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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
P ROF E S S I ONA LEDITORIAL director of publications CAMERON BISHOPP email@example.com senior editor art director/production manager JOAN SHERWOOD DEBBIE TODD firstname.lastname@example.org email@example.com Investigative reporting features editor LESLIE HUNT manager, publications and sales/strategic alliances KARISA GILMER THE VALUE OF A GOOD Q&A SESSION firstname.lastname@example.org email@example.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. firstname.lastname@example.org email@example.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, firstname.lastname@example.org with the facts he needs to write the full story. western region ad manager BART ENGELS, 847-854-8182, email@example.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, firstname.lastname@example.org circulation consultant maximizing every sale. MOLLIE O’SHEA, email@example.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: firstname.lastname@example.org; 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: email@example.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: firstname.lastname@example.org; 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. email@example.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
chairman of the board DOUG BOX DANA GROVES *JACK REZNICKI M.Photog.Cr., API Director of Marketing & Cr.Photog., Hon.M.Photog., API firstname.lastname@example.org Communications email@example.com firstname.lastname@example.org DON MACGREGORProfessional Photographers directors M.Photog.Cr., API SCOTT HERSHof America DON DICKSON email@example.com Director of Sales &229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP Strategic AlliancesAtlanta, GA 30303-1608 firstname.lastname@example.org industry advisor email@example.com; 800-786-6277 KEVIN CASEYFAX: 404-614-6400 SANDY (SAM) PUC’ firstname.lastname@example.org J. ALEXANDER HOPPERwww.ppa.com Director of Membership, M.Photog.Cr., CPP, ABI email@example.com Copyright and Government legal counsel Affairs2008-2009 PPA board Howe and Hutton, firstname.lastname@example.org RALPH ROMAGUERA, SR. Chicago*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP WILDA OKENM.Photog.Cr., CPP, email@example.com Director of AdministrationAPI, F-ASP PPA staff firstname.lastname@example.org@ppa.com CAROL ANDREWS DAVID TRUST M.Photog.Cr., ABI Chief Executive Officer LENORE TAFFELvice president email@example.com firstname.lastname@example.org Director of Events/Education*RON NICHOLS email@example.comM.Photog.Cr., API SUSAN MICHAL SCOTT KURKIANrnichols@ppa.com M.Photog.Cr., CPP, ABI Chief Financial Officer SANDRA LANG firstname.lastname@example.org email@example.com Executive Assistanttreasurer firstname.lastname@example.org*LOUIS TONSMEIRE TIMOTHY WALDEN CAMERON BISHOPPCr.Photog., API M.Photog.Cr., F-ASP Director of Publications *Executive Committeeltonsmeire@ppa.com email@example.com firstname.lastname@example.org of the Board “Melancoly” by Joseph and Louise Simone12 • www.ppmag.com
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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-
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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
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
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
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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
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
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
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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.
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
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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
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
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 firstname.lastname@example.org was bounced back to my offerings and be an asset to your studio. Take visual communication and marketing Yahoo account. I e-mailed email@example.com 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
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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
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.”
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
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
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
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
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
Allison & Jeff Rodgers bring ad agency service to studio clientsdesigning BY JEFF KENT duo
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)
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?
(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
“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.”
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.
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; firstname.lastname@example.org; email@example.com; www.pporegon.com www.gppa.com June 16 October 3-7 S: PP of Massachusetts; Steve Meier, C: Southwest PPA, Sheraton Arlington firstname.lastname@example.org; 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; email@example.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 firstname.lastname@example.org; 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; email@example.com;Continuing Education Seminar, E=Exhibit. Send 701-222-3040; firstname.lastname@example.org 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; email@example.com. Doug Box; 979-272-5200; firstname.lastname@example.org; C: PP of Colorado, Denver, Colo.; Jeff Johnson; www.tppa.org 303-921-4454; email@example.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 firstname.lastname@example.orgPonthieu, 318-359-6633; www.ppla.net C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson, 615-509-5737;May 18-23 email@example.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 firstname.lastname@example.org; email@example.com; C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.;www.coloradoworkshops.com Ted Newlin, firstname.lastname@example.org; 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;email@example.com; www.ppofsc.com Willimantic, CT 06226; firstname.lastname@example.org 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 email@example.com 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 firstname.lastname@example.org 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, email@example.com October 9-18 PPA Fall Cruise 106 • www.ppmag.com
Future Events April 25-28, 2009PPA-Approved C: SEPPA, Athens, Ga.; TomMcCollum; 770-972-8552; firstname.lastname@example.org; 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; email@example.com 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; firstname.lastname@example.org; 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,email@example.com February 20-23, 2009 Decatur, Ill.; Jill Sanders, 309-697-9015; C: PP of Oregon, Embassy Suites Hotel, firstname.lastname@example.orgExtreme Portraiture: Wedding Edition;Batavia, Ill.; 630-761-2990; 815-436-0422 PDX, Portland, Ore.; Arlene Welsh, 800-370-5657; email@example.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 firstname.lastname@example.org; www.ppiowa.comBatavia, Ill.; 630-761-2990; 815-436-0422 C: PP of Massachusetts, Steve Meier;May 5-9 781-829-4282; email@example.com; 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; firstname.lastname@example.org C: Wisconsin PPA, Radison Hotel, GreenMortensen; Rockford, Ill.; Wendy Veugeler; Bay, Wis.; Donna Swiecichowski,815-356-1231; email@example.com 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; firstname.lastname@example.org;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 email@example.com;Jon Yoshinaga; 800-483-6208; Swiecichowski, 920-822-1200; Paul Tishim, firstname.lastname@example.org; 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 email@example.comSutton, San Francisco, Calif.; 415-626-3971; Conference Center, Decatur, Ill.; Jill Sanders,www.jeremysutton.com 309-697-9015; firstname.lastname@example.org 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; email@example.com;Predictable & Fun” with Robert D. Lloyd, Kansas City, Mo.; Stephen Harvey, www.ppofnc.comMalta, Ill.; Wend Weugeler; 815-356-1231; 620-624-4102; firstname.lastname@example.org;email@example.com 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; firstname.lastname@example.org;Jeremy Sutton, San Francisco, Calif.; 763-560-7783; email@example.com; 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; firstname.lastname@example.org; 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; email@example.com 108 • www.ppmag.com
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, firstname.lastname@example.org; www.kpps.com 650-548-0889; goldengateschoolGeorgia School, N. Georgia Tech, @yahoo.com; www.goldengateschool.comClarksville, Ga.; Tom McCollum, 888-272- June 1-53711; email@example.com; 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; firstname.lastname@example.org; www.maipp.com; Al email@example.com;Grand Hotel, Cape May, N.J.; Adele DeWild, firstname.lastname@example.org www.imageexplorations.ca/Bastinck, 888-267-6277;email@example.com; 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; firstname.lastname@example.org; 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,email@example.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 firstname.lastname@example.org; www.glip.org 516-221-4058; email@example.com;Florida School of Photography, Daytona BeachCommunity College, Daytona Beach, Fla.; Teri June 15-20 www.liphotoworkshop.comCrownover; firstname.lastname@example.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 email@example.com; www.prophotoca.com Raleigh, N.C.; Janet Boschker,May 18-22 June 22-26 704-567-0775; firstname.lastname@example.org;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,email@example.com; 580-628-6438; firstname.lastname@example.org; Send all additions or corrections to:www.coloradoworkshops.com www.ppok.org/school.html Marisa Pitts, email@example.com. April 2008 • Professional Photographer • 109
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 manyrst-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 afliated 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
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 firstname.lastname@example.org; 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
LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES April 2008 • Professional Photographer • 115
LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES116 • www.ppmag.com
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
ProductMall SOMETHING HERE YOU NEED... April 2008 • Professional Photographer • 127
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