back in thecamera room “just to impress clients,” he come back in a week to see the images,says. “If I do a big group, I’ll definitely use it which gives me an opportunity to edit and retouch my favorites. ”because the fidelity is awesome. For routineportraits it’s overkill. I’ll probably get the April 2008 • Professional Photographer • 83
  • 64. PORTRAITSnew Canon EOS-1Ds Mark III, but I don’tknow,” he says, his voice trailing off. “The 5Dwas such a homerun. Everything I shootwith it I love. And I can make any size printfrom it that I want, so what else do I need?” Kelly feels digital photography gives hima greater range of artistic expression thanfilm did. “I used to paint oil on canvas yearsago, but it took many weeks. About six yearsago I started working with Corel Painter,taking classes every year, but not sellinganything. Two years ago, after my fifth classon Painter, I decided I was going to make itwork. I began to create a painting everyweek, even if no one bought it. I did twopaintings during that class on my customers’portraits. I invited my clients to come seethem. They didn’t ask when they couldcome, they asked if they could buy them, sight unseen. Within 24 hours, I sold them both for a lot of money.” Now Kelly does one painting a week for his Modern Masterpiece series, and nearly every one sells. Although it’s time-consuming —three to 10 hours—he says he loves the process. Last year he was inducted to the International Society of Portrait Painters. He outputs the digital paintings on canvas and adds form-following brushwork. “The heavy hand-brushed lacquer gives the brush strokes a 3D look, further deceiving the eye.” Tim Kelly portraits are also available in unpainted color and black and white. About 60 percent of his portraits are of children, 20 percent families. The remainder is divided among seniors, business, com- mercial and illustrated portraits. “When I do a family, I do a complete study with all the breakouts of various poses, lighting and interpretations. They will always have more choices than they can afford to buy. I know84 • www.ppmag.com
  • 65. I’m not going to see them again for a couple my favorites. Instead of seeing the 200of years, so I do as much as I can as quickly frames I shot, they see the 30 polishedas I can,” says Kelly. ones I love.” “From one visit I typically sell a large por- Tiger Woods, who lives nearby, and histrait, secondary and gift portraits, and a wife, Elin, welcomed a baby girl lastfamily album.” Kelly designs the albums as summer. Might Kelly do their familyhe likes, without an order, to see if the client portrait? Kelly chuckles. “I was scheduled towill like it. “I use Capri albums because I can photograph Tiger Woods in 1997 when hedo panoramic layouts spread across 10x20- won his first Masters Green Jacket. I’veinch pages, or put one to a dozen pictures done other Green Jacket portraits foron a spread. … I take imagination out of the Augusta National Golf Club. But his planeequation by showing them what I can do was late and I was young and impatientand I sell it.” so I didn’t wait. I should have, but who Kelly purposefully elongates delivery was to know?” �time. “We stress quality,” he says. “To keepperceived value high, we tell our customersdelivery takes four to six weeks. They come To see more of Tim Kelly’s work, visit his Web site, www.timkellyportraits.com.back in a week to see the images, whichgives me an opportunity to edit and retouch Lorna Gentry is a freelance writer in Atlanta. April 2008 • Professional Photographer • 85
  • 66. Allison & Jeff Rodgers bring ad agency service to studio clientsdesigning BY JEFF KENT duo
  • 67. All images ©Allison Rodgers Photography
  • 68. hen Allison and Jeff Rodgers left their jobs asart directors for a Memphis ad agency, they hada specific goal in mind. For several years, the creatives-on-demand workedwith a variety of clients to produce projects for print, TV and online media.Now with a portrait and wedding studio of photographer, Jeff as the art director. ask a thousand questions about who theytheir own, Allison Rodgers Photography in “We want to offer each client a solution, are and what they’re looking for. EverythingOlive Branch, Miss., they have successfully as if we’re dealing with a client in an ad we do is designed to make the process easyadapted the ad agency model to retail agency,” says Allison. “When clients come in, for our clients. From our first consultation, Iphotography, with Allison as the our first conversation is about their needs. I (continued on p. 91)
  • 69. CREATING ADESIGNER SESSIONBY ALLISON RODGERSAt Allison Rodgers Photography our tagline is “let us tellyour story,” because every client that walks through our dooris a little different from the next. During my consultation appointments, my goal is to findout what makes my client different. It doesn’t matterwhether I’m shooting a newborn or a family. I want to findsomething I can focus on to make the session truly aboutthem. I ask tons of open questions, such as: How would youdefine your style as a family—casual, frazzled orsophisticated? What rooms do you spend most of your timein? What colors and textures are in those rooms? What doyou wear on the weekends? I always love to see images of my client’s home. I ask theclient to send a few shots of each room so that we can keepthem on file to help in the final size and placement of our images. Once I have a good feel for the client’s style andpersonality, I explain that I always want to plan my imagedesign for rooms that they live in on a daily basis, like theliving room, kitchen, hallway, entryway and children’sbedrooms. I talk about designing something customized forcertain spaces, usually for at least two different rooms. I also help them understand that I’m going to createsomething unique. They are there to make an investment, so Iam going to create something for them to invest in. Before the session ever takes place, I have a good idea ofwhat we’re going to do with the images. We plan sessionclothing to match the specific rooms in which the clientsplan to display the images. I even ask for measurements ofwalls and furniture so that I can design something for acertain spot in their home. By doing all of this preparation in the first meeting, I’vealready sold the client on my ideas before the session takesplace. They get excited about the session. All they have todo is show up and let us do the rest. When it’s time to order, the client has a multiple-choicelist of tailored options. We use all of their favorite images inour product mock-ups. They know the items will fit theirstyle. They know they will match their home. Even better,they know where to hang them and that they’re going to fitthe spaces perfectly. Taking the time to get to know the client in the beginningmeans that we can better tell their story, and give them productsthat they absolutely need. What more could they ask for?
  • 70. (continued from p. 88) For each client, the design process begins an image for a specific place in their home.”send them away with homework. I want to with the initial consultation, during which “It’s hard for people to have creative visionsee the color palette of their house, the Allison and the client discuss where the when it comes to abstract things like photo-layout, the style. We look into all of these images will be displayed and how they are to graphic art,” adds Jeff. “They need to beelements so that we can provide a solution fit into the overall decorating scheme. The presented those options. We don’t sell athat fits them. Everything is tailored.” process continues through the session and vague idea of an image that will go somewhere, The Rodgers continue to enjoy the collab- into the sales presentation. It’s a matter of it’s artwork to fit into a specific place.”orative structure of the ad agency in their paring down options to focus on the must- Since opening the business in the fall ofstudio. They oversee two junior designers, haves, rather than selling every product and 2003, Allison and Jeff have enlarged thewho work on product creation, album layouts service to every client. studio three times, and nearly doubled theirand image processing. “The designers become “People just get overwhelmed,” says Allison. gross revenue every year. They’ve accomplishedextensions of us, like extra hands,” says Jeff. “They come in and think they want to buy this, in part, through managerial accounting“I’ll come in and tweak things here and everything. I’m honest with them and try to guidance from PPA’s Studio Managementthere. Collaboration allows us to produce focus on certain things they need and will Services (SMS). With help from SMS account-more work in a timely manner while enjoy. That’s so important. It helps me when ants, the Rodgers have set up a system thatmaintaining a consistent artistic direction.” I shoot to have a plan. I’m shooting to create allows them to know exactly where they
  • 71. “When clientscome in, our firstconversation isabout their needs.I ask a thousandquestions aboutwho they areand what they’relooking for.Everything wedo is designedto make theprocess easyfor our clients.”
  • 72. GO FROM RAGS TO RICHES PPA Webinar spotlights four real- world financial success stories in April. Learn how to transform your studio’s bottom line not with gimmicks, just know-how. Interested in learning more about how the Rodgers have repeatedly doubled revenues without raising prices? On April 21, from 12 to 1:30 p.m. Eastern Time, Allison and Jeff join the owners of three other high-performing studios for a PPA Webinar on studio business success. “2007 Financial Success Stories” also includes Ryan and Carrie Phillips of Click Portrait Studio/Ryan Phillips Photography, a portrait and wedding outfit in Thousand Oaks, Calif.; wedding, portrait and commercial photographers Jeff and Carolle Dachowski of Dachowski Photography in Manchester, N.H.; and Todd and Jaime Reichman, thestand financially at all times. They are aware principles. They build relationships with wedding, portrait and seniorof their cost of sales, session numbers, sales their clients and are active in the community. photography specialists of Reichmanaverages, total income and net profit. They give perks to loyal customers. They Photographic Artists in Dunlap, Ill. In 2006, the average sale on 310 sessions consult on decorating decisions and offer The pros will discuss how they’vewas $686. In 2007, 256 sessions yielded an suggestions for future photographic art. They managed to accomplish such feats asaverage of $1,656. The Rodgers have been console clients who lose a loved one and tripling net profits, dramaticallyable to dramatically increase revenue without donate images to the family. Such personal increasing sales averages, creatingincreasing prices by limiting the focus of touches endear the Rodgers to their clients. financial security for their businesses,each session to concentrate on creating specific “We want to give something back to our and regaining their personal lives in theimages. Clients are actually inclined to pur- clients, our community and to other process. PPA chief financial officer andchase more because the options are tailored photographers,” says Jeff. “Sure, we want to Studio Management Services (SMS)to their situation. “It’s all about helping people make enough money to live comfortably, but guru Scott Kurkian will moderate theunderstand what they need,” says Allison. “If we’re not in this to be millionaires.” Webinar. “2007 Financial Successyou provide someone something specific— “That’s right,” agrees Allison. “We want to Stories” is part of the popular onlinefor example, a custom-designed gallery wrap tell our clients’ stories. We want to offer our educational series sponsored by SMS.to go in a designated space in a living creative vision. This is such an important Cost for the April 21 Webinar is $49room—they’re likely to buy it.” business to be in. It’s such a privilege when for PPA members and $249 for The Rodgers are always mindful that you think about it.” � nonmembers. For more information,they’re running a family-owned photography visit www.ppa.com and click on the For more information on Allison Rodgersbusiness, and never lose sight of traditional Photography, visit www.allisonrodgers.com. Events section.
  • 73. ©Jerry Ghionis
  • 74. Brilliant A glittering gallery by the Diamond Photographers of the Year COMPILED BY JEFF KENT ©Jim Frieze
  • 75. ©Jim Friezet’s no small accomplishment to land multiple prints in the PPALoan Collection via the PPA International Print Competition, one ofthe largest, most stringently judged photography competitions inthe world. With some 5,000 entries, the Loan Collection comprisesonly a few hundred photographs, the best of the best. Those whomerit multiple Loan inclusions earn a special distinction. With fourimages in the collection, photographers reach the Diamond level,the highest, in one of three categories: Artist of the Year, ElectronicImager of the Year and Photographer of the Year. On the followingpages, we pay tribute to the 2007 Diamond image-makers, anddisplay a selection of the images that put them on the top tier.JIM FRIEZEJim Frieze, M.Photog.Cr., of Jim Frieze Photography in Columbus, Neb.,has been a professional photographer for more than 45 years. He brings aclean, fresh approach to contemporary wedding photography, as well asfamily, senior and child portraiture. www.jimfriezephotography.com“HER DADDY’S WORST NIGHTMARE”The subject, Eric, frequently changes his look in the course of a year. Heworks in Frieze’s studio, so the photographer sees the alterations firsthand.This portrait encapsulates one of the looks in Eric’s diverse repertoire. Frieze desaturated the image in Photoshop, then adjusted the densityand contrast before stretching the background. “I always capture myimages in color,” says Frieze. “I can change and adjust to whatever Ichoose, and I find the contrast and density of the images to be so muchmore enjoyable.”CAMERA: Fujifilm FinePix S3 ProLENS: 28-75mm Tamron SP AF f/2.8 XR Di LD AsphericalLIGHTS: Main—Photogenic PowerLight modified by a 22x28-inch Larson SoffBox; background—Photogenic PowerLight; fill—5-foot Larson silver reflectorSHUTTER SPEED: 1/125 secondAPERTURE: f/9.5ISO: 100SOFTWARE: Adobe Photoshop CS“STRONG FOUNDATION” Image on page 95.The father of the child in this photo has been going to Jim FriezePhotography for portraits since he was a young boy. When he adopted achild, Frieze invited him to the studio to do a father-son portrait session.When Frieze captured this image of the sleeping child, he knew “StrongFoundation” summed up the story. “The challenges we encountered during the session included gettingthe little tyke to go to sleep and stay asleep,” says Frieze. “But the mosthumorous was the tiny bladder of this youngster. With each new pose hebaptized his father—over and over again!” In post-production, Frieze de-saturated the image in Photoshop, adjustedthe density and contrast and stretched the background. He applied astroke line and black canvas for the presentation.CAMERA: Fujifilm FinePix S3 ProLENS: 28-75mm Tamron SP AF f/2.8 XR Di LD AsphericalLIGHTS: Main—Photogenic PowerLight modified by a 22x28-inch Larson SoffBox; background—Photogenic PowerLight; fill—5-foot Larson silver reflectorSHUTTER SPEED: 1/125 secondAPERTURE: f/9.5ISO: 100SOFTWARE: Adobe Photoshop CS96 • www.ppmag.com
  • 76. JERRY GHIONISJerry Ghionis operates Jerry Ghionis Photography, a new boutique addition to his 10-year-old company, XSiGHTPhotography & Video. The Melbourne, Australia, photographer specializes in weddings, portraits and fashion.He travels three to four months a year pursuing his photographic passions. www.jerryghionis.com“NATHAN & VANESSA” (ALBUM) Image below.“I set out to create the simplest album I have ever produced,” says Ghionis. “I focused on showcasing the photographyand not the design, which I believe is what an effective album should do. There were so many powerful images from thiswedding, but I ruthlessly featured one-image page designs among multiple image designs. It’s all about the wow.” When digitally projected, the album displays vertically like a folding calendar. The printed album is 20x13.3 inches,printed on Kodak metallic paper by Edge Photo Imaging, and produced by Seldex Artistic Albums.CAMERA: Canon EOS 5DLENSES: 70-200mm Canon EF f/2.8L IS USM and EF 17-40mm f/4L USM“HADDEN & REBECCA” (ALBUM) Image on page 94.A mix of flush-mount and matted pages, this album is 11x14 inches with a simple, clean design.“I only had about 15 minutes of location time with the bride and groom, so I concentrated on producing fewerimages and making each one count,” remembers Ghionis. “The images of the long, tall grass are among myall-time favorite sequences. This album includes many elements, including storytelling, glamour, candor, emotionand a big measure of soul.”CAMERA: Canon EOS 5DLENSES: 70-200mm Canon EF f/2.8L IS USM and EF 17-40mm f/4L USM ©Jerry Ghionis April 2008 • Professional Photographer • 97
  • 77. ©Tomas Muñoz TOMAS MUÑOZ Calling on a rich tradition that began in Cuba in 1909, Muñoz Photography has grown into one of Florida’s most popular studios. The emerging generation of Muñoz photographers is led by Tom Muñoz, M.Photog.Cr., CPP, who does a mix of weddings, portraits and pet photography out of the studio’s West Palm Beach and Fort Lauderdale locations. www.munozphoto.net “VINTAGE GRACE” This classically composed bridal portrait comes from a traditional Indian wedding. The bride had worn the Indian sari and lehnga during earlier stages of the event, but she changed into her white wedding gown for this photo session at the Biltmore Hotel in Coral Gables, Fla. “I put the bride on a staircase that leads to the main lobby of the hotel,” says Muñoz. “I used the beautiful light coming from a window to light her profile. The bride wanted me to photograph the blend of cultures represented in her wedding day. She was ecstatic over this formal bridal portrait.” CAMERA: Canon EOS 5D LENS: 24-70mm Canon EF f/2.8L USM SHUTTER SPEED: 1/125 second APERTURE: f/5.6 ISO: 200 KASSY & TOBY “The bride and groom are a young, fun couple, who enjoyed every minute of their wedding,” says Muñoz. “I started the day with the bride and her family at the Breakers Hotel in Palm Beach. The hair and make-up team ran late with the bridesmaids, and I was pressed for time during the portraits. Once I finished, the girls practically ran toward the limo. I captured this moment as they realized that they were minutes away from the start of the ceremony, as they looked at one other with in an adrenaline rush.” CAMERA: Canon EOS 5D LENS: 24-70mm Canon EF f/2.8L USM SHUTTER SPEED: 1/125 second APERTURE: f/5.6 ISO: 200©Tomas Muñoz
  • 78. ©Sam Gray PortraitsSAM GRAY PORTRAITSIn business since the late 1960s, Sam GrayPortraits of Raleigh, N.C., focuses on childrenand families, with an increasing number ofwomen and executive portraits. Proprietor SamGray, M.Photog.Cr., provides his longtimeclientele traditional fine-art photography in avariety of formats and media. He attainedDiamond status this year with his firstcompetition entries in 11 years.www.samgrayportraits.com“THE SHEEP KNOW HIS VOICE”“I captured the shepherd when I was with somefriends on a photographic safari in northern Italylooking into the Swiss Alps,” remembers Gray. “Iwanted to compose the image as quickly aspossible because I knew the scene would change ©Sam Gray Portraitsany minute. The first thing I did was get a wideangle showing the mountains and clouds, withthe shepherd talking to his dog.” “ROLLING HILLS”Gray used Photoshop to make several Gray initiated this project for a competition judged by the curator of contemporary art at the North Carolina Museumadjustments, clean up distractions in the of Art. “Although this [competition] was out of my comfort zone, I wanted to be in front of this judge, says Gray. ”background, and enhance the clouds and fog to Looking over some old travel images, Gray found a photograph that he’d captured in the hill town of Corniglia, Italy.look like it was morning. He also moved the Using the palette knife tool in Corel Painter, he digitally painted the entire image and intensified the colors for impact.shepherd to improve the overall composition. Then he cropped it for a 30x70-inch composition before printing the image on canvas. The art piece was one of 20 out of 300 chosen for the show. It now hangs in his studio gallery and is finished with rich impasto oil paints.CAMERA: Kodak DCS Pro SLR/nLENS: 80-200mm Nikkor f/2.8 ED-IF AF-S VR CAMERA: Kodak DCS Pro SLR/nZoom and 35-70mm f/2.8D AF Zoom LENS: 70-200mm Nikkor f/2.8 ED-IF AF-S VR Zoom and 35-70mm f/2.8D AF ZoomSHUTTER SPEED: 1/180 second SHUTTER SPEED: 1/750 secondAPERTURE: f/6.7 APERTURE: f/6.7ISO: 200 ISO: 160SOFTWARE: Adobe Photoshop COMPUTER: Mac G4 17-inch notebook with Wacom Intuos3 graphics tablet SOFTWARE: Adobe Photoshop and Corel Painter April 2008 • Professional Photographer • 99
  • 79. ©Steven Ahrens STEVEN AHRENS ©Steven Ahrens A second-generation photographer who has been photographing professionally for 27 years, Steve Ahrens, M.Photog.Cr., runs Ahrens Photography in Fond du Lac, Wis. Technically adept and traditional minded, Ahrens specializes in classic portraits of seniors, children and families. www.theahrensimage.com “JOE” “I had owned the hat for years and was looking for just the right background and subject to photograph with it,” says Ahrens. “Then I needed something for the subject to wear. We made an ethnic outfit for him, but it just didn’t look right. At the last minute I visited the local Goodwill store and found this T-shirt for $2.” Again, lighting proved to be a challenge. Ahrens used north light and reflectors to illuminate the subject to appear to be lit by the moon and the spectral highlights on the water. CAMERA: Cannon EOS 5D LENS: 70-200mm Canon f/2.8L IS USM LIGHTS: Natural light and reflectors SHUTTER SPEED: 1/60 second APERTURE: f/5.6 ISO: 100 “A SHOULDER TO LEAN ON” “Wills parents wanted me to recreate a pose I had done of their older son,” says Ahrens. “After I’d gotten the image they were looking for, Wills father picked him up and held him, and that is the moment in this image.” Ahrens appreciates the special feeling that comes through when a child feels secure. “Children feel safe and comforted when held by their parents. Will’s father served as a prop, which led to the perfect title.” This image also received an ASB Regional Medallion Award. CAMERA: Canon EOS 5D LENS: 70-200mm Canon f/2.8L IS USM LIGHTS: Natural light and reflectors SHUTTER SPEED: 1/60 second APERTURE: f/5.6 ISO: 100 100 • www.ppmag.com
  • 80. ©Jo BurkhardtJO BURKHARDTJo Burkhardt, M.Artist.MEI, runs PhotographicArt by Jo in Sarasota, Fla. She does artisticimage enhancements of both new and oldimages. This is the third consecutive year thatshe has reached Diamond status as an ElectronicImager of the Year.“GONE FISHIN’”Burkhardt adapted this image from a photographby Brian Shindle of Creative MomentsPhotography in Westerville, Ohio. She usedAdobe Photoshop to eliminate the house andbackground before painting in a new scene foraesthetic balance. “The biggest challenge wasremoving a large home from the original workand envisioning a completely differentbackground in the process,” says Burkhardt.SOFTWARE: Adobe Photoshop and Corel Painter“HOME FOR THE HOLIDAYS” ©Jo Burkhardt“The artistic intent was to start with a clutteredimage and transform it into a beautiful scene,”says Burkhardt. The original image was especiallyfun for Burkhardt because the yard required adigital clean-up before she could begin to focuson transforming the house and background. Sheremoved all the clutter in Adobe Photoshopbefore pulling up Corel Painter to paint the winterscene.CAMERA: Fujifilm QuickSnap Flash 35mm SingleUse cameraFILM: 35mm Fujifilm 400 speed filmSOFTWARE: Adobe Photoshop and Corel Painter102 • www.ppmag.com
  • 81. ©Juli Cialone JULI CIALONE Juli Cialone, M.Photog., proprietor of Cialone Photography in Rochester, N.Y., has been in business for 10 years, working primarily with portrait and wedding clients. Her specialties are environmental portraits, portrait albums and photojournalistic images. www.cialonephoto.com “JENNIFER AND MICHAEL” (ALBUM) Aiming for “urban and sexy,” Cialone created this image on location. Her first challenge was to get the couple comfortable, so she started the session with a few drinks at a bar. Her next challenge was to keep onlookers from interfering, which turned out to be more difficult than anticipated. “An ogling passerby actually walked into a pole because he wasn’t paying attention to where he was going!” she recalls. In post-production, Cialone retouched the image with Nik Color Efex Pro and Kubota Artistic Tools. She designed and laid out the album with Yervant Page Gallery software. CAMERA: Canon EOS 5D LENSES: 85mm Canon f/1.2L II USM and 15mm Canon EF f/2.8 fisheye LIGHTS: Photogenic PowerLights “PUPPY AND THE BABY BOOK” (ALBUM) “I was going for something fun and silly but also very clean, says Cialone. “It was a little challenging ” keeping a puppy and a 1-year-old happy simulta- neously—not to mention getting expressions. ” Cialone created the image with a fisheye lens while shooting the subjects against a seamless white background. Everything went smoothly until both subjects wet the floor. Cialone retouched the images with Nik Color Efex Pro and Kubota Artistic Tools. She designed the album layout freehand. CAMERA: Canon EOS 5D LENSES: 85mm Canon f/1.2L II USM and 15mm Canon EF f/2.8 fisheye LIGHTS: Photogenic PowerLights SOFTWARE: Nik Color Efex Pro and Kubota Artistic Tools ©Juli Cialone 104 • www.ppmag.com
  • 82. calendar June 15-17 September 13-17 S: PP of Oregon, Mt. Bachelor Resort, Bend, C: Georgia PPA, Athens, Ga.; Tom McCollum; Ore.; Arlene Welsh, 800-370-5657; 770-972-8552; gppaed@bellsouth.net; pporegon@teleport.com; www.pporegon.com www.gppa.com June 16 October 3-7 S: PP of Massachusetts; Steve Meier, C: Southwest PPA, Sheraton Arlington smphoto@comcast.net; www.ppam.com Hotel, Arlington, Texas; Michael Scalf, Sr.,Submit your organization’s convention, work-shop, seminar or exhibition dates to Professional Box 1779, Blanchard, OK 73010-1770; June 22-23Photographer at least six months in advance. 405-485-3838; michael@swppa.com; S: Kentucky PPA; Embassy Suites,Editors reserve the right to select events to be www.swppa.com Lexington, Ky.; Randy Fraley, 606-928-5333;announced on these pages, and to determine rgimage1@aol.com; www.kyppa.comwhen announcements will appear. Editors are October 5-6not responsible for conflicting or incorrect dates. June 22-24 S: Kentucky PPA; Hyatt Regency,For readers’ convenience, each event is identi-fied by a code preceding its name: C=Convention, S: PP of North Dakota, Northern Light Seminar, Lexington, Ky.; Randy Fraley,W=Workshop, S=Seminar, C/E=Approved PPA Doublewood Inn, Bismarck, N.D.; Poppy Mills, 606-928-5333; rgimage1@aol.com;Continuing Education Seminar, E=Exhibit. Send 701-222-3040; fowlerphoto@midconetwork.com www.kyppa.comall Calendar of Events additions or correctionsto: Sandra Lang, Professional Photographer, June 22-25 S: Texas PPA, YO Ranch Resort, Kerrville, Texas; October 12-13229 Peachtree St., NE, Suite 2200, Atlanta, GA30303; FAX: 404-614-6404; slang@ppa.com. Doug Box; 979-272-5200; dougbox@mac.com; C: PP of Colorado, Denver, Colo.; Jeff Johnson; www.tppa.org 303-921-4454; president@ppcolorado.com; www.ppcolorado.com August 2-5Current Events C: PP of Louisiana, New Orleans, La.; Dayna October 18-21 Ponthieu, 318-359-6633; www.ppla.net C: APPI, Decatur Conference Center, Decatur,May 18-20S: PP of Louisiana, Marksville, La.; Dayna Ill.; Jill Sanders, 309-697-9015; August 15 photobyjil@aol.comPonthieu, 318-359-6633; www.ppla.net C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson, 615-509-5737;May 18-23 photo4u2b@aol.com; tnppa.com October 20W: Imaging Workshops, Mountain Summit, S: PP of Massachusetts; Steve Meier,Breckenridge, Colo.; Jeff Johnson, 303-921-4454; September 12-15 smphoto@comcast.net; www.ppam.compresident@ppcolorado.com; C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.;www.coloradoworkshops.com Ted Newlin, tednewln@aol.com; www.ppok.org October 20-21 C: Wisconsin PPA, The Osthoff Resort,June 1-2 September 13-16 Elkhart Lake, Wis.; Mary Gueller;S: PP of South Carolina summer mini-seminar, C: PPA of New England, Radisson Hotel 920-753-5302; Jim Buivid; 262-377-5118;Columbia.S.C.; Jeanne Richardson; 843-527-2071; Nashua, N.H.; Roland Laramie, P.O. Box 316, Deb Wiltsey, 866-382-9772;jfoto911@aol.com; www.ppofsc.com Willimantic, CT 06226; ppanerl@aol.com wppa-online.com October 26-27 PPA EVENTS January 11-13, 2009 Imaging USA, Phoenix C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Professional Photographers of America (PPA) January 10-12, 2010 Sumner, IA 50674; 563-578-1126; has a proud tradition of providing its members Imaging USA, Nashville ppichris@iowatelecom.net with outstanding educational opportunities through its annual events, PPA-Merited classes October 26-28 and its PPA Affiliate School Network. Don’t miss out on the vital knowledge you’ll gain at Certification Exam S: Northern Light/Minnesota PPA; these events! For information on PPA events, Nicole Bugnacki, 763-390-6272; For a complete list of exam dates, go to nicole.bugnacki@gmail.com call 800-786-6277 or visit www.ppa.com. www.ppa.com and click on Certification. June 6 November 2 117th Annual International Print S: PP of Louisiana, Northern Exposure, Competition Deadline for Entries Image Review Shreveport, La.; Dayna Ponthieu, July 22-23 Online submission: 318-359-6633; www.ppla.net Judges Workshop, Daytona Beach May 9, August 8, & October 10 November 9-10 April 7 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Super Monday Carol Worthington, carol@ppofohio.org October 9-18 PPA Fall Cruise 106 • www.ppmag.com
  • 83. Future Events April 25-28, 2009PPA-Approved C: SEPPA, Athens, Ga.; TomMcCollum; 770-972-8552; seppa@bellsouth.net; January 31 - February 3, 2009Continuing C: PP of Iowa, Airport Holiday Inn, Des www.4seppa.comEducation Seminars Moines, Iowa; Chris Brinkopf, P.O. Box 108, August 8-12, 2009 Sumner, IA 50674; 563-578-1126; ppichris@iowatelecom.net C: Tennessee PPA, Marriott Cool Springs,PPA members receive both merits Frankin, Tenn.; Ernie K. Johnson;and the best-published prices. February 6-10, 2009 615-509-5737; photo4u2b@aol.com; C: PP of South Carolina, Myrtle Beach. S.C.; tnppa.comMay-DecemberC/E: Hands on Photography Classes; Wilber Jeffcoat; wilber@jeffcoatphotography; www.ppofsc.com October 18-21Quinn Hancock; 785-883-4166; C: APPI, Decatur Conference Center,customclassics@myvine.com February 20-23, 2009 Decatur, Ill.; Jill Sanders, 309-697-9015; C: PP of Oregon, Embassy Suites Hotel, photobyjil@aol.comExtreme Portraiture: Wedding Edition;Batavia, Ill.; 630-761-2990; 815-436-0422 PDX, Portland, Ore.; Arlene Welsh, 800-370-5657; pporegon@teleport.com; November 1-2, 2009 www.pporegon.com S: PP of Iowa, Airport Holiday Inn, DesMay 1-2 Moines, Iowa; Chris Brinkopf; 563-578-1126;C/E: Extreme Portraiture: Wedding Edition; February 20-23, 2009 ppichris@iowatelecom.net; www.ppiowa.comBatavia, Ill.; 630-761-2990; 815-436-0422 C: PP of Massachusetts, Steve Meier;May 5-9 781-829-4282; smphoto@comcast.net; February 6-9, 2010C/E: From Traditional to Digital; Jeremy www.ppam.com C: PPof Iowa, Airport Holiday Inn, DesSutton, San Francisco, Calif.; 415-626-3971; Moines, Iowa; Chris Brinkopf, 563-578-1126;www.jeremysutton.com February 20-25, 2009 iowatelecom.net; www.ppiowa.com C: Virginia PPA, Renaissance Hotel,May 14 Portsmouth, Va.; William Garrett, February 26-March2, 2010C/E: “The Art of Children” with Mary 434-836-2751; bgarrett25x25@juno.com C: Wisconsin PPA, Radison Hotel, GreenMortensen; Rockford, Ill.; Wendy Veugeler; Bay, Wis.; Donna Swiecichowski,815-356-1231; www.info@ppani.org February 26-March 4, 2009 920-822-1200; Paul Tishim, C: PP of North Carolina; Sheraton Imperial 715-384-5454; Deb Wiltsey, 866-382-June 9-11 Hotel, Durham, N.C.; Loretta Byrd, 9772; wppa-online.comC/E: Camp Howe, North Platte, Neb.; 308- 888-404-7762; ppnc@earthlink.net;534-7909; www.photographicimages1.com www.ppofnc.com April 10-13, 2010 C: Heart of America, KCI Expo Center,July 12-18 February 27-March 3, 2009 Kansas City, Mo.; Stephen Harvey,C/E: Copan Honduras Study Abroad C: Wisconsin PPA, Marriott Conference 620-624-4102;Excursion with Paul Wingler, Suzette Allen & Center, Madison, Wis.; Donna sharveymo@yahoo.com;Jon Yoshinaga; 800-483-6208; Swiecichowski, 920-822-1200; Paul Tishim, www.hoappa.compwphoto@mindspring.com; 715-384-5454; Deb Wiltsey,www.suzetteallen.com/copan 866-382-9772; wppa-online.com November 14-15, 2010 C: PP of Ohio, Hilton Easton,August 1-4 March 15-18, 2009 Columbus, Ohio; Carol Worthington,C/E: Oxford Painter Workshop; Jeremy C: Mid-America Regional, Decatur carol@ppofohio.orgSutton, San Francisco, Calif.; 415-626-3971; Conference Center, Decatur, Ill.; Jill Sanders,www.jeremysutton.com 309-697-9015; photobyjil@aol.com March 4-9, 2011 C: PP of North Carolina, Sheraton ImperialAugust 13 March 28-31, 2009 Hotel, Durham, N.C.; Loretta Byrd,C/E: “Making Digital Photography Easy, C: Heart of America, KCI Expo Center, 888-404-7762; loretta@ppofnc.com;Predictable & Fun” with Robert D. Lloyd, Kansas City, Mo.; Stephen Harvey, www.ppofnc.comMalta, Ill.; Wend Weugeler; 815-356-1231; 620-624-4102; sharveymo@yahoo.com;www.info@ppani.org www.hoappa.com April 2-5, 2011 C: Heart of America, KCI Expo Center,September 12-17 April 3-8, 2009 Kansas City, Mo.; Stephen Harvey,C/E: Great Gatsby Impressionist Workshop; C: Minnesota PPA; Joanie Ford, 620-624-4102; sharveymo@yahoo.com;Jeremy Sutton, San Francisco, Calif.; 763-560-7783; joanieford@comcast.net; www.hoappa.com415-626-3971; www.jeremysutton.com mnppa.comOctober 20-23 April 4-8, 2009 Send all Calendar of Events additions orC/E: Painter Creativity; Jeremy Sutton, San C: Northern Light, Minnesota, Jeff Fifield, corrections to: Sandra Lang, ProfessionalFrancisco, Calif.; 415-626-3971; 218-722-377; fifieldjg@aol.com; Nicole Photographer, 229 Peachtree St., NE,www.jeremysutton.com Bugnacki, P.O. Box 567 Ironton, Minn.; Suite 2200, Atlanta, GA 30303; 56455; 763-390-6272 FAX: 404-614-6404; slang@ppa.com 108 • www.ppmag.com
  • 84. 2008 PPA-AFFILIATED SCHOOLSPPA members receive both merits June 1-5 June 23-25and the best-published prices. Kansas Professional Photographer School, Bethel Golden Gate School of Professional Photog- College, Newton, Kan.; Ron Clevenger, 785-242- raphy, Mills College, Oakland, Calif.; Julie Olson,May 4-9 7710, rnstudio@swbell.net; www.kpps.com 650-548-0889; goldengateschoolGeorgia School, N. Georgia Tech, @yahoo.com; www.goldengateschool.comClarksville, Ga.; Tom McCollum, 888-272- June 1-53711; gppaed@bellsouth.net; www.gppa.com Mid-America Institute of Professional July 13-17 Photography, University of Northern Iowa, Image Explorations, Shawnigan Lake, BritishMay 4-9 Cedar Falls, Iowa; Charles Lee, 641-799- Columbia; Don MacGregor, 604-731-7225;MARS (Mid-Atlantic Regional School), 8957; lees@pcsia.net; www.maipp.com; Al don@macgregorstudios.com;Grand Hotel, Cape May, N.J.; Adele DeWild, amdewild@iowatelecom.net www.imageexplorations.ca/Bastinck, 888-267-6277;marschool@nac.net; www.marsschool.com June 8-12 July 20-25 Illinois Workshops, Grafton, Ill.; Bret Wade, PPSNY Photo Workshop, Hobart/WilliamMay 6-9 and May 11-14 217-245-5418; info@ilworkshops.com; Smith Colleges, Geneva, N.Y.; LindaWisconsin Professional Photographers School, www.ilworkshops.com Hutchings, 607-733-6563; ppsnyworkshopUW Stevens Point-Treehaven, Tomahawk, @pws1893.com; www.ppsnysworkshop.com June 8-13Wis.; Phil Ziesemer, 715-536-4540, Great Lakes Institute of Photography,philz@pzphoto.com; www.wiprophotoschool.org August 4-7 Northwestern College, Traverse City, Mich.; Long Island Photo Workshop, Sheraton Hotel, Greg Ockerman, 313-318-4327; Smithtown, Long Island, N.Y.; Jerry Small,May 18-22 gjodigital@aol.com; www.glip.org 516-221-4058; jerry@jsmallphoto.com;Florida School of Photography, Daytona BeachCommunity College, Daytona Beach, Fla.; Teri June 15-20 www.liphotoworkshop.comCrownover; teri@fpponline.org; 800-330-0532; West Coast School, University of San Diego,Marybeth Jackson-Hamberger, MHamberger@ August 10-14 San Diego, Calif.; Kip Cothran, 951-696-9706; East Coast School, Sheraton Imperial Hotel,comcast.net; www.fppfloridaschool.com kipphoto@aol.com; www.prophotoca.com Raleigh, N.C.; Janet Boschker,May 18-22 June 22-26 704-567-0775; jbnlight@aol.com;Imaging Workshops of Colorado, Brecken- PP Oklahoma School, St. Gregory’s www.eastcoastschool.comridge, Colo.; Jeff Johnson, 303-921-4454; University, Shawnee, Okla.; Glenn Cope,luna@originalimageco.com; 580-628-6438; gmcope@sbcglobal.net; Send all additions or corrections to:www.coloradoworkshops.com www.ppok.org/school.html Marisa Pitts, mpitts@ppa.com. April 2008 • Professional Photographer • 109
  • 85. © Kelvin Leung, Geoff White Photography PPA gives us When starting out, Geoff was just fine-tuning his personal photography. But when we decide to do THE BUSINESS FOCUS. something, we put everything we have into it. PPA offered a lot of education—both business and photographic—and we used it all. We researched the best wedding photographers, where they were teaching (most at PPA and affiliate schools), and took 5-6 weeklong classes in the first year. Two of the Now, we have the financial and creativeMany Faces y freedom to expand our photography even more. of PPA Geoff & Lara White Professional Photographers PPA Members since 2003 Professional Photographers of America | 800.786.6277 | csc@ppa.com | www.ppa.com
  • 86. TODAY APRIL | 08 PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President © Dennis Craft © Dennis CraftAs we come into spring, I hope that by the creativity and quality of others’ an Asian Pacific Affiliated Judging atyou were able to renew yourself works and am committed to create Professional Photographers of Korea’sand your studio and prepare for my own best image. At Michigan’s convention (at Seoul’s COEX Center). Itanother busy photographic season. competition some new photographers has been nice to see the benefits of thisI always look forward to this time did very well alongside the “veterans.” relationship each year, as we presentof year after the conventions and One of those veterans was well-known the Master of Photography degrees toseminars that renew my passion for lecturer and mentor Barry Rankin. PPA members from this region.photography…and my friendships. Barry received the Photographer of the Year for PPM — congratulations Thank you again for allowing me to PPA News & NotesOne of my passions is competition, Barry! I hope everyone is planning share this time with you. And startwhich I have used as a learning tool on entering PPA’s International Print working on those competition prints!for over twenty years. I still remember Competition (June 6, 2008). Let’sthe first time I entered four prints in get our images ready and make thisthe Professional Photographers of International Judging the biggest ever.Michigan print competition: I was sohappy to receive two red ribbons Speaking of international, I will beand two yellow ribbons…without any representing PPA this month in Korea. Dennis Craft, M.Photog.Cr., CPP, API, F-ASPthrown out! Each year I am inspired This is the fifth year that PPA has held 2008-2009 PPA President FRIENDS MET ALONG THE WAY once a month for breakfast. I livedThis month I would like to introduce you about an hour away from them, so Ito three people who taught me about offered to do most of the driving. I’mphotography. When I bought my studio sure it didn’t take them long to realizein Marshall, Michigan in 1979, I had no my real reason for the group, as Ireal training in photography. In fact, I brought stacks of proofs each monthhad only owned a 35mm camera for for them to critique…but they werea few years. very patient. They introduced me to many photographic fundamentalsTaking the advice of a lab rep, I over pancakes and eggs.started attending our local PPAaffiliate in Michigan (Triangle). After Ron, Rod, and Duaine became my firsta couple years, I knew I was in over mentors within this profession—a gift Imy head. So I paid attention to the will never be able to repay. Never didothers who attended, soon identifying they make me feel inferior or stupid forthree photographers I admired for asking hundreds of questions. © Dennis Crafttheir businesses, friendship, andphotography. One you might know: When you read this, I hope you callRon Nichols, current Vice President of or e-mail the person who was yourPPA. The other two might be new to first mentor. Chances are, they mightmany outside Michigan: Rod Gleason not realize the influence they had onand Duaine Brenner. To these three I your life. From the bottom of my heart,owe most of my success. thanks Ron, Rod and Duaine. Thanks for everything you did for me.At one Triangle meeting, I suggestedthat we start a focus group and meet © Dennis Craftnews from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P1
  • 87. TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: PAUL OWEN by Angie Wijesinghe, PPA Marketing Specialist © Anne Radtke of the Milwaukee Art Museum “It all comes down to customer service.” starting out. Referred to a wedding by a friend, he photographed That was Paul Owen’s description the event at the Milwaukee Art of his marketing process. Ironically, Museum. Later, he returned to the Owen, M.Photog.Cr., CPP, winner of museum with a fully designed album the 2007 AN-NE Marketing Award for highlighting the building itself during Best Use of Multimedia (and many the wedding. That album resulted other photography awards), does little in many museum events booking active marketing himself. But that’s his photographic services. because his commitment to service has transformed into a behind-the-scenes “As photographers, we’re powerful marketing approach. Simply put, he because we can provide those helps the people who know the people. promotional images. However, youPPA News & Notes can’t just give a venue photos,” Owen “The majority of my marketing is stresses. “You need to ensure that done by high-end vendors and other your presentation is the best. Give an photographers who refer me,” says album or DVD, something you know Owen. “After all, I love top-notch service they will show their clients so you get (I figure my ideal clients would, too), so a return. You can’t put a price tag on I try to surround myself with those types that kind of marketing.” of vendors. It’s my biggest success.” This need for prestigious presentation Easier said than done? Not was the basis for Owen’s competition- according to Owen. Think of the winning DVD. He already used DVDs different locations you photograph… for clients who couldn’t meet with him for weddings, portraits, and other in person—sort of a long-distance events. Most could use promotional portfolio. As the Milwaukee Museum images, and Owen realized this had many out-of-town clients, Owen BOARD MEMBER SPOTLIGHT Doug Box, M.Photog.Cr., API in the yearbook staff, where he sold and he went up to Don (who was his first photo (to the fraternity he teaching a class probably too PPA Member since: 1979 photographed dressed in old-time advanced for Doug at the time). “I clothes). “I was rich with that $3.50,” only have one strobe and an old Location: CALDWELL, TX chuckles Doug. He even bought piece of carpet for a background. a daycare center, and “cleaned What can I do?” he asked Don. “Never stop learning.” It’s Doug Box’s up the Jell-o and peanut butter to With a serious look, Don replied, motto (really…it’s how he signs his take photos in the lunchroom,” he “Son, keep it close to the camera.” letters), and he certainly lives up remembers. “After all, I had a built- to that statement. in clientele!” It might sound odd, Why is that so meaningful? Well, but it worked—enough to grow into Don could have easily discounted Doug was always learning different a profitable photography business him as not being professional nuances in photography and he could sell. or important enough to answer. business...even if it happened in Instead, he encouraged the young ways one might not expect. As a Despite his own success, he still Doug Box. “He became my mentor,” teenager, he hung out at the K-mart idolizes one moment with Don Blair remembers Doug. “I wanted to be camera department. Then he worked during a Texas School class. He had to like him as a person, an instructor, leave early to shoot a portrait, and a photographer.” P2 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
  • 88. TODAY Always find out what you can do to help others; it will come back to you tenfold. — Paul Owenmade them a DVD, too. But he didn’t Only later did that gift to the museum a substantial family portrait bookingjust paste up a slideshow of images. become his AN-NE competition entry, from that kind act. This “help them toThanks to the help of close friend mainly because he wanted to see help yourself” philosophy has certainlyand photographer Jim Buivid of what the judges had to say. He wanted worked for Owen in his past 20-someGrafton, Wis., Owen dove into the to ensure that the DVD’s marketing years of photography.Apple Motion program to create a message came through the way hesmoother, DVD-quality look. intended. And it overwhelmingly did. Sample the end result of that philosophy—his entry—atIt wasn’t just the technical quality of Owen’s DVD symbolizes his belief in the www.PaulOwenPhotography.com,the promotional DVD that secured his necessity of service and presentation in where you can also see his manyrst-place spot in the AN-NE Marketing marketing. “Your demeanor is crucial awards. But above all, take his adviceAwards. Owen also knew which images to getting your foot in the door. Be and consider helping businesseswould be most helpful to the museum. positive, not too pushy, and friendly…a around you. Such shadow marketing PPA News & Notes friendly approach is the most powerful can take you far.“With vendors,” he says, “you need for vendors and clients alike,” he says.to highlight their place (their venue)… “Just nd out what you can do to help Paul Owennot just the room in which the event others; it will come back to you tenfold.” Paul Owen Photograph, LLCis held. Find the details that set them New Berlin, Wis.apart from other venues and highlight For example, he once took www.PaulOwenPhotography.comthose areas.” For instance, Owen even photographs of his son’s football game.photographed the museum staff—“the Afterwards, he put 4x6s in a plastic bagnicest staff I’ve ever worked with, with his business cards, leaving themespecially at a prestigious venue.” for the families. He ended up gettingThe annual AN-NE Marketing Awards both marketing gurus and past PPA The rules and entry form for the 2008competition recognizes outstanding Presidents, the competition is open to competition are online now. Moreingenuity and effectiveness in real-world PPA members only. information is at the Competition & Awardsmarketing endeavors. Named in honor page on www.ppa.com. Don’t miss the Juneof Ann Monteith and Marvel Nelson, 27, 2008 postmark deadline.Doug still touts the need for all to keep he says, “but it’s like wearing blinders.”learning—as evidenced by his motto Where can you receive such hands-onabove. What he most enjoys is teaching interaction? Doug strongly believesbasics to new photographers. “They’re that PPA and its afliated organizationslike sponges…it’s fun to help them soak are the places. “I want our associationsup good, solid education.” to be strong because I know how important they were — and are — toThat kind of education is what he me,” he emphasizes.believes is needed today. After all, withdigital it’s easy to use the back of thecamera as your guide, skipping thebasics of good photography. And withthose basics goes hands-on interaction.Doug sees that kind of personal touchas necessary to really learning andconnecting with the industry. “You canlearn a lot from blogs and the Internet,” news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P3
  • 89. TODAY AFFILIATE SCHOOL SPOTLIGHT KANSAS PROFESSIONAL Segment 1 (June 1 – 3): GREAT LAKES INSTITUTE OF PHOTOGRAPHY PHOTOGRAPHERS SCHOOL Getting Started with Painter: June 8 – 13, 2008 | Northwestern Michigan June 1 - 5, 2008 Painter Essentials 4 - John Derry College, Traverse City, Michigan Bethel College, Newton, Kansas Basic Studio Portraiture - Charlie Rees Contact: Gregory Ockerman Contact: Ron Clevenger; Beginning Photoshop (Registrar); 313-318-4327 rnstudio@swbell.net; 785-242-7710 - Fred Taylor & Steve Attig Web site: www.glip.org Web site: www.kpps.com Background Painting Plus - Susan Treft Tuition: Children’s Portraiture Course information: All-Week Class - $570 or $495 - Michael & Kathleen Bishop Join us for fantastic instruction with early enrollment* (Choose Basic Wedding Photography (intermediate to advanced) on Grand one of the all-week classes) - Don & Joyce Brent Traverse Bay, mixed with a fantastic theme party and great camaraderie between Segment I or II - $370 or $295 Segment 2 (June 3 – 5): staff, instructors, and students: a fantastic with early enrollment* (Choose Painter X: Beyond the learning and growing experience. a class in Segment I or II) Basics - John Derry Instructors include Greg Stangl, Michael Basic Studio Portraiture - Charlie Rees *To qualify for early discount, registrations & Tina Timmons, Lou Szoke, Brian Cox, Intermediate Photoshop - Fred Taylor must be postmarked by April 30, 2008. Andre Constantini, Cheri McCallum, Advanced Photoshop - Steve Attig Kalen Henderson, Al Audleman, Course information: Background Painting Plus - Susan Treft Betty Huth, Ed Booth, David Deutsch, All Week (June 1 – 5): Introduction to the Complete James Churchill, and Bob Guliani. Mastering Wedding Success Digital Studio - Stan Reimer - Michael & Pam Ayers Basic Environmental Portraiture Seniors: Artistic Elements of - T. Michael StanleyPPA News & Notes Portraiture - Carl Caylor The Big Bang Theory of Digital - Jeff Locklear & Bentley Skeie IN MEMORY… HENRY FROELICH The photographic community, family Born in 1922, he experienced the became available, he and partners and friends will miss Henry Froehlich, difficult life Jewish families had in started Mamiya America Corporation one of the true pioneers and leaders Nazi Germany, including having (MAC). They soon made these products of the photographic industry in the his father taken to a concentration the market leaders. As the years went 20th Century. He died peacefully on camp. Then, in 1940, he entered the by, their name was modified to MAC January 24, 2008, at the age of 85. He United States. His first job in the photo Group, with more lines added to is survived by Marian, his wife of 57 business was as an assembler of the product offerings. years, his two children, grandchildren, “bank lights.” But Henry was among and great-granddaughter. the first to recognize the potential in Henry’s interest in photography was Japanese photographic products. He also deeply personal. He formed founded Konica Camera Company in many long-term relationships with Philadelphia in 1951, having acquired retailers, photographers and other the sole U.S. distribution rights for industry members. He was an Konica cameras. His company then advocate of The International Center merged with Berkey Photo (1962). Next, of Photography, strongly believing he founded the Froehlich FotoVideo in its principles. Above all, Henry’s Corporation, pioneering the concept vision never wavered: “Our mission is of film-to-tape transfer, and developing to supply professional photographers equipment systems to perform this and the educational community service within the retail environment with the tools they need to create an of camera stores and minilabs. In 1987, image.” That, and his credo to “under when the exclusive distribution rights promise, and over deliver” serves as a for Mamiya Medium Format cameras model for his associates to follow. and Toyo Large Format cameras HENRY FROELICH 1922 - 2008 P4 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
  • 90. LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES April 2008 • Professional Photographer • 115
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  • 96. PROFE SSIONAL Contemporary Photography/J. 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  • 97. 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.122 • www.ppmag.com
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  • 104. ACADEMY PRODUCTIONS INC. PRESENTATION BOXES available for immediate shipment; FANTASY STUDIO FOR RENT. Not ready to buy, wanting INNOVATIVE PRINTING SOLUTION 19 sizes—4 stock colors. For FREE catalog & samples call to relocate and test an area? This is a studio unlike any Complete Imaging Service for today’s professional 800-969-2697 or fax request 800-861-4528. BUY other. Now you can afford to be the best with minimal photographer Processing—Proofing—Film—Digital Files DIRECT AND SAVE. NPD Box Company, 3000 Quigley outlay. Complete with lights, wardrobe, props and 5000 —SOS— Road, Cleveland, OH 44113. www.NPDBox.com sq.ft. of movie set backgrounds. Unlimited creativity and Self Ordering System powered by ROES an exceptional opportunity to be the best you can be. • High Volume Packages—Kodak Products PRESENTATION BOXES-BOX MANUFACTURER BUY Colorado Springs, Colorado, is waiting for you. www.ljm- • Schools—Daycares—Sports—Proms—Seniors DIRECT AND SAVE. 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  • 105. 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. ©Jeffrey Sauger a vehicle for fundraising. Many sponsors are leery of donating money directly to individual photographers, so Blue Earth accepts donations on the projects’ behalf and transfers the funds for specific projects. Blue Earth sponsorship is open to all photographers with the vision and technical expertise to pull off a significant documentary project. At present, the organization is assisting 30 projects, the most it’s ever supported simultaneously. Project photographers have raised more than $1 million through BEA and $4-6 million from outside sources. Projects have addressed such problems as malaria, HIV/AIDS, the aftermath of the Bosnian war, environmental injustice in Texas, the plight of truck farmers in the Deep South From heart to action and global warming. So far, 11 Blue Earth projects have culminated with books, includ- ing Art Wolfe’s “The Living Wild,” and Rebecca HELPING PHOTOGRAPHERS FOLLOW THEIR VISION Norris Webb’s “The Glass Between Us.”P Those interested in getting involved can become members of the Blue Earth Alliance. ursuing meaningful projects isn’t of project support and education,” explains Donations are accepted for Blue Earth as a easy for photographers. Anyone board of directors president Larry Ockene. whole or for specific projects sponsored by who’s ever tried knows the diffi- “On the support side, we help photographers BEA. Blue Earth is also looking for experi- culty of attaining funding and finding plan and execute their projects. Among other enced, well-connected people for its advisory willing publishers and outlets for promotion, things, we help them find sources of grant board, as well as volunteers for other posi- let alone the tribulations of accomplishing funding, and we have a grant writer on staff tions. In particular, the group needs people the project itself. who can help with proposals. We help locate with the skills to help others facilitate their The Blue Earth Alliance in Seattle assists distribution channels and publishers. We also projects—legal knowledge, project manage- photographers in realizing their projects. set up mentorships and connections to help ment experience, connections with PR out- Founded in 1996 by photographers Phil Borges photographers advance their projects. On the lets, publishers and galleries. � and Natalie Fobes, Blue Earth is a 501(c)3 education side, we’re putting together a series To learn more about the Blue Earth Alliance, nonprofit organization dedicated to educat- of educational programs that are designed visit www.blueearth.org where you can ing the public through photography. Its mis- to help photographers conceive, organize, download “Shooting from the Heart,” BEA’s resource manual designed to help photogra- sion is to alleviate the problems of endan- fund and produce documentary projects.” phers develop their personal projects. gered cultures and threatened environments Blue Earth provides one annual grant of by promoting photographic storytelling. $3,000, but no other direct funding. However, Share your good works experience with us by e-mailing Cameron Bishopp at “The Blue Earth Alliance has a dual focus the organization offers its 501(c)3 structure as cbishopp@ppa.com 130 • www.ppmag.com
  • 106. Copyright © Tony L. Corbell, Corbell ProductionsTony L. Corbell & Profoto ComPact“ I never had such consistent color and exposure until I made the switch. Being known as a ‘lighting’ guy I continually get the question from workshop students on what kind of lights to buy. I can finally say that I am now using the finest lights in the world, Profoto, and cannot recommend them any higher. From consistent color temperature to durability of construction, to broad range of light shaping tools, Profoto wins. I have no idea what took me so long to finally ‘see the light.’” ComPact and new ComPact R ComPact Kits include a FREE custom case, two umbrellas and two light stands. F O R M O R E D E TA I L S V I S I T W W W. P R O F O T O - U S A . C O M 914-347-3300 Profoto-USA.com