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Professional photographer 2008 06 Professional photographer 2008 06 Document Transcript

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Not responsible for typographical errors HP 02 Magenta Ink Cartridge . . . . . . . . . . . . .HPDC8772WN . . . . . .$9.00 All Colors-Call For Pricing FUJI FP100C . . . . . . . . . . . .FJF250 . . . . . .$8.39 20x100 (260) . . . . . . . . . . . . . . . .$81.75 16GB — $199.90 — HP 02 Yellow Ink Cartridge . . . . . . . . . . . . . . .HPDC8773WN . . . . . .$9.00 HP 02 Light Cyan Ink Cartridge . . . . . . . . . . . .HPDC8774WN . . . . . .$9.00 Claria HI-DEF Ink F/R Series: Premium Semigloss Photo Paper HP 02 Light Magenta Ink Cartridge . . . . . . . . .HPDC8775WN . . . . . .$9.00 Cyan, Yellow, Magenta, LT Cyan, LT Magenta, 8.5x11 (20) . . . . . . . . . . . . . . . . . .$25.49 GALERIE By HP 21 Black Cartridge . . . . . . . . . . . . . . . . . . . .HPDC9351AN . . . . .$14.00 Black New . . . . . . . . . . . . . . . . . .$14.75 13x19 (20) . . . . . . . . . . . . . . . . . .$36.99 133x High Speed HP 22 Tri-Color Cartridge . . . . . . . . . . . . . . . . .HPDC9352AN . . . . .$17.00 Claria Type 79 F/1400: . . . . . . . .$17.49 1GB $16.95 Borderless Paper INK JET PAPER Glossy or Pearl HP 27 Black Cartridge . . . . . . . . . . . . . . . . . . . .HPDC8727AN . . . . .$17.00 2GB $19.95 PAPER 5x7 (20) Premium Glossy . . . . . . . .$6.49 4GB $38.95 8.5x11 (25) . . . . . . . . . . . . . . . . . . . . .$14.50 HP 28 Tri-Color Cartridge . . . . . . . . . . . . . . . . .HPDC8728AN . . . . .$21.00 Photo Quality Inkjet Paper 8x10 (20) Premium Glossy . . . . . . . .$9.95 8.5x11 (100) . . . . . . . . . . . . . . . . . . . .$49.95 HP 38 Photo Black Inkjet Print Cartridge . . . . . . .HPDC9413A . . . . .$31.00 8.5x11 (100) . . . . . . . . . . . . . . . . . .$9.95 8x10 (50) HW Matte . . . . . . . . . . .$8.99 SD MEMORY REBATE ** Extreme Performance *High Capacity w/Reader 8.5x11 (250) . . . . . . . . . . . . . . . . . . .$112.95 HP 38 LT Gray Inkjet Print Cartridge . . . . . . . . . .HPDC9414A . . . . .$31.00 Extreme $avings! 11x17 (25) . . . . . . . . . . . . . . . . . . . . .$33.50 HP 38 Cyan Inkjet Print Cartridge . . . . . . . . . . . .HPDC9415A . . . . .$31.00 HP 38 Magenta Inkjet Print Cartridge . . . . . . . . .HPDC9416A . . . . .$31.00 MEDIA Ask for Items STD Ultra II Extreme III HP 38 Yellow Inkjet Print Cartridge . . . . . . . . . . .HPDC9417A . . . . .$31.00 Not Listed 1GB $11.90 $15.75 $19.95 Extatherm F/8500 NIK SOFTWARE HP 38 LT Cyan Inkjet Print Cartridge . . . . . . . . . .HPDC9418A . . . . .$31.00 XLS-100 8.5x12 (100) EKD8684623 . . . . . . . . . . . . . . . $68.14 2GB 4GB $19.95 — $24.50 $39.50* $29.50 $48.95 HP 38 LT Magenta Inkjet Print Cartridge . . . . . .HPDC9419A . . . . .$31.00 8.5x12 (2x50) . . . . . . . . . . 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EKD1666031. . $84.95 Kodak Easy Share CRUZER USB FLASH DRIVE Mail-In Rebate expires 6/30/08 PH-40 Print Pack (4x6) (40) . . EKD1800 . . $14.25 Micro u3 Titanium u3 Sharpener Pro 2.0 Complete . . . . . . . $245.00 Paper F/8000 Series Print Kit F/6800 Dfine 2.0. . . . . . . . . . . . . . . . . . . . . . . . $69.00 Darkroom - Professional Edition . . . .EXP1001 . .$150 Rebate . .$1295.95 2GB $21.90 $23.49 8.27x11.69 (100) . EKD8816514 . $45.00 Photo Print Kit 375 PRT (4x6, 5x7, 6x8) Color Efex Pro 3.0 Complete . . . . . . . $229.00 Darkroom - Core Edition . . . . . . . . . .EXP1002 . . .$50 Rebate . . .$399.95 8.5x11 (100) . . . . EKD8614364. . $65.00 EKD1696418 (6R) . . . . . . . . . . . . . . . . . . . $165.00 1GB 2GB Color Efex Pro 3.0 Select . . . . . . . . . $110.00 Darkroom - Upgrade . . . . . . . . . . . . .EXP1003 . . . . . . . . . . . . . . . .$949.95 8.5x14 (100) . . . . EKD8565699. . $65.95 Photo Print Kit 375 PRT (4x6) xD $22.90 $39.95 While Supplies Last Darkroom - Assembly Field Station .EXP1004 . . .$50 Rebate . . .$995.95 9.5x14 (100) . . . . EKD8677759. . $96.03 EKD1820547 (4R) . . . . . . . . . . . . . . . . . . . $165.00 #015 Unique Photo carries a full line of all camcorders, digital and SLR cameras, film scanners, printers and much more. All merchandise is brand new & carries a full USA Warranty. All approved returns for credit are subject to a minimum 15% restocking fee.
  • CONTENTS PROFESSIONAL PHOTOGRAPHER | JUNE 2008Features88 STRENGTH IN NUMBERS For Christian Oth and his exceptional team of photographers, every wedding is a work of fine art by Stephanie Boozer73 PORTRAITS: LEAP YEAR After a slow start, Salvatore Cincotta’s bookings skyrocketed by Jeff Kent76 PORTRAITS: POWER SHOTS Mark Bolster: The art and business of executive portraiture Interview by Ellis Vener79 PORTRAITS: IN GOOD COMPANY Power points from executive photographer Stan Kaady82 PORTRAITS: DRAMATIC LIKENESS Julia Gerace’s experience in theater is part of her repertoire by Jeff Kent IMAGE BY MARK BOLSTER
  • CONTENTS 14 FOLIO 69 IMAGING USA 96 CALENDAR 103 PPA TODAY PROFESSIONAL PHOTOGRAPHER | JUNE 2008 | WWW.PPMAG.COM 122 GOOD WORKS©Julia Gerace Departments C O N TA C T S H E E T 20 Robb Kendrick’s timely tintypes 22 PPA’s Indemnification Trust to the rescue 24 Pirkle Jones’ golden age by Lorna Gentry 25 Healing art: Now I Lay Me Down to Sleep 27 Nature photographer Richard Ettlinger PROFIT CENTER 31 What I think: Vicki Popwell 32 Pricing for what it’s worth by Holly Howe 36 Fabulous solution, perfect timing by Stephanie Boozer THE GOODS 41 What I like: Manolo Doreste 42 Lighting essentials: The foundation by Don Chick 48 Albums & Presentation: Breakaway display by Karen Linsley 52 Pro review: HP Photosmart Pro B8850 printer by Stan Sholik 56 Pro review: Manfrotto CX series carbon fiber tripods by Joe Farace 60 Solutions: How to edit a soft proof by Andrew Rodney 64 Tutorial: Balance mixed light temperatures with raw capture 82 by Bob Coates ON THE COVER: Salvatore “Sal” Cincotta truly enjoyed photographing this betrothed couple, Michelle Lewis and Anthony Grice. “We rarely book a wedding Julia Gerace got her start in photographing headshots of actors, musicians and two years out, but she said, ‘I know I love your models. Those portraits had to sparkle to catch a directors attention, and they did. work, and I know I want you to shoot my wedding,’ so we locked it in,” says Cincotta. He captured this They also got the attention of the audience. For the last four years, Gerace has added award-winning image with a Canon EOS 5D and Canon 70-200mm portraits of seniors, children and families to her repertoire. f/2.8L IS USM lens. 6 • www.ppmag.com
  • show the worldhow you see it. MEET COLORMUNKI PHOTO YOUR NEW BEST FRIEND FOR MATCHING PRINTS TO DISPLAY WITH COLOR PERFECTION. ColorMunki is an all-in-one color control, creation and communication solution that lets you calibrate your monitor, projector, and printer so they all match. With this new solution, you can also send your images with DigitalPouch™ and create unlimited color palettes! So whether you work on a PC or Mac, ColorMunki is the innovative new way to bring your photos from screen to print accurately, simply and affordably. Swing by COLORMUNKI.com to meet your new best friend! X-Rite, the X-Rite logo, ColorMunki, and the ColorMunki logo, are trademarks or registered trademarks of the X-Rite incorporated in the United States and/or other countries. All other trademarks are properties of their respective owners X-Rite Incorporated 2008. All rights reserved.
  • Mind. Body.
  • Photography.A Picture-Perfect Relationship
  • 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 It’s business time features editor LESLIE HUNT manager, publications and sales/strategic alliances KARISA GILMER HOW TO HANDLE PRESSURE-PACKED ASSIGNMENTS lhunt@ppa.com kgilmer@ppa.com editor-at-large sales and marketing assistant High-level businesspeople have little patience, and even less time JEFF KENT CHERYL PEARSON for the creative process, and I have a healthy respect for jkent@ppa.com cpearson@ppa.com technical editors photographers who create successful executive portraits. Their ANDREW RODNEY, ELLIS VENER subjects can be harder to wrangle than a family of quintuplets. director of sales and strategic alliances In my former life as managing editor of a magazine covering SCOTT HERSH, 610-966-2466, shersh@ppa.com business and investing, my job included setting up and overseeing western region ad manager BART ENGELS, 847-854-8182, bengels@ppa.com our cover shoots. Loosely translated, that meant trying not to have eastern region ad manager a nervous breakdown as the CEO of a bajillion-dollar company SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com circulation consultant impatiently fidgeted and complained during the 30-minute MOLLIE O’SHEA, moshea@ppa.com photo session that our staff had spent months visualizing, editorial offices Professional Photographer planning and coordinating. 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. No doubt about it, corporate sessions require a photographer 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly at the helm with great talent and even greater negotiation skills. subscriptions And this month, Atlanta-based commercial photographer Ellis Professional Photographer P.O. Box 2035, Skokie, IL 60076; 800-742-7468; Vener—whose portfolio of executive portraits uniquely qualifies FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com him for the assignment—checks in with two photographers who member services PPA - Professional Photographer fulfill those requirements ably. 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com The first, Mark Bolster, navigates executive sessions with due Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 diligence: “These assignments are pressure packed, and that’s a kind Subscription rates/information: U.S.: $27, one year; $45, two years; of pressure I thrive on. I like getting in and out and not being too $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. much of a pain. I do that by just being prepared.” Vener finds out Back issues/Single copies $7 U.S.; $10 Canada; $15 International. exactly what goes into Bolster’s preparations, beginning on p. 76. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Then Vener got five invaluable pointers from Atlanta Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; commercial photographer Stan Kaady (p. 79). It sounds like he’s FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. had gentler experiences with his corporate subjects. “Most of the Postmaster: Send address changes to Professional Photographer magazine, [CEOs] I photograph these days are used to having their photo P.O. Box 2035, Skokie, IL 60076 Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. taken and are easy enough to work with,” Kaady says. “I rarely run Article reprints: Contact Professional Photographer reprint coordinator at across someone with an attitude.” Wrights’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, Maybe in this increasingly media-savvy world, smart executives 300 North Zeeb Road, Ann Arbor, MI 48106 are coming to realize just how powerful a photograph can be. � Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Cameron Bishopp 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 cbishopp@ppa.com 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 dbox@ppa.com Communications jreznicki@ppa.com dgroves@ppa.com DON MACGREGORProfessional Photographers directors M.Photog.Cr., API SCOTT HERSHof America DON DICKSON dmacgregor@ppa.com Director of Sales &229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP Strategic AlliancesAtlanta, GA 30303-1608 ddickson@ppa.com industry advisor shersh@ppa.com404-522-8600; 800-786-6277 KEVIN CASEYFAX: 404-614-6400 SANDY (SAM) PUC’ kcasey@ppa.com J. ALEXANDER HOPPERwww.ppa.com Director of Membership, M.Photog.Cr., CPP, ABI spuc@ppa.com Copyright and Government legal counsel Affairs2008-2009 PPA board Howe and Hutton, ahopper@ppa.compresident RALPH ROMAGUERA, SR. Chicago*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP WILDA OKENM.Photog.Cr., CPP, rromaguera@ppa.com Director of AdministrationAPI, F-ASP PPA staff woken@ppa.comdcraft@ppa.com CAROL ANDREWS DAVID TRUST M.Photog.Cr., ABI Chief Executive Officer LENORE TAFFELvice president candrews@ppa.com trustd@ppa.com Director of Events/Education*RON NICHOLS ltaffel@ppa.comM.Photog.Cr., API SUSAN MICHAL SCOTT KURKIANrnichols@ppa.com M.Photog.Cr., CPP, ABI Chief Financial Officer SANDRA LANG smichal@ppa.com skurkian@ppa.com Executive Assistanttreasurer slang@ppa.com*LOUIS TONSMEIRE TIMOTHY WALDEN CAMERON BISHOPPCr.Photog., API M.Photog.Cr., F-ASP Director of Publications *Executive Committeeltonsmeire@ppa.com twalden@ppa.com cbishopp@ppa.com of the Board12 • www.ppmag.com
  • 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.©Lisa Evans LISA EVANS “Designing portraits through a combination of photography and painting has been our specialty for over 25 years,” says Lisa Evans, M.Photog.Cr., of Lisa Evans Portrait Design in Danville, Calif. Evans captured the photographic portion of “Summer Dreams” with a Mamiya RZ Pro medium-format camera and 150mm Mamiya f/4 Variable Soft Focus lens, exposing Fujifilm Fujicolor NPH 400 Professional film for 1/30 second at f/6.3. Evans used a 41x74-inch Photoflex LiteDisc reflector to bounce natural light. She used Corel Painter to apply brush strokes, then hand-painted over the entire image. 14 • www.ppmag.com
  • Great images begin with great lenses. But it’s not just unparalleled optics that keep Canon at the forefront of imaging. It’s inspiration, the inspiration to constantly innovate. To develop technologies that redefine the industry standard, and to create cameras and lenses that inspire photographers to take their photography to the highest level.
  • DAVID ZISER While on holiday in San Jose del Cabo in Mexico, David Ziser, M.Photog.Cr., F-ASP, of David A. Ziser Photography in Edgewood, Ky., captured this dramatic image at sunrise. With a Canon EOS 5D digital SLR and 12-24mm Sigma f/4.5-5.6 EX DG Aspherical HSM lens, Ziser exposed “Lifestyles of the Rich” for 1/40 second at f/6.3. “The extremely wide-angle lens on the full-frame Canon 5D created the unusual composition,” he explains. “That, coupled with the dramatic color contrasts combined to make the striking©David Ziser image of the villa.” WENDY VEUGELER ©Wendy Veugeler At the request of a client looking for an heirloom portrait of her son, Wendy Veugeler, M.Photog., M.Artist, CPP, of Cellar Portrait Studio in Crystal Lake, Ill., used clothing and props to imbue the image with nostalgia. Using a Mamiya RB67 medium-format camera and 180mm Mamiya f/4.5 lens, Veugeler exposed Kodak Professional Portra 160NC film for 1/125 second at f/8. An 800WS Photogenic PowerLight 1250 behind a 4x6-foot Larson Soff Box and a gold Larson reflector provided the main lighting. A second 800WS Photogenic PowerLight 1250 and Photoflex StripDome 03 served as fill. Veugeler performed basic cropping and correction in Adobe Photoshop, then finished the print with Marshall Photo Oils, pastels and pencils. 16 • www.ppmag.com
  • E very once in a while you come across something that simply takes your breath away. Something that’s simply astonishing. Can a camera do that? If you’ve ever held a Canon EOS 5D or EOS 40D in your hands, you know the answer is an unequivocal yes. The 12.8-megapixel EOS 5D, with its full-frame CMOS sensor, makes small work out of big ideas, while the 10.1-megapixel EOS 40D compromises nothing in the way of features and technology. A truly awe-inspiring pair. To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc©Ken Sklute, Canon Explorer of Light ©2008 Canon U.S.A., Inc. Canon and EOS are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.
  • Professional Color Lab Press Printed BooksAlbums High-End Cards Online Posting Gallery Wraps Free upgrades to Premium Websites
  • Simplify your lifewith Collages.net. Collages.net gives you: Our customers have simplified their lives by putting their important products in the hands of one Professional Color Lab company that makes great products and really cares Print and Bind Album Solution about making professional photography studios Press Printed Products happy! Best of all, when purchasing our best-in-class products, Collages.net customers receive free up- Custom, Hand-Made Cards grades to Premium Websites – the industry’s newest The Leading Online Presentation and best online display of professional images. Trust one company to be your business partner. Call Collages.net today (877) 638-7468.Albums | Press Printed Books | Professional Printing | High-End Cards | Online Presentation | Gallery WrapsCheck out Collages.net’s comprehensive product line at www.collages.net/products.©2008 Collages.net Inc. All rights reserved. Photos ©2008 Artistic Imaging, BLR Life Photography, Carrie Workman Photography, Dan Doke Photography, Studio G, The Shooting Gallery, and TriCoast Photography
  • CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.Alchemy, anew BY LORNA GENTRY Robb Kendrick raises tintype photography to fine artAll images ©Robb Kendrick
  • A few months ago Robb Kendrick was on aneditorial assignment in upstate New York,and stopped for a visit with his friend, JohnCoffer, a photographer and farmer. Cofferwas in the middle of molasses making, soKendrick agreed to help. For eight hoursthe men fed sorghum cane into a 19th-century press powered by a draft horse,then boiled down the goo into syrup. “Itwas slow, manual labor, and we only gotjust one gallon of syrup,” says Kendrick.“But we had the most incredibleconversation.” The length of a process is beside thepoint, says Kendrick, who crafts one-of-a-kind tintype and Daguerreotypephotographs. It’s all about connecting withhumans. Thats why he bonded with thelike-minded Coffer, a master tintypephotographer, when he took Coffer’sworkshop in 2000. Kendrick was sufferinga mid-career crisis. He was a successfulphotojournalist, best known for his work inNational Geographic magazine, but digitaldidn’t excite him. What stirred his soul waswet-plate photography. This spring he published two books,“Still: Cowboys at the Start of the Twenty-First Century” (University of Texas Press),his second on cowboy tintypes, and“Changelings” (Cloverleaf Press), a limitededition on mummies in Mexico, where he of the wet process that follows. After equipment. “The thing about these oldlives. For “Still,” Kendrick logged some applying and briefly air-drying the processes is that it’s like a treasure hunt,” he40,000 miles over six years driving across collodion solution, he soaks the treated says. “You have to go on eBay to find lenses,the American West, Canada and Mexico, plate in silver nitrate, waits four minutes, and you have to make and retrofitwith a darkroom-in-a-trailer hitched to then places the plate in a holder. He heads equipment. It’s almost like a survival classhis pickup. That’s where he begins the out of the darkroom and inserts the holder in photography.” Perfecting the techniqueprocess of image-making by pouring in the camera, then makes a photograph of took much longer, but eight years later, hecollodion on Japanned plates. Japanning the subject. He’s got 12 minutes max to do says, “I’m still in love.”blackens the background; it’s accomplished it. The exposure made, it’s back to theby applying and baking several coats of darkroom to process the plate. To see Robb Kendrick at work in his portableasphaltum and Everclear. It took about six months for Kendrick to darkroom, watch the video at Kendrick relishes the quixotic alchemy acquire the wet process materials and www.robbkendrick.com June 2008 • Professional Photographer • 21
  • CONTACT SHEET Photographers know that digital files and media are subject to damage through fire, from the wedding reception had permeated the backpack where the media was stored, “I wouldn’t hold a theft, computer crashes—and bad dogs? Yes, and the 150-pound family dog could not camera without being says Wilson Sarkis of Farmington, Mich. a member of PPA.” resist temptation. “He chewed through the “We’re very careful with the wedding images cards like they were suckers,” groans Sarkis. we shoot,” Sarkis reports. Yet when he shot a “I almost had a heart attack.” —WILSON SARKIS wedding just a half-mile from his house, he About half of the images survived intact. figured he’d wait to transfer the images from After a week of worry, Sarkis, a member of Pro- him through steps he could take to mitigate the memory cards to the computer at home. fessional Photographers of America (PPA), the problem, beginning with what to say to Home life intervened and he forgot about recalled the malpractice-type insurance he the wedding client. The Indemnification the cards until the next day. had through the PPA Indemnification Trust. Trust would help pay for the necessary re- Unfortunately, another member of Sarkis’ He called the PPA Service Center and explained shoot, said the rep. household got there first. The scent of food his predicament. The representative walked “The way the representative guided me made the rest so smooth,” Sarkis says. The bride was calm and agreed to do a re-shoot. My dog ate my … “I had to bring in an editor, stage the scene, and rush the images … it was expensive,” he memory card? says. Without PPA, the episode would have had much larger and more expensive consequences, he adds. Even more cautious now, Sarkis bought a database safe to PPA’s Indemnification Trust securely store media cards, and incorporated came to the rescue when redundant backup into his workflow. the situation got hairy PPA Indemnification Trust protects mem- bers when something goes wrong with an assignment that’s generally considered the photographer’s responsibility (equipment mal- function, dissatisfied clients, even errant dogs). The annual cost is just $50, with a $200 deductible per incident, and is included in almost every members dues. Usually within 24 hours of a call to PPA, the member gets a call from Howe & Hutton, a firm of attorneys experienced in defending photographers. If the client had taken Sarkis to court, the Trust would have provided representation and paid any damages due. As Sarkis learned, in business, you can always expect the unexpected. The Indemnification Trust helped him save money and uphold his reputation. “I wouldn’t hold a camera without being a member of PPA,” says Sarkis. —Angela Wijesinghe, PPA Marketing Specialist For more information on the PPA Indemnifi- cation Trust, call 800-786-6277, or visit the Members Only section at www.ppa.com.©Jacqueline Palmer
  • $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
  • CONTACT SHEET “Gate Five,” Sausalito, 1970 amount in the darkroom assisting him. He was also inspirational about doing the work, giving it your all.” In 1959 Jones and Adams began collab- orating on a four-year photo-essay project on the California wine industry that became a 1963 Smithsonian exhibition. Jones also collaborated with Dorothea Lange in 1956 on “Death of a Valley,” a documentation of the exodus of Berryessa Valley, Calif., residents prior to a mandated flooding, an experience Jones describes as “unforgettable.” In 1968 he and his late wife, writer and photographer Ruth-Marion Baruch, collaborated on a seminal record of the Black Panthers in the Bay Area, which became a published book. Throughout Jones’ career he used a 4x5 ©Pirkle Jones courtesy Lumière, Atlanta view camera, a 35mm Leica and a Hasselblad. Nearly all his prints are selenium toned—for On the shoulders of giants preservation, he says—and he shot exclusively in black and white. “I love color, but I think it’s a bigger challenge to do a fine Pirkle Jones and the golden era of photography I BY LORNA GENTRY photograph in black and white. Ansel sharpened my awareness of the beauty of a In postwar American photography, photo- from 60 years of photographing northern fine print, the gradations of tonalities.” journalism dominated, but fine-art and social- California and nearly 30 years of teaching, Jones says he used to have a number of documentary photographers thrived on the he turned his attention to archiving his work, Ansel Adams prints, but sold most of them periphery of the cultural and political landscape. publishing books, and arranging exhibitions in recent years. Most notable was the 2006 Mid-century, pockets of visionary photog- in museums and galleries. He also patiently sale of a rare 1948 print of “Moonrise, raphers provoked experimentation and talks with reporters, documentarians and pho- Hernandez, New Mexico,” which fetched fostered a new visual sophistication. In 1946 tographers, who make pilgrimages to his $609,600 through Sotheby’s, a world- one such luminary, Ansel Adams, founded the home in rugged and verdant Mill Valley, Calif. record auction price for an Adams. country’s first fine-art photography depart- They come because Jones is the last of his era. Looking back on his varied career, Jones ment, at the California School of Fine Arts in He’s outlived them all now, a dozen years is sanguine. “I’ve always been supercritical of San Francisco, now known as the San Francisco beyond his friend Ansel Adams, who died in my work, but I’ve had a few years since I Art Institute. Pirkle Jones was enrolled in the 1984 at the age of 82. From the late 1940s produced the work to look at it in a different first class, learning his craft from Adams and to the early ’50s, Jones was Adams’ light. Now I’m rather surprised that it’s as Minor White. Through the school he befriended professional assistant. “When Ansel was good as it is. I feel satisfied with the body of Edward Weston and Dorothea Lange. “I working in Alaska on his Guggenheim work I produced. After all, I made a few look upon that era as the golden years,” Jones Fellowship, he sent back his negatives for statements that probably will survive.” reflects. “It’s never been duplicated since.” me to process,” Jones recalls. “But only Ansel Jones’ diminished energy bothers him could print his work. He always made the Fore more of Jones’ work, see “Pirkle Jones: California Photographs, 1935-1982,” by these days, but at age 94, and with a decisions, though quite often I was in the Pirkle Jones and Tim Wride (Aperture, 2001). repaired heart, his recent accomplishments darkroom with him washing prints. He was are remarkable. After retiring 10 years ago a master at printing. I learned a tremendous Lorna Gentry is a freelance writer in Atlanta. 24 22 • www.ppmag.com
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  • CONTACT SHEET Healing art Have you considered the impact your photog- raphy can have on the lives of others? Right now more than 4,000 photographers in 14 countries PPA embraces the compassionate work of touch the lives of grieving families every day Now I Lay Me Down to Sleep through their involvement with the Now I Lay Me Down To Sleep Foundation (NILMDTS). Professional Photographers of America “This specialized work (PPA) is honored to announce its official partnership with NILMDTS, the nonprofit is literally changing organization focused on infant bereavement lives. The healing photography. power that comes from Formed in 2005 in Colorado, NILMDTS just one single image is was born of a partnership between a grieving mother, Cheryl Haggard, and local PPA life changing.” photographer Sandy “Sam” Puc’. NILMDTS —SANDY PUC’ continues the compassionate photography that Puc’ did for Haggard and her husband, of their newborn son, Maddux, moments before his death and once he was at peace. Today, NILMDTS volunteers create images that help families heal, and provide a tangible keepsake of a child’s brief life. “We were only the starting point of some- thing that went far beyond us,” says Puc’, who is also a PPA Board Member. “This specialized work is literally changing lives. The healing power that comes from just one single image is life changing.” In partnering with NILMDTS, PPA helps extend that charitable work. Working with NILMDTS is a meaningful way for profes- sional photographers to use their artistic gifts to benefit others. It’s not an easy mission. “I have yet to see a conversation about Now I Lay Me Down to Sleep where somebody wasn’t crying,” says David Trust, PPA chief executive officer. “This is a unique cause with which photographers feel a natural and very emotional connection. It is a great partnership for PPA and its members.” “The reality is, we cannot change what is happening to these families,” continues Puc’. “But we can change the way they heal for the rest of their lives.” For more information, go to www.nowilaymedowntosleep.org.
  • Publishing house Abrams Books joins the American Museum of Natural History to honor Richard Ettlinger for his six-year project that culminated in the recently published book and exhibition, “On Feathered Wings: Birds in Flight.” “On Feathered Wings” features more than 170 seemingly impossible dramatic shots of birds hunting, feeding, fighting, all on the Nature wing. The project covered five continents. Says Ettlinger, “The work I did with six of photographer the world’s greatest action photographers took hours of study and endless patience. Our dedi-Richard Ettlinger cation paid off and I am delighted to be recog- nized by both Abrams Books and the museum.” honored The year-long exhibition opens at the Museum of Natural History in New York on June 21. Visit amnh.org for more information. New book and exhibition showcases stunning photography of birds in flight Taken with a handheld Canon EOS-1D Mark IIn and 500mm Canon f/4L IS USM lens, exposed for 1/5,000 second at f/5.6, ISO 800. ©Richard Ettlinger June 2008 • Professional Photographer • 27
  • Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies What I think For Vicki Popwell joy is in the journey What do you wish you knew when you were first starting out? What real joy the journey before me would bring. I have the opportunity to do what I really love every day and to have my family with me. What advice would you give to someone just starting out in the photography business? Keep a balance between your artistic side and your business side. Hire an awesome CPA. Attend as many seminars and conven- tions as you can afford. Glean the knowledge you need and use the speakers’ ideas, but don’t directly copy them. Be original! What’s the biggest business risk you’ve ever taken? Turning in my notice as a well-paid public relations rep to go full-time at my studio. I had to borrow money in the beginning without being sure I could pay it back. Thankfully, we did! In client relations, what’s your highest priority? Being real with my clients, meaning I listen to their portrait needs and desires and then meet those needs and desires. A truly satisfied customer is crucial to any studio’s success. What’s the secret to running a successful pho- tography business? Knowing that technology changes rapidly and being adept at keeping up with the changes. We embrace changes with enthusiasm and enjoy continuing to learn. IMAGE BY VICKI POPWELL WWW.VICKIPOPWELL.COM June 2008 • Professional Photographer • 31
  • PROFIT CENTER H O L LY H O W E , M . P H O T O G .C R . After a frustrating wedding job, Keith and Holly We’ve all been there. One of those weddings Howe took a leap of faith and doubled their where the bride has a migraine and the groom hates to have his portrait taken. The studio’s wedding prices, reaping more than profits. majority of the wedding party arrives late, For what and the bride’s dad, grandfather, and brothers—members of the wedding party— are bellied up to the bar down the street. it’s worth When you’ve finally wrangled everyone into the sanctuary for group photographs, the TO PRICE pastor starts pressuring you to hurry up. ACCORDINGLY Then the pièce de résistance, the father of the bride glowers at you and says, “I thoughtAll images Keith & Holly Howe you guys were good.” This fateful wedding took place about five years after we opened our studio in North Platte, Neb. We were doing okay, supporting our young family. Our prices were mid- range for the area, and we felt comfortable. Then came that awful wedding. On the way home, out of stress and anger I said, “I’ve had it. We’re doubling our prices on weddings.” My husband, Keith (Keith A. Howe, M. Photog.M.Artist.Cr.), was in a panic—“That’s drastic!” He was sure we’d never photograph another wedding. The next day at the studio, I took a hard look at how much weddings contributed to our gross sales, and how much they cost us to produce. The profit margin was much lower than our other product lines. What’s the worst that could happen if we doubled the prices, I asked myself. Can we live with the conse- quences?” (We find those questions really useful when we’re facing any tough decision.) The answer: It could price us out of the market, and we might not contract a single wedding in the following year. After poring over our books, we surmised it would be difficult to lose that portion of our profits, but we would survive. Our goal in raising prices was to compen- sate for the stress, hassle and occasional lack of respect we felt at weddings. Happily, that goal was achieved, and some unexpected 32 • www.ppmag.com
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  • PROFIT CENTER benefits as well. First, the increase closed the priorities of the couples we work with center —never happened. In fact, nobody said a gap between portraits and weddings in sales on achieving the best photography they can word. Had we been under-priced all along? generated per hours invested. Revenue per afford to invest in. When the bride feels she’s In the process, our studio became more hour was similar for weddings and family and making an investment in great images, she’s profitable. Greater profits gave us the senior portrait sessions. We would no longer motivated to ensure that everyone is ready on opportunity to improve our facilities and be disappointed for having to turn away a time, sober and cooperative. Funny thing, but equipment and to invest more in our portrait session on a Saturday afternoon. when you’re treated as a respected professional, continuing education. We are enjoying Second, brides started viewing our work you’re willing to work like a dog for the bride. weddings again. Our actual and perceived as an investment rather than an expense. We also began limiting the number of value increased to match our price range. This subtle distinction made a lot of difference events we’d accept per year. The combina- We could have plodded along forever where in the way brides and their families related tion of being at the top of the price scale and we were, but that snide comment from the to us, from photographing the wedding limiting our availability gave the impression father of a bride made us just mad enough through delivering the albums. Because we that people might not be able to book us, no to jump out of our comfort zone and take were now at the top of the local price scale, matter how much they wanted to, thus giving action. I’m not mad at that father anymore we no longer dealt with clients looking for a us a higher perceived value. We were photo- —in fact, we owe him a big thank you. � deal. Brides stopped trying to negotiate prices graphing almost as many weddings as Keith and Holly Howe are both recipients or the contents of the plans they selected. before, but with higher gross sales. The catast- of the PPA National Award. The Howes’ studio, Photographic Images, opened in And, although the scale of the weddings rophe Keith envisioned—brides running downtown North Platte, Neb., in 1980 we photograph still tends to be modest, the screaming from the studio over the new prices (www.photographicimages1.com).
  • 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.
  • PROFIT CENTER STEPHANIE BOOZER Every so often, a product comes along that makes everyone those needs within a small studio’s budget. wonder why no one had thought of it before. Inspired A major piece of intel became the team’s by the cachet of boutique studio marketing, BellaGrafica starting point: According to a 2006 PPA brings compelling design within reach of small studios. study, some 80 percent of today’s portrait and wedding buyers are women. Fabulous solution, perfect timing “Only a few enterprising studios were acting on this knowledge by creating compelling prod- ucts in response to how women actually react The much anticipated launch of BellaGrafica’s is a regular columnist for this magazine.) to marketing and advertising,” says Monteith. line of stunning promotional materials turns Each collection features a versatile array “Women consumers speak and hear a language traditional ideas about studio marketing upside of packaging and marketing pieces, from print of connection and intimacy, rather than a com- down. This sumptuous promotional line sells boxes with an assortment of belly bands to petitive language of status and independence.” for a fraction of the cost of commissioning a promotional cards and booklets. Each Add that factor to the growing trend of graphic designer or marketing team. Moreover, BellaGrafica piece is a sensual treat, crafted the boutique studio model, in which photog- the high quality of the papers and printing is from luxurious vellum, bejeweled bindings raphers cater to a limited clientele to provide affordable, even in small quantities. and intricate die-sculptured design elements. individualized services, and it becomes clear BellaGrafica is an off-shoot of Marathon “Most photographers who have heard of that marketing should focus on personal Press, the multi-product and service resource Marathon know we’re good because of our service and relationship building. for professional photographers. The new outfit’s reputation,” says Shannon Barry, director of “Boutique studio owners succeed because six premier collections were co-created by marketing and development at Marathon they go to great lengths to learn who their well-known photographers Lori Nordstrom, Press. Sensing a perception among small clients are, including where they and their M.Photog.Cr., CPP; Sandy Puc’, M.Photog.Cr., studio owners that Marathon’s prices were family shop, what they value, where they ABI, CPP; Jed Taufer, Cr.Photog., and Vicki out of reach, Barry and her team met with spend their leisure time, and other important Taufer, M.Photog.Cr., CPP; Tim Walden, longtime Marathon consultant Ann Monteith, behavioral indicators,” says Monteith. M.Photog.Cr., F-ASP and Beverly Walden, M.Photog.Cr.Hon.M.Photog., ABI, F-ASP, It was Sarah Petty’s success in applying M.Photog.Cr.; Jeff Woods, Cr.Photog., and CPP, to update their knowledge about her prior marketing and design experience Julia Woods, Cr. Photog.; and Sarah Petty, photographers’ needs in marketing services. to her studio business that landed her on the Cr.Photog., CPP. (Editor’s note: Petty The next step would be to innovatively fill creative team, notes Monteith. Marathon describes Jeff and Julia Woods collection (left) as urban chic. The other five collections are each dubbed with an identifying style: simple, whimsical, magical, eclectic and elegant. The Woods wedding collection brochure is pictured above. 36 • www.ppmag.com
  • “Ann saw that the boutique revolution out how to make them not only affordable,was growing and thought that we could all but cost effective for photographers withbenefit from working together,” says Petty, limited budgets. “BellaGrafica invested inwho was the next photographer onboard. creating the dies and stocking the materials When the rest of the studios were to produce them,” says Barry.chosen, says Barry, “We put everything back The new lines also had to be versatile. Pho-into the photographers’ hands, telling them tographers can completely customize any pieceto design as if they didn’t have to worry about in any of the collections, as well as mix andresources, time limits or anything else.” match pieces from all six and change color Each studio came back with unique, stylized schemes and tag lines to suit your style and spe-marketing pieces as professional looking as cific clientele. For example, Nordstrom’s lineany by Abercrombie & Fitch or Anthropologie may be perfect for your portrait clients, andor any other major brand’s. “We have built our Petty’s designs might be ideal for your seniors.entire business based on these types of beau- “It’s important in developing any mar- Sandy Puc goes straight to the heart of new parentstiful and elaborate promotional pieces,” says keting campaign that you stay true to your with this custom-designed signature stationery.Petty. “Our clients tell us they look forward to style and your brand,” says Nordstrom.receiving our mailings. It helps us attract clients The bottom line is that studios have to branding process. BellaGrafica’s designs justwho are less price sensitive and will become believe in their work, their brand, and their might help you get there. �more emotionally attached to our brand.” connection with their clients. A strong For more information on BellaGrafica, visit Now it was BellaGrafica’s turn to figure studio identity is the springboard for the www.bellagrafica.com. Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! • Web Exclusives: Fresh stories, • Photo Gallery tutorials and reviews you’ll • Profit Center ONLY find online! • An in-depth product review library • Archived features, organized • Online Classifieds relevant to your specialty. • Buyer’s Gallery FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter: http://ppmag.com/email.php
  • Are you spending enough money on marketing? When should you hire employees? How much does education affect your bottom line? What can you do to make your businessAnswer your questions: Do you have too many employees? more profitable? Get the answers to these questions when you take part in the Studio Financial Benchmark Survey, PPA’s renowned financial survey of the photographic industry. You qualify to participate if: Participate and receive: you are a PPA member Entry into a drawing for TWO Grand Prizes: two all- your 2007 business tax return is already filed, or you inclusive trips for two to Imaging USA ’09 [including have a draft from your accountant Buddy Pass registration, as many pre-convention your gross sales during 2007 were $50,000 or more classes as wanted for free, airfare, hotel room (two at least 50% of your business is from portraits rooms per package if necessary), and $1,000 in (including seniors) or weddings spending money]. you use financial software Free, exclusive Webinar, reviewing the study results studios not using financial software call 800-786-6277 (including a free download of the PowerPoint and for pre-approval other materials used during the Webinar). Advance copy of the free report. Complimentary Showcase book for the first 100 participants who send in their financials. If you’re interested in participating, call PPA Customer Service (800-786-6277) to sign up no later than June 30, 2008. This important survey is being conducted by accountants who understand the photography industry. All individual information and data will be kept completely confidential. The final industry report will be available only to PPA members. The last Studio Financial Benchmark Survey has helped hundreds of photographers. Help us repeat this success…and get the answers you need. Professional Photographers of America | www.ppa.com
  • Professional Photographer P R E S E N T S Products, Technology and Services What I like Why Manolo Doreste clings to his Tamrac case What makes your workflow flow? Using Adobe Light- room presets. Those presets allow me to give my images that special punch of style in a matter of seconds. What’s the best equipment investment you’ve ever made? My Canon EOS-1Ds Mark II. It allowed me to grow into the photographer that I am today. It helped me explore and develop my creativity as an artist. Little thing, big difference … Time Exposure ProSelect software. This application has turned around my presentations and sales 180 degrees. What hot new product are you going out of your way to use? I use Finao portfolio boxes for all my clients. From sign-in boxes to displays at birthday parties, my clients love them, and I really appreciate the great quality and Finao’s excellent customer service. Has a piece of equipment ever changed the way you approach photography? The 70-200mm Canon EF f/2.8L IS USM lens. I can get very close to my subject and make the background completely disappear. What’s the one piece of gear they’d have to pry from your cold, dead fingers? My Tamrac rolling case. It’s usually loaded with my Canon equipment (two Mark II bodies, 70-200mm lens, 24-70mm lens, 16-35mm lens and two Speedlite 580EX flashes). IMAGE BY MANOLO DORESTE WWW.MANOLODORESTE.COM June 2008 • Professional Photographer • 41
  • THE GOODS: LIGHTING Whether you’re a new photographer or a seasoned portraitist, Figure 3 mastering the fundamentals is vital to your growth as an artist. Know how to set the tone with your main light. Form shadow B Y D O N C H I C K , M . P H O T O G .C R . , C P P Lighting essentials: The foundation MAIN LIGHT AND MODIFIERS Cast shadow Figure 4 This is the first in a series of articles on the Figure 3 illustrates form shadows and cast fundamentals of studio portrait lighting. shadows. Cast shadows occur when light is interrupted. In my simple illustration, the illu- Cast shadow The main light is the foundation of all lighting mination from the main light to the white setups. It can illuminate the subject from any paper is interrupted by the egg, the subject of angle, even from behind to create a silhouette. the image, which casts a shadow on the paper. Positioned in front of the subject and directly A form shadow appears on the subject itself. over the camera, the main light yields flat The shadow is created on the side opposite the light, to create an image with no shadow light. Resulting from an absence of light, form detail. Positioning the main light on either shadows have soft edges and varied shading. side of the camera produces shadow detail, Cast shadows can also appear on the Form shadow which adds interest and drama to the image. subject. The typical example in Figure 4 Hard shadows or shadow transfer areas shows the subject’s nose casting a shadow in photographs are crisp and distinct with on her cheek. This cast shadow has more well-defined edges (Figure 1). Soft shadow defined edges and uniform shading than the an absence of light. The form shadow is areas have varied shading and feathered form shadow on the right side of the face, affected by the light nearby. We can control edges (Figure 2). where the natural curve of the face creates these shadows with lights and light modifiers. Light modifier is a catch-all term for suchAll images ©Don Chick Figure 1 Figure 2 lighting tools as umbrellas, panels, parabolic reflectors, and soft boxes. Light modifiers such as louvers, honeycomb grids and Fresnel lenses have specialized uses. The beauty of light modifiers is that they can be easily removed or altered to quickly adapt a single light source for different styles of photography. Consider several factors when choosing a light modifier to use with your main light, including the look you’re trying to achieve and your preference for well-defined or soft 42 • www.ppmag.com
  • 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
  • THE GOODS: LIGHTINGFigure 5 Soft boxes range in size from 1 square foot Small light source to 6x8 feet. The larger the box, the softer it bare bulb renders the light. One reason for the popularity of soft boxes among photographers is the versatility and control they provide. For instance, angling the direction of the soft box to use the edge of the light is called feathering the light. A large soft box yields a large sweet spot, the area where the light fall- off is gradual. That’s beneficial when you’re photographing several subjects together, or For instance, angling the a roaming toddler, because you won’t have direction of the soft box to exposure worries if the subject moves. use the edge of the light is called feathering the light. You can create three distinct lighting pat- terns with a large soft box simply by moving the subject: loop lighting (Figure 7), split light (Figure 8) and profile light (Figure 9). It also helps you maintain the artistic flow when you don’t have to pause to reposition both subject and lighting gear, as you do with other light modifiers. Soft box prices vary with size andFigure 6 shadows. The smaller the light modifier, the manufacturer, from about $100 to $900. harder the shadow, and vice versa, as Umbrellas, which soften the light (Figure illustrated in Figures 5 and 6. Consider 10) and are relatively inexpensive, offer limited where you’ll be using your lighting gear control over the lighting. Because umbrella light most often, in studio or on location; some spills everywhere, it’s ideal for fill light, but modifiers are more portable than others. doesn’t offer much control as a main light. If Large light source, Figure 7 soft shadows 4x6 Larson Soff Box loop pattern on subject positioned at back edge Large light source 4x6 Larson Soff Box 44 • www.ppmag.com
  • Figure 8 Figure 10 A 45-inch Photogenic Eclipse umbrella A 4x6 Larson Soff Box positioned in the center creates a split pattern on the subject A 7-inch Novatron parabolic reflector with four-way barn doors and a 42x72 Calumet panel creates a small area of diffusionA 4x6 Larson Soff Boxcasts a profile patternon the subjectModel: Cara Evans Figure 9 Figure 11 June 2008 • Professional Photographer • 45
  • THE GOODS: LIGHTING you do use an umbrella on the main light, you’ll Figure 12 need to buy a variety of gobos—things to go between. Umbrella prices start around $30. A 7-inch Novatron parabolic Light modifying panels, made of translucent with four-way barn doors and fabric stretched over frames of PVC or alu- a 42x72 Calumet panel of translucent fabric minum, are placed in front of the main light creates a large diffusion area near the subject. Ideally, the light has a set of barn doors to control the amount of light spill. Moving the light closer to the panel makes the light source smaller (Figure 11). Moving it further away makes the light source larger and softens the shadows (Figure 12). Versatile and portable, panels lend themselves to location shooting. You can make a panel yourself with materials from hardware and fabric stores for less than $50. If you make your own, be sure to check your white balance with each fabric you use to maintain color consistency in your images. If you’re not that handy, I recommend looking into the 42x78-inch Calumet Photographic panel system. The kit includes three fabric panels, frame, brace, and legs to make it free-standing, and sells for about $160. Figure 13 Parabolic reflectors come in many shapes and sizes. They’re probably the least forgiving A 16-inch Photogenic light modifiers. Photographers usually place parabolic with two-way barn doors some form of diffusion material in front of the metal reflector to soften the light, but the relatively small diameter causes shadows to remain fairly hard (Figure 13). Main light parabolic reflectors are usually equipped with a set of barn doors to both control light spill and direct the light. A 16-inch parabolic reflec- tor and two-way barn door cost about $270. Taking the time to observe light in the world around me gives me an opportunity to develop my artistic side. When I notice some- thing unusual, I analyze what’s happening and how it’s done. Try experimenting with the different kinds of light modifiers on your main light. Your understanding of light will grow, and you might just find a whole new look that excites you. � 46 • www.ppmag.com
  • THE GOODS: ALBUMS & PRESENTATION High fashion comes to the photo industry, and album crafters are leading the way. We present some chic new looks for your images. B Y K A R E N L I N S L E Y, C P P Breakaway display Couture NEW PRODUCTS THAT REDEFINE THE Himalayan WAY YOU PRESENT IMAGES Leh “If you can make a couch out of it, then my sound like cool names for album covers, check COUTURE BOOK takes a very goodness, you should be able to make a out FINAO’s line of albums. This company different approach to wedding albums. The wedding album out of it!” says Christine provides custom albums to discerning high-end company’s mission is to create one-of-a- Perry-burke, of Finao, makers of the multi- wedding photographers. Finao’s Web site kind, handmade albums with the look of option Finao and Seldex presentation lines. holds a bounty of cool urban designs, tips, coffee-table books. Your calls to Couture If you think “Biker Chic,” “Bank Heist” tricks, blogs and photos. are answered by an aristocratic voice and “Bomber Jacket” If you choose the One album design, you directing you to the concierge. The design can then customize just about every element of the company’s Web site is elegantFinaoSeldex of it. For the covers, choose Magical Mystery simplicity, with a minimum of navigationImage Glass, Silk Tones or Metallic Canvas, with square buttons across the bottom. Once you signPreview or rounded corners. Inside, pick the creased in, you navigate through the site to build print or cut print look. With 20 sides, album your album with customized features of prices are priced by size, from $99 to your choice. The eight album foundation $290.20. For additional fees, you designs all begin with 100 pages for $345, can choose printing options including printing and binding. from The Edge Photo The Couture Himalayan Leh album Imaging or White House features Nepalese paper on the front cover, Custom Colour. Moreover, you folded and wrapped with a beaded tie. The can also choose Vegan Alternatives for interior pages are parchment paper, with or albums made of Earth-friendly materials. without artisan torn edges. The Indian line Finao’s Seldex line includes the totally cus- features silk fabric covers, and the French, tomizable Image Preview boxes. The smallest Italian, German and NYC lines have equally holds up to 150 4x6 prints; prices start at $55. distinct features. Call Finao at 888-346-2687, or visit The 4-year-old Couture Book company www.finaoonline.com. donates a portion of all album sales to your 48 • www.ppmag.com
  • THE GOODS: ALBUMS & PRESENTATION Exclusive Albums Genuine Leather Suede choice of the nine charities it supports. per-page fee. The Linear line Call 877-472-1710, or visit starts with a 4x5 album www.couturebook.com. at $18 for FORBEYON has two brand new album soft covers, lines, Linear and Perfect Bound, in $22 for addition to its popular Flush Mount line. If hard covers, you opt to use Forbeyon’s design services, plus $1 per you get low-res files for proofing and page, up to an approval in two to four weeks. Design 8x10 album service fees range from $3 to $5 per image at $26 for or $12 per side. Printing and binding in soft covers, each line begins with a base price, plus a $32 for hard covers, plus $2 per page. Forbeyon Flush Mount Perfect Bound albums start at 4x5 inches, $18 for soft covers, up to $39 for a 12x12 album with hard covers. For example, an 11x14 Perfect Bound hard cover photo-wrap says that the book with 30 sides would cost $87. company is back on track and fulfilling Turnaround for printing and binding is orders expeditiously. two to four weeks. EXCLUSIVE ALBUMS, a lab supplier Call 800-540-1480 or visit for three years, announced its debut in www.forbeyon.com. the professional photographer market at The venerable ART LEATHER has Imaging USA in January. The company’s broadened its style selection, including the albums come in an appealing variety of new flush-mount album Art Magazine and contemporary colors and styles, and each the Italian-made album line, Eventi d’Autore. comes with a presentation box. Standard A totally customizable book, the Art turnaround is two weeks, longer for custom- Magazine includes thin made designs. pages with photo or Exclusive standard covers. Prices Albums uses a for 20 sides range from special tech- $63.60 to $296.80, nology that depending on the album prevents warp- size and covers. The ing. Binding, Eventi d’Autore album is print and available only through an design services Art Leather sales rep; the are priced a la Art Magazine can be carte. The lush ordered online. Rachel Lundgren, Art Leather Art Leather Art Magazine Marketing Coordinator, 50 • www.ppmag.com
  • PictoBooks Precious MetalGenuine Leather Suede album comes in Metallic, Wooden and Carbon Fiber—startone size, 10x12 inches, for $675, including at just $300. You can order up to 30 sidesprinting and binding. Printed and bound per album, and allphoto cover albums range from $85 for a albums come with a4x5-inch 20-page album to $590 for a 50- presentation box.page 12x16 album. Call 877-216-8823, or Your clients canvisit www.exclusivealbums.com. review the album on If you have clients who shop the luxury PictoBooks’ Web site.line of Saks’ holiday catalog, they’ll love the Call 800-697-PICTOBOOKS Precious Metal Series of 4286, or visitalbums. The covers are crafted in gold, www.pictobooks.com.platinum, white gold or silver, and topped �with diamonds, rubies, sapphires or emeralds. Karen Linsley owns Prices in the line begin at $10,000. “We and operates a studiodo push the envelope with our books,” says in Lake Tahoe,Chan Park, production manager at PictoBooks. California, specializing in The gorgeous albums in PictoBooks’ weddings andother signature lines—Signature, Cocktail, portraits. June 2008 • Professional Photographer • 51
  • THE GOODS: PRO REVIEW Fine art-quality, affordable photo inkjet printers are rapidly evolving. In a niche that Epson created and owned for years, Canon and now HP are catching up. cycle on a consumer-targeted printer is unique BY STAN SHOLIK to HP. The B8850 prints a test pattern for the Simply satisfying printer to read and compare to an internally stored target, and adjusts the print head printing density as needed. You can run the calibration cycle at any time; it’s required HP PHOTOSMART PRO B8850 PRINTER only when you install new print heads. With typical usage, you’ll need new heads every HP promotes its latest model, the Photosmart (gloss) and matte black inks, which the printer four years, according to the HP specs. Pro B8850, as the ideal printer for “passionate accommodates without having to swap car- You install the printer software during the hobbyists and advanced amateur photogra- tridges (list price $33.99 each). The printer calibration cycle. When the cycle ends, you phers,” but it’s also ideal for most professional automatically selects the appropriate connect the printer to your computer’s USB 2.0 photographers. It’s capable of producing the cartridge for the ink specified in the paper port with the cable provided, and you’re ready same print quality as the HP Photosmart Pro type dropdown menu. to print. The B8850 software includes a won- B9180 Photo Printer, a pro-photographer model It took me about 25 minutes to unpack derful printer driver for Photoshop. The print priced 20 percent more. Unlike its pro sibling, the printer and install the eight cartridges plug-in combines settings from the print driver however, it lacks Ethernet connectivity, the abil- and four user-replaceable print heads. and Photoshop’s Print with Preview settings ity to print on media thicker than 0.7mm, Setup complete, you power up the printer, onto one screen, significantly reducing the num- and compatibility with third-party RIPs. load the media tray with HP Advanced Photo ber of steps it takes to prepare for printing. The B8850 prints on cut sheets of 3.5x5 to Paper, and let it go through a closed-loop self- The printer software also includes the 13x44 inches. Its eight-color HP Vivera pig- calibration cycle designed to ensure color con- HP Color Center, which simplifies ICC ment-based inkset includes both photo black sistency. To my knowledge, this calibration profile management and includes profiles for non-HP papers. The B8850 arrived with a nice sample pack of 13x19-inch papers, but only a few sheets of 8.5x11 HP Advanced Photo Paper Glossy, half of which were used in the self-calibration cycle. To conserve the large papers, I decided to do my initial tests on my favorite glossy paper, which wasn’t listed in the paper drop-down menu. Using the Datacolor Spyder3Print system, I profiled my paper, added its name and profile to the HP print plug-in through the Color Center, and immediately saw it appear The B8850 printer software combines settings from the print driver and Photoshop’s Print with Preview settings on one screen, significantly reducing the number of steps it takes to prepare for printing. 52 • www.ppmag.com
  • THE GOODS: PRO REVIEW in the paper menu. Professional photographers should have no problem printing accurate color on any inkjet paper with the B8850 after creating a profile and adding paper and profile to the HP plug-in software. I used Scott Martin’s Onsight color evaluation image to assess print quality (www.on-sight.com). Other than a slight hitch in the green and cyan gradients, the color ramps were accurately reproduced on the HP Advanced Photo Paper with the HP- supplied profile. The grayscale was neutral in every block from 0% to 100%, and there was no banding in the monochrome gradient. For monochrome prints, the B8850 gives you a choice of two settings, Composite Gray or Gray Inks Only. Composite Gray, a neutral The Printing Shortcuts tab presents a quick-pick collection of printer settings. The Save As… button allows you to save the settings for future output. combination of gray and color inks, produced far better results. The shadows were dark and rich and the highlights were clean with excellent detail. Satisfied with the results so far, I tried a 13x19 sheet of Hahnemühle Smooth Fine Art paper in the specialty media tray. To use the straight-through printing path, there must be enough space behind the printer to accommodate the paper’s full length. It’s a simple and effective jam-proof solution for large or heavyweight media. It took about 7 minutes to output the bor- derless 13x19 print, and about 3 minutes for a borderless 8.5x11 print. The print quality The paper type drop-down menu in the Printing Shortcuts tab is preloaded with HP-recommended papers. was excellent on each of the surfaces I tested, Selecting a paper also selects its profile. You can add custom papers and profiles through another window. and the HP-supplied profiles yielded accurate, neutral color reproduction. If you’re not embarrassed to be caught using a printer designed for advanced amateurs, specs: HP Photosmart Pro B8850 you’ll find most of the features you need on RESOLUTION: 4,800dpi optimized; up without tabs), 5x7, 8x10, 11x14, 11x17, the the HP Photosmart Pro B8850, and to 4,800x1n200dpi when printing from a Super B (13x19), envelopes print quality that should satisfy almost every computer and 1,200dpi input VOLUME: Up to 1,000 pages per month professional or fine-art photographer. � BORDERLESS PRINTING: Up to CONNECTIVITY: One hi-speed USB 2.0 13x19 inches DIMENSIONS: 26.5x16.9x9.5 inches Stan Sholik writes for NewsWatch Feature PAPER SIZES IN INCHES: Letter, legal, WEIGHT: 37.7 pounds Service. He is a commercial photographer with more than 30 years of experience. tabloid, executive, 3.5x5, 4x6 (with or PRICE: $549; 27ml ink cartridges $33.99 each 54 • www.ppmag.com
  • THE GOODS: PRO REVIEW Ruggedness, stability and portable weight are a tripod’s most crucial characteristics. With a tripod made from carbon fiber, you get all three. B Y J O E FA R A C E A leg up MANFROTTO CX SERIES CARBON FIBER TRIPODS If you’ve never used a carbon fiber tripod, the torsion rigidity. Redesigned locking levers, first thing you’ll notice is how light they are. If new leg angle selectors, and re-engineered you believe sturdy can only be heavy, you’ll magnesium and aluminum castings are high- change your mind. Manfrotto’s recently lights of the CX family. The newly designed released CX series carbon fiber tripods even ergonomic leg locking levers are not only nice have to make do with the minimalist rubber have a stylish design. to look at, but easy to operate. Manfrotto also tip ends. Most tripods have a hook under They feature a quick column center system redesigned the top plate on 190CXPro4 and the center column to hold a weight or (Q90°) that allows you to rotate the column 190CXPro3 tripods to incorporate a bubble camera bag, but because of the center to a horizontal position with a single motion, level, which is important for panoramic shots column design, this feature isn’t practical for without removing the head or disassembling and keeping horizon lines horizontal. CX series tripods. Instead, there’s an L-ring the column, so switching between framing and As with all tripods in the Manfrotto CX positioning is a snap. series, the 190CXPro4 I tested lacks The new Manfrotto 100-percent carbon retractable spikes, so when working on soft The bubble level on the top of CX series tripod is fiber CX tubes excel inflex resistance and ground, as I was at Barr Lake Stare Park, you a big help when shooting multiple frames to make panoramic images. This one comprises five exposures.©2008 Joe Farace 56 • www.ppmag.com
  • DO YOU NEED PORTRAITS: With the camera secured on a tripod, you can walk over to your A TRIPOD? subject to adjust a pose, yet maintain With a new generation of image stabilized proper cropping and aperture for the (IS) and vibration reduction (VR) lenses, as depth-of-field. Also, subject and well as anti-shake capabilities built into cam- photographer can interact face to face era bodies, do you even need a tripod? You without the camera blocking the view. do, and here are a few good reasons why: PRODUCT SHOTS: When you’re using©2008 Joe Farace hot lights and want to increase the depth-of-field, especially for close-ups, you still need a tripod for long exposures. PHOTOGRAPHY WITH FILTERS: Infrared photography often calls for filters that are ©2008 Joe Farace seemingly opaque with filter factors Long exposure demands a tripod. This digital approaching infinity, requiring such slow infrared image, taken near Barr Lake, was made with a 4-second exposure at f/6.3, ISO 800, shutter speed that even the best IS and through a dense Cokin 007 (87B) filter. VR technologies can’t handle it. REGISTRATION: Using a tripod for group mentation, and stitched panoramic images. photos lets you maintain registration from shot to shot in case you need to ONE OF THE FAMILY: With a tripod, For a series of headshots for Sara’s portfolio, I digitally swap expressions. Exact registra- the camera’s self-timer, and your own mounted a Canon EOS 5D on a Manfrotto tion is also key for before-and-after fleet feet, you can both capture and 190CXPro4, so I could walk over to her adjust her pose and direct her. shots, construction-in-progress docu- appear in your own family photos. June 2008 • Professional Photographer • 57
  • THE GOODS: PRO REVIEW We planted this apple tree in my front yard 10 years ago. Every year when the tree is in bloom, I make a photograph of my wife, Mary, and me in front of it. Having a tripod means we don’t have to ask some else to make the photo. 804RC2 PAN/TILT HEAD You can use any kind of head with the CX series tripods. For this review, Bogen Imaging provided an 804RC2 pan/tilt head similar to the 3030 head on my old green tripod, yet it’s 20 percent lighter. The 804RC2 has rounded rather than hard edges, and the handles are more ergonomic than the previous lumps of hard foam. The new coating on the ubiquitous Manfrotto quick-release lever is supposed to be even more durable and scratch resistant than on previous ©2008 Joe Farace models, and it’s larger than the previous solid metal ones. The new QR is made of a polymer called Adapto, which is resistant to extreme temperatures and not likely to corrode or oxidize. Like the carbon fiber legs, this material absorbs vibrations. The 804RC2 head’s new counter-spring system makes it easier to position the camera on its axis, as it counter-balances some of the camera’s weight and does most of the work of positioning the camera for shooting. 58 • www.ppmag.com
  • specs: Manfrotto CX-Series Tripodon the top of the tripod that can hold acounterweight. You may need the suppliedinstruction booklet to learn how to rotate thecenter column horizontally, as well as how to MODEL: 190CXPro3 190CXPro4 190CX3use the L-ring weight attachment point; it MAX HEIGHT: 48 inches 48 inches 46.9 inchesmight not be obvious the first time you see it. MIN HEIGHT: 3.15 inches 3.15 inches 2.36 inches The legs have snap-lock levers instead of LEGS CLOSED: 22.8 inches 19.7 inches 21.7 inchescollars, and they lock solid and precisely. With WEIGHT (W/O HEAD): 2.84 pounds 2.95 pounds 2.90 poundsthe legs spread wide, the lock is just as solid PRICE: $300 $325 $250and precise when you flip the center columnhorizontally to get into a low to the ground,limbo-like position for tough macro shots timer) to trip the shutter for long exposures. photographers who need to keep theirand unusual perspectives. All of the tripod’s The 190CXPro4 is a fine tripod for gear compact.controls, including the handles on the 804RC2 small to medium-size digital SLRs. The The CX-series is not only made of newpan/tilt head that I tested, are firm and lock three-section 190CXPro3 with its wider materials, but also has an innovative design.in a crisp manner, so that with all the legs is better suited to hold large cameras From the push-button locks at the tops ofcontrols locked, the 190CXPro4 is solid and like the Canon EOS-1Ds Mark III or Nikon each leg to the shape of the leg-lockingrigid. Even with the wind blowing, the D3. Three inches shorter in compressed levers, these re-imagined Manfrotto tripodscamera remained solidly in place. For best length and lighter than the 190CXPro3 are even better than their predecessors. �results, I always use a cable release (or the model, the 190CXPro4 might be better for (www.bogenimaging.com) Mesilla Digital Imaging Workshops Workshops P.O. BOX 1022 • Mesilla, NM 88046 • 575-523-8713 Daniel Anderson Fine Art Digital Scanning & Printing Nov 8–9, 2008 Barbara Brundege Composition & Landscape Oct 17–19, 2008 Photography at White Sands Adobe Ctein Close-up Photography Sept. 17–18, 2008 Night Photography Sept. 19–21, 2008 Canon USA The Layered Look in Photoshop Jan. 29–30, 2009 Image Restoration Jan. 31–Feb 1, 2009 DXO P A R T N E R S —— Mark Dubovoy Digital Photography Done Right Feb. 26–March 1, 2009 HP Marketing Sean Duggan Adobe Camera Raw Dec. 11–12, 2008 Corp. Secrets of the Mask: Dec. 13–14, 2008 Selections & Masking Giottos Art of Photo Collage Feb. 19–22, 2009 —— E D U C A T I O N A L Norman Phillips Dynamic Portraiture: April 3–5, 2009 Lexar Professional Lighting and Posing MOAB/Legion Allen Kuhlow Everything You Want to Know Oct. 17–19, 2008 About Adobe’s Lightroom Microtek Paul Schranz Printing Fine Art Digital Black & White Aug. 23–24, 2008 Alternate Composition: Sept. 26–28, 2008 PHOTO Exercises from the Bauhaus and Techniques Time/Space Studies Digital Photography for Nov. 1–2, 2008 Recovering View Camera Addicts Wacom Edda Taylor & Portraits by Commission & Oct. 23–24, 2008 Sandra Mendez Mastering the Digital Portrait To register go to: w w w. m e s i l l a w o r k s h o p s . c o m June 2008 • Professional Photographer • 59
  • THE GOODS SOLUTIONS BY ANDREW RODNEY Soft proofing helps you see how your image will look on The goal is to come as close as possible, paper. The first version usually looks horrible. Here’s which takes some output-specific image how to make the proof look the way you want it to. editing based on its appearance with and without the soft proof function turned on. How to edit a soft proof For the best results, your ICC profiles should accurately define the condition of both your display and your printer, and appro- With good ICC profiles for your display and match between the onscreen image and the priate and controllable print viewing condi- printer, and proper viewing conditions, soft printed version—an emissive display and tions near the display. The luminance and proofing can yield a better than 90-percent reflective print will never match perfectly. white point of the viewing conditions and display must also be correctly defined whenAll images © Andrew Rodney you build the profiles. If you’re not familiar with soft proofing, use the links to my pre- vious columns listed at the end of the article. Let’s begin with a print-ready image. You’ve made all the tone and color adjustments for ideal color reproduction based on the image’s working space. This is a master image that you can use for output to any number of devices, whenever you need to. Now mentally draw a line to separate the master image from all output-specific edits, including sharpening. Figure 1: The Customize Proof Conditions dialog is configured for matte paper on an Epson Stylus Pro Now open the master image and make a 3800 printer using a relative colorimetric intent with Simulate Paper Color on. You can save this as a custom setting for future use. duplicate (Image > Duplicate). Name it Before View. Arrange the two documents side by side, filling as much of the display as you can while retaining access to your Photoshop tools. Place the master image to the right of Before View, which you’ll eventually discard. You’ll make your edits on the master. Select View > Proof Setup > Custom… to bring up the dialog in Figure 1. Select the output ICC profile for the printer and paper you’re using. Now toggle the rendering intent menu between Perceptual and Relative Colorimetric, and select the one that gives the image the color appearance you prefer. Select the Simulate Paper Color checkbox and behold a rather ugly preview. You can call this checkbox “the make my image look like crap button,” but it gives you a far more accurate Figure 2: Left, the original image with no soft proof. Center, the same image with the custom proof onscreen preview of the printed version with setup from Figure 1 turned on. Right, the image with the edits from Figure 3; it’s hardly identical to the original, but it’s much better than the center image. its contrast ratio of paper and ink. Let your 60 • www.ppmag.com
  • eyes adjust for a few seconds, and acknowledge the working space, display and printer. Withthat sometimes reality sucks. That’s why we some colors and tones, no amount of workhave Photoshop in the first place. Our goal will get us back to the original appearance.is to edit the soft proof simulation of the image The selective colors in Hue/Saturationuntil it looks closer to the image on the left. can also be useful. Often, a blue skyRemember, you’ll never get an exact match. appears slightly cyan or magenta in the Make all of the edits on adjustment layers, soft proof. I correct this by making astarting with the curves (Layer > New separate Hue/Saturation adjustment layer,Adjustment Layer > Curves…). I can usually selecting a color range from the pull downcounteract some of the effects of the paper menu (Blue, not the Master), and movingsimulation with a slight curve adjustment in the hue slider a few degrees one way or thethe upper 3/4 tone. Make other curve edits other. You’ll see why it’s wise to keep eachas appropriate for the particular image. I edit on a separate, labeled layer, as incan’t get the appearance of the original, but Figure 3.I can make improvements (Figure 2). Place all the adjustment layers in a Figure 3: The Layer palette shows the group of Now make a Hue/Saturation adjustment Layer Group (click on the folder icon in the adjustments used in Figure 2. The layer group is named for the output profile and rendering intentlayer. A small global saturation increase, about Layers palette and drag the adjustment selected in Figure 1.+3 to +8, helps; I know I’m fighting an often layers onto the new group folder). Give thismassive difference in color gamut among group the same name as the profile and ren- June 2008 • Professional Photographer • 61
  • THE GOODS Figure 4: Follow these steps for the Jeff Schewe Punch Black technique. With good ICC profiles without having to start from scratch. Print your image and close the duplicate and background colors are set to the default (if not, hit the D key). Select the background for your display and —there’s no need to save it. View the print layer and go to Select > Color Range… Notice printer, and proper under the light box. Enlarge the edited that Sampled Color is selected with black viewing conditions, image to fill as much of the screen as you can, then view it in full-screen mode and (foreground) to start the range of the selection. Enter 25 in the fuzziness field and click OK. soft proofing can yield compare it to the print. Hit the F key until Select Layer > New > Layer via Copy a better than 90- the image is totally surrounded by black, (cmd/ctrl—J) to place this range of dark colors percent match between and hit the tab key to hide the palettes. That’s the best way to evaluate the match onto a layer of its own. Name this layer Punch Blacks, and set the Blending mode to the onscreen image between the onscreen image and a print. Multiply. Only the range of darks from 0 to and the printed version. If you don’t want to store all the adjust- 25 will go darker, which often produces a ment layers and groups in each document, better or truer black on the final print. This dering intent, as in Figure 3. When you want you can store them in one blank, low-resolution really helps with matte papers, but try it with to print this image on a different printer, Photoshop document and simply drag and glossy, too. Just like the other output-specific you’ll make a new layer group with edits drop them onto your images when you’re tweaks, this one should go into its own layer for that printer. You could eventually have ready to print. (I prefer to keep them with group; you can’t copy and paste this onto a number of layer groups with output-specific the master image.) other images! Figure 4 shows the steps. edits, and turn on only the one you need Here’s one more good trick, especially for For previous articles on soft proofing, for a particular printer and paper combina- matte papers, that I learned from Jeff download these PDFs from The Goods archive tion. You can also drag and drop a layer group Schewe, who runs the awesome Photoshop at www.ppmag.com: www.ppmag.com/reviews/ from document to document. You can double- News Web site, photoshopnews.com. 200409_rodneycm.pdf and www.ppmag.com/ click on an adjustment layer to alter it, Open your image. Make sure the foreground reviews/200411_rodneycm.pdf. � 62 • www.ppmag.com
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  • THE GOODS: TUTORIAL All images ©Bob Coates In a church, home or office, multiple light sources with varying color temperatures can cause ugly headaches. Use Adobe Photoshop Camera Raw to whip up a cure. BY BOB COATES, M.PHOTOG.CR., CPP Mixed light, blend well COLOR BALANCE WITH RAW CAPTURE Figure 1: Original capture with mixed light temperatures The mixed light of fluorescent green, daylight blue and tungsten yellow with their various color temperatures can make a dreadful clash of color casts in your images. I’ll show you how to make adjustments that will turn captures in unavoidably ugly light conditions into attractive final images. You can use a raw image to create white balance bracketing by processing it for each light source with a different color temperature, then blend the colors and exposure to make the image pleasing. If your composition has any hot spots of light, lean toward underexposure. If you don’t have detail in the highlights, you will never get it back. The secret to making this work is to mentally isolate various color areas, and adjust one version of the image for each of them, regardless of how the rest of the image looks. Open the original file in Camera Raw and process it for the primary light source. Click Open Image. Open the original again in Camera Raw and adjust for color temperature in another area. When you open the second version, hold down the shift key and drag the background layer onto the first version. This creates a Figure 2: After adjusting and blending for various light sources 64 • www.ppmag.com
  • One of the Many Faces of PPAI’ve always gone against the grain. Even when I was just coming into theprofessional scene, I wanted to do my own thing. The black-and-white, romanticportraits of children that were popular at the time just weren’t my style. I wantedto photograph brilliant, fun colors and interact with the kids. So I did. I knew I’dbecome a true professional when someone called to booka second time. A professional creates products thatpeople want more than once…and I see some clients3-4 times a year. So don’t be discouraged bywhat is expected; you have to be authenticand follow what you want to do.If you don’t, what’s the point?Audrey WoulardProfessional PhotographerPPA Member since 2006 © Audrey Woulard
  • THE GOODS: TUTORIAL Figure 4: Overall office color and exposure Figure 3: Adjusted for ceiling spot lights to hold detail new layer aligned exactly with the first. Repeat the process, creating a new layer for each area where the light source affected the color. It took five layers to correct this image. The Camera Raw dialog boxes show the adjustments I made in each layer. When the layers are stacked, add a layer mask to each. Type D to make the foreground color white and the background color black. If you’re working on a small area of the image, use a hide- all mask: opt/alt-click on the Add Layer Mask icon on the Layers palette or choose Layer > Layer Mask > Hide All in Photoshop CS3. The mask is filled with black, hiding the contents of the layer. Paint with white or white with a low opacity setting to reveal what you want to see. If you want to use most of the layer, start with a white mask—Layer > Layer Mask > Reveal All, or click on Add Layer Mask icon—and paint with black to cover what you don’t want to see. I processed the original background layer for just the spotlights to ensure I’d get detail and rich color. I increased the exposure and lowered the saturation on the Overall Room layer. Note that it has a white layer mask with some black paint revealing the lights from the bottom layer. The Bookcase layer with a black Figure 5: Bookcase area 66 • www.ppmag.com
  • “SuccessWare enables us to stay “Success is turningon top of every detail of our businessby putting so many important pieces passion into profits.”of information together where wecan access it instantly. We wouldfind our daily business life verydifficult without SuccessWare. It isa concise management tool...fromchecking our schedule to determiningwhere our finances stand daily,SuccessWare keeps us on track.SuccessWare allows us to operatelike we have the resources of abig corporation, but to do so ona very personalized basis.”Jason and Tammy OdomRenaissance Portrait Studio | Fairhope, AlabamaRead Jason and Tammy Odom’s story atsuccessware.net/success_stories. © 2008 Renaissance Portrait StudioSuccessWare 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!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
  • THE GOODS: TUTORIAL mask was processed for lighter exposure and a slight magenta tint. Applying a soft white brush with low opacity reveals the effects. I also painted the Doorway mask with a soft white brush. Note that I painted in other portions of this layer to add color to shadows under the desk and chair. Learning to make selections can help to speed you through your work. I used the polygonal Lasso tool to select the window area because it’s outlined by straight lines. Feather a selection like this by choosing Select > Refine Edge so there’s no obvious transition. Be sure you’ve selected the mask and fill it with white (Edit > Fill > Use: White) to reveal. As a shortcut, opt/alt-delete will fill with the foreground color and cmd/ctrl-delete will fill with the background color. You could also select Use: Color for your fill and use a gray to reveal only some of the color. On the Window layer mask I also used a soft brush at low opacity to paint the interior of the windowsill and chair back. If you’ve changed the light outside a window, adjust for the window light falling on the surrounding objects, or the effect will cause a disconnect in the viewer’s mind. After you’ve adjusted all the color and finished the masks, leave your image on the monitor, get a glass of water, maybe go for a Figure 6: Area through doorway walk. When you return, look for errors in your color correction. Highlight the top layer. Press shift + opt/alt + cmd/ctrl + E to create a new flattened layer with all of the corrections, leaving the layers below intact. If you need to redo the image, having the layer work will save you time. The last layer is for retouching. Using a combination of the Clone and Patch tools, I removed a few highlights, along with some wires that could not be avoided during the shoot. This technique has many applications. Use your imagination for blending different exposures and color balances for creative inter- pretations of exteriors and landscapes. This image was built and cor- rected from a single raw capture, but you can use a tripod and take multiple captures of a scene with different exposures and color balances. Its a great way to get detail in shadows without adding noise and color, while maintaining good exposure on the rest of the image. Take it one step further: Capture images throughout a span of time, capturing detail in the landscape and the deep blue or afterglow in the sky. Enjoy exploring all the ways to blend multiple images together using these techniques. Send low-res versions of your results to me—Id love to see how they turned out: editor@successful-photographer.com. � Bob Coates is based in Sedona, Ariz. See more of his work at www.bcphotography.com. Figure 7: Outside window 68 • www.ppmag.com
  • ht the ands, fig cre ased dem ues . umers’ in t techniq ARE WE e to keep up with cons stay on top of the lates P H Y ? SO OTOGR A petitive than ever. You tle and give away imag ha v es , ABOU T PH and findSERIOUS graphy market is morfessionals who charge e com too li t ne learn nds of ines s, let alo y thousaToda y ’s photo sed by n on - pr o g. ents of y our bus – and that ’s wh her o r a tions cau ke a livin requirem ducation hotograp ispercep yes – ma y-to-day graphic e coming pm nd – oh e the da nd photo up-and- r ar tis tic nology, a to manag usiness a ou’re an pact youand tech arely h ave time on top o f y our b US A . W hether y at will im y ou b s tay aging ation th re means an ever to at tend Im nd informA ll th a t pr es su por tant th orldwide niques a more im aphers w up-to-da te tech spiration . But it ’s l photogr the mos tin s ful pro fessiona u’ll gaintalented , succes w her e y o agin g US A is d pro, Ims eas o n e es s . cial succand finan R IN ON E P L AC E ING T OGE T H E S E V E RY T H : A BR ING TO GING US T E ASY FOR YOU ait , ay ’s por trIM A nt for tod K ES I s relevaA ND M A business practice nd rs. niques a cial photographe ach tech r rs who te d co m m e ins tructo or t and event, an , sp wedding s. s ting fr iendship eas , an d build la s, c ompare id E R S. uss issue HE ANSWouncing Imaging USA cks : 2009 y ou can disc AS T H NG US A e an n d p r o gr a m tra S T IONS s e’ll b ? IMAGIitical to your succesfr.oW a variet y of theme E Q UE is cr n m le to learDO YOU HAVcially business eduemti er that you’ll be ab ca on — b mp s tar t your n — e spe ow, rem LS to juEducatio ver y soon…for n rs E S SE N T I A eve ou need r y thing y r sk ills.ins tructo u toward sh you Points yo y career or refre F IR S T USINESSelling techniques, custo mer p h photogra R 200 9! B .NE W FO eeper understandinnggoand more. iques fs ledge and techn HT adProvides s t of sales, mark eti SPOTLIG er t ’s pho tograp hic know , co an exp R E NC Erelations TROOM Reveals Y CONFEy commercial TOSHO P & LIGH H TOGR AP s dealt with b CIAL PHO ts , , shor tcu OBE PHO aring tips, techniques on R egis trati COMME iss ueAD co ncer n s an d Imaging US A r . shxper ts the daily your full ers International)A dob e e ts. es Address ers - available w ith graph nd secrebasics a GR APHY ph photogra you by Commerc ial Photo DING PHOTO gives wedding and (brought to I T & W ED ons and ve .PORTR Ae industr y ’s tough qas s eir customers will resents ue ti lo ce that p Conferen or t and event SEPCON & Event Photographee s f the best sp with your full th ide th rA nswers tographers newpor trait pho o rt sed b y s om o le 3 - da y S p ethods u - availab iet y of Spor t & countr y suc cess ful m from around the to you by the Soc p her s o ugh t photogra A regis tration (br US Imaging raphers ) . E v en t Photog
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  • It was summer 2007. Sal Cincotta had a head for business, an eye for photography and a marketable style. What he didn’t have was enough clients. That was then, this is now. The key: Divide and conquer. PORTRAITS By Jeff Kent Leap year 2009. His wedding trade had rapidly become a six-figure business, with an average of about $4,500 per wedding. Senior bookings jumpedS from three in 2007 to 50 in 2008. Child por- After a slow start, Salvatore Cincotta’s bookings skyrocketed trait bookings climbed, with repeat business al Cincotta opened Salvatore bookings was undermining his confidence. in his Baby’s First Year plan with average Cincotta Photography in St. Louis He’d taken seminars at Imaging USA 2007 sales of $2,000 to $2,500 per client. in late 2006. He photographed weddings and in San Antonio and came away with a solid Exactly what happened? As a former made portraits of children, babies, foundation. He followed up in July by taking computer consultant for Microsoft, Proctor seniors and expectant mothers. PPA’s Make More Money in Photography & Gamble and similar giants, Cincotta was Midway through 2007, conference in Memphis. The marketing and no newbie to business, and his marketing Cincotta had managed to book business plan he implemented in August coordinator, Taylor Golden, had promotion only seven weddings for 2008. Portrait 2007 changed everything. and advertising experience. All they needed sessions were sparse as well. Cincotta was in By early 2008, Cincotta had 34 weddings was knowledge specific to the business of pro- it for the long haul, but the paucity of his booked for the year, and another five for fessional photography. “The PPA conferencesAll images ©Sal Cincotta
  • PORTRAITSgave us a context in which to apply soundbusiness practices,” says Cincotta. “Thatmade a huge difference.” Cincotta’s first step was to separate his busi-ness into three distinct lines—weddings, babiesand children, and seniors—as per the adviceof Make More Money presenter MichaelRedford, M.Photog.Cr., API, CPP. Becausethe target market of each specialty is distinct,he made three different marketing plans. Next, Cincotta implemented brandinginitiatives suggested by another Make MoreMoney speaker, Sarah Petty, CPP, anddesigned a consistent look and theme for hismarketing and business materials. Then Cincotta pursued relationships with vendors in the same markets, such as reception halls, florists and caterers. He says these referral sources are like goldmines. He returns the favor in the form of complimentary images of their wares to use as they please. Cincotta also built relationships with four high schools in the area, and recruited six senior ambassadors to promote his senior portrait services. To ramp up his child portrait line, Cincotta met with the owner of a local chain of high-end toy stores. He offered to create portraits of children playing with the stores’ specialized toys. The owner could hang them on the stores’ walls and use them in his advertising. The owner loved the idea. Cincotta ran a promotion to draw children 4 to 12 years old to use as models. Each subject got a complimentary session and an 11x16 print, with no obligation to buy anything. He figured he’d be doing about 25 sessions over one weekend. On a Friday afternoon, he sent an e-mail blast to everyone on his contact list. Within two hours, callers had booked all the slots.74 • www.ppmag.com
  • Over two days, Cincotta introduced dozensof people to his services. When the parentswent to his Web site to choose the shot forthe print, they also found his regular printprices, just in case they wanted to buyadditional prints. And buy they did.Cincotta grossed $4,000 in additionalprint sales, and 15 framed portraits wentup on the walls of three toy stores.Toys pictured in those images flew offthe shelves. “When I told other photographers aboutthe toy store promo, they thought I wascrazy to work for free,” says Cincotta. “But Ididn’t work for free. Besides making $4,000in two days, it continued to generaterevenue downstream. You can’t put a priceon that kind of focused publicity.” Cincotta also worked out a rafflearrangement with the stores’ owner. At eachlocation, theres a monthly drawing for afree portrait session. Cincotta captures 40to 50 solid leads every month in exchangefor one free session. Raffle entrants whosenames aren’t drawn are awarded a very niceconsolation prize—a 50-percent discounton their next portrait session. These promotions have proved invaluablefor Cincotta’s studio. But the continued growthcomes from his emphasis on service. “Thecustomer experience starts from the firste-mail, the first phone call,” he says. “If youwant the majority of your business to comefrom referrals, then every customer experiencehas to be top notch across the board.” That’s also a part of effective branding.“It’s not just about taking pictures,” hestresses. “You need to be a guide. We walk tant to position yourself as a trusted advisor work, and no one will trust you enough toclients through their sessions. For wedding as opposed to solely a photographer.” buy from you if you don’t take the time toclients, we provide timelines and help them It’s really that simple, he says. “You have make a connection with them.” �plan their day. We follow up with clients to find a way to connect with people,” saysafter image delivery and see what they Cincotta. “Develop a rapport, and be For more on Salvatore Cincottathink of the images in their home. It’s impor- genuine. There is a sales component to this Photography, visit www.salcincotta.com. June 2008 • Professional Photographer • 75
  • When youre photographing corporate leaders, the last thing you want to elicit is emotion, says Mark Bolster. This portrait has to convey confidence and assurance to both shareholders and competitors. M PORTRAITS Interview by Ellis VenerAll images ©Mark Bolster ark Bolster’s confident, easy- going demeanor cloaks the soul of a fierce perfectionist who believes in being pre- pared. That’s what it takes to meet the exacting challenge of executive portrait photography on location. Based in Pittsburgh since 1985, Mark Bolster’s clients include King Pharmaceuticals, PNC Financial, Alcoa, Allcare Dental, Federated Investors, Siemens, and UPS, for whom he creates images for use in corporate annual reports, editorial portraits, advertising and industrial brochures. He recently published his first book, “Pittsburgh: A Photographic Portrait,” a limited edition available for purchase at www.markbolster.com/pittsburgh. Professional Photographer: When a client calls… Mark Bolster: The first thing I do is get information about how the photo will be used. If you don’t, you’re setting yourself up for problems. Whether I’m hired directly by the corporation or by a graphic design firm, I prefer to bill the company directly. They treat business as business, and that helps when negotiating money, getting paid quickly, and getting advances. The higher up the corporate ladder the subject is, the less time you can count on spending with him. I like photographing everyone, but I’m best known for my portraits of senior level executives. These assignments are pressure packed, and that’s a kind of pres- Power shots sure I thrive on. I like high expectations, I like getting in and out and not being too much of a pain. I do that by just being prepared. The art and business of executive portraiture 76 • www.ppmag.com
  • That preparation includes … maybe adjusting the subject’s jacket or tie. It’s a minutes with the person, not including myI generally insist on having some time before very time-pressured gig. Everyone around the setup time. I know I can do it in 20 minutes,the shoot to scout the location. I try to figure CEO worries about the senior executive photo but I might not get the variations I want toout a couple of different places to make the because it’s the one they’ll get called on the deliver to the client. I really want to makeportrait. If the prime location for whatever carpet for if the photographer doesn’t act in a their job harder by giving them several reallyreason becomes unavailable, having a fall- professional way, or blows the shot, or has an good options to choose from.back position ready to go leaves us some equipment problem. Executives don’t want tooptions. If there’s enough time, I love to shoot hear about any of that—they’re paying you a Post-capture priorities …in one spot and then quickly move to another lot of money and you need to get it and you Tight editing is a critical step. I want to giveto get a completely different photograph. need to get it right away. the graphic designer and the subject a You have to be mindful of the executive’s variety to choose from, but delivering tootime, so you have all the lighting in place in The duration of a typical shoot? many options frustrates busy executives.each location, and all the exposures dialed in. With a CEO, I always tell their assistants or Editing for corporate portraits goesThere’s no time to make adjustments beyond corporate communications people I need 30 further than weeding out closed eyes and
  • PORTRAITS goofy expressions. You have to put yourself the subject and photographer to connect on in the shoes of the designer and understand an emotional level, but that’s not a require- how a composition might work in a layout. ment for corporate portraiture. In the Delivering compositional variations, along grand scheme of things, what the CEO of a with a range of expressions, demonstrates Fortune 500 company does is a lot different that you understand the complicated process from what little Mark Bolster does. One of creating an effective narrative in an annual reason I get called back from year to year to report or brochure, and that the photos are photograph the same people is that I make only part of the story. Filling that need it clear from the start that I respect their sometimes includes—at a designer’s request time, and I won’t make this thing go on a and for an additional charge—digitally minute longer than absolutely necessary. It extending a background a couple of feet or shows I have their best interests at heart, moving a head from one group portrait to and they’re more willing to give me what I another to replace a bad expression. I use want from them. Adobe Photoshop CS3 and Adobe Bridge on High-level executives have been groomed a Mac with a 24-inch screen. for the job. Part of that process is learning what they look like when photographed. Executive portraits are unique because … They know what their best side is, what Portraits for a client’s personal use require their best smile looks like, what their best
  • “power look” is. If they’re comfortable theymight cooperate with doing a few variations, In good company 5 power points from executive photographer Stan Kaadybut if you try to force pictures, you can makethem feel uncomfortable. ©Stan KaadyHow do you keep the session on even keel?A big part of it is being prepared. Wheneverpossible, I go in the day ahead for a pre-light session. I’ll set up my lights—I travelwith two 1,200WS Profoto Acute2 12000Rpacks, four heads, and a Profoto AcuteRingflash. When necessary, I supplementthat with a four 1,000WS Dyna-Litepack and head system, plus a range ofChimera and Photoflex soft boxes and gridspots, every kind of clamp made, and arange of stands. Then I’ll do a trial run to test every-thing—composition, basic poses, lighting,camera and lenses—to make sure the workflows efficiently the next day. Ideally, I canleave the light setup overnight, and if can’t,I make copious notes and lay down gaffer’stape to mark where everything will go. Atlanta-based corporate and editorial Maybe I’ll toss in a strobe here or there,The best equipment for the job … photographer Stan Kaady shares a few of but my lighting style is not strobeTo be honest, equipment just bores me. If I his techniques for shooting corporate driven. Often I’ll work with just thedidn’t need any of it, I’d be a really happy portraits on location. overhead fluorescents and a reflector. Ifcamper. It’s important that my gear is there’s some nice window light I’ll usereliable, because ultimately that’s part of DRESSING FOR THE C-LEVEL that. The quality you can get withmaking a good image. If there’s one piece of On a corporate shoot, my assistants available general office light is justgear I’m enthusiastic about, it’s the Remin need to be dressed in business casual: no phenomenal. With the low noise factorKart-A-Bag Kartmaster HD500. This 600- holes in their jeans, no tattoos showing, of digital cameras these days, I canpound dolly holds a ton of weight, has no metal studs protruding from their shoot at higher (ISO) speeds and takepneumatic tires, and most important, holds temples. I’ve got no problem with any of advantage of a lot more found light.up when you travel a lot. Reliability is part that, but those things just don’t work in When I need to add light, I don’t goof my philosophy of being respectful of my that world. I’m fairly conservative, but overboard. It’s both a matter of my tastesclients’ time. � not hyper-conservative. That’s true of and a strategy for working fast and light. the corporate market I’m involved in, too. One of my favorite tactics is to use White Lightning monolights as a bare- QUALITY CONTROL: LIGHTING bulb flash. I remove the reflector fromAtlanta, based commercial photographerEllis Vener is a technical editor for For the last four or five years, I’ve been the monolight and aim the head into aProfessional Photographer. using much more ambient, natural light. corner of the room to spread the June 2008 • Professional Photographer • 79
  • PORTRAITS ©Stan Kaady portrait photographer is finding a back- ground that’s not trite, contrived or clichéd. Sometimes on location the first“Most of the people thing I want to do is turn and run. ThenI photograph I have to find a place with nice existingthese days are CEOs, light and a nicely shaped background that will also complement the subject.executive vicepresidents and PEOPLE, PEOPLE!others of that rank. Most of the people I photograph these days are CEOs, executive viceThey’re used to having presidents and others of that rank.their photo taken They’re used to having their photoand are easy enough taken and are easy enough to work with. I rarely run across someoneto work with.” with an attitude or who will give me only 5 minutes to make the portrait. It can be a challenge, but one of the reasons I like what I do is that every day is like a field trip for me. ©Stan Kaady illumination across the ceiling and walls. soft box to the subject’s left or right, a It’s just amazing. It gives me a window- gray background 5 to 6 feet behind the light look I can blend with the existing light. subject, and a small light bouncing off Sometimes a minimalist approach the background to create a separation works best. I’ll use just a couple of Nikon between subject and background. A silver SB-800 hot-shoe mount flashes (or card opposite the soft box adds a little ones of similar size) when I can’t dial more separation and a moderately hard down the big lights far enough. edge. I shoot about 30 frames, cull the best shots, and do minor image adjust- HEADS UP ments. I use Adobe Bridge and Photoshop Headshot sessions last about 10 minutes, CS3 to create a private proofing gallery beginning with the application of a little for the client, then make more extensive powder makeup to knock down the shine image enhancements on the ones he picks. on the subject’s cheeks, nose and forehead. For lighting standard headshots, my BACKGROUND CHECK formula is simple: a small Plume Wafer One of the challenges for the corporate 80 • www.ppmag.com
  • What about those who can’t smile? Those who find it difficult to even speak and eat? Now you can help them smile, too.images courtesy of Operation Smile During the month of October, PPA Charities is conducting Family Portrait Month, a national fund-raising effort. The proceeds will benefit Operation Smile, which provides free reconstructive surgery to children and young adults around the world suffering from cleft lips, cleft palates and other facial deformities. Join in this cause- related marketing program to attract new clients, encourage return business, and help create a smile. Find out more about Family Portrait Month and how you can help the children of Operation Smile: www.PPAcharities.com | www.FamilyPortraitMonth.com | www.operationsmile.org or contact Bert Behnke at 708.267.0657 or bbehnke@ppa.com charities
  • Julia Gerace enjoys the diversity of her work, although headshots remain the foundation of her business. “A headshot is more than a portrait,” she says. “It’s the actor’s first introduction to a director.” J PORTRAITS By Jeff KentAll images ©Julia Gerace ulia Gerace always had a flair for the theatrical. A music major in college, she began her career working in theater band pits, often as the intermediary between the musicians and the director. During programs, she would pore over the actors’ headshots. Gerace has also been an inspired shutterbug since childhood. When she married and had kids, her enthusiasm for photography was renewed. Theater and photography came together in 2004 when she was working on a production that included some 80 teenage actors. Gerace offered to set up a studio at the theater to make headshots for display in the lobby. The director agreed, awarding Gerace her first major professional gig. Many of the actors returned to Gerace for more images and updated headshots. Several agents got wind of her progressive style and began sending their clients for headshots. Soon, parents and high school seniors began to call. Clients in New York, New Jersey and all over New England began traveling to Gerace’s studio in Shelton, Conn. Enthused by her blossoming career in pro- fessional photography, Gerace joined PPA and the Connecticut Professional Photogra- phers association (CPPA). She took classes, sought mentors, and began entering print competitions. She was named Connecticut More than portraits Portrait Photographer of the Year in 2005, 2006 and 2007. She also collected two Kodak Gallery Awards, five Fujifilm Masterpiece Julia Gerace builds theatrical experience into her repertoire 82 • www.ppmag.com
  • PORTRAITS Awards, and two Hallmark Awards for best color portrait. Four years into running her own studio, Gerace is enjoying the growing diversity of her work, although headshots remain the foundation of her business. “A headshot is more than a portrait,” she says. “Often, it’s the actor’s first introduction to a director. You have to say so much about the actor in that one shot. Is he approachable, easy to work with, open, dynamic? You also want an interesting composition and an attractive overall image. It’s a lot to think about for one image.” The key for Gerace is incorporating the subject’s personality and aspirations. “When I first meet a client, I ask about what he does and what he wants to do,” she explains. “I truly want to know everything he’s about, and that knowledge goes into the image. When I start shooting, I’ll discuss anything I think he’s interested in—TV shows, movies, music, whatever. I want him to relax, let his guard down and trust me.” To elicit the expressions needed to set her subjects apart in their headshots, Gerace asks them to put themselves into the moment and envision themselves at times when they are most happy, most relaxed, most confident. It could be the moment they go on stage, thinking about their grandchildren, or what they did the night before. The sessions include a lot of clothing changes, setting changes and a free-form shooting style. With all the professional actors and models represented in her portfolio, Gerace’s senior and family portrait clients know their images won’t be typical portraits. “I don’t suddenly shift gears from one type of work to another,” she says. “Whether they’re actors or kids or seniors,84 • www.ppmag.com
  • “Whether they’re actors or kids or seniors, I stillI still know what I want to do. I want themto know that I’m interested in everythingabout them, that I want to portray them in know what I want to do. I want them to know thatthe most flattering light. I still want tomake images that are about them, not just I’m interested in everything about them.”how they look.” Gerace continues to shoot intuitively. “Idon’t want to get stuck doing something oneway,” she says. “There is no one hard andfast rule for creating great images. I believein using lighting, posing, Photoshop,everything. I use as many tools as it takes tofollow my inspirations.” Gerace’s studio is in a refurbished factory,and she’ll set up in stairwells, on loadingdocks, in the side alley and around the oldwindows and brick walls. She creates varyingdynamics by combining lighting angles,natural window light and directionalstudio lighting. You’ll never see a Geraceimage with flat studio lighting. She wantsher portraits dramatic, full of impact andwith a strong, expressive focus on thesubject’s eyes. Inspired by the work of photographerslike Patrick Demarchelier, George Hurrell,Annie Leibovitz, Kevin Aucoin, ReneeAsmussen and Mark Seliger, Gerace wouldlike to one day see her images gracing thepages of magazines and catalogs, maybeeven the iconic Vanity Fair or Harper’sBazaar. Meantime, she’s thrilled with herbustling business with actors, models,seniors, kids and families. “It’s a privilege todo this kind of work,” she says. “It’s great tobe able to do something you love, and towork with creative people who appreciatewhat you do.” �For more information on Julia Gerace, visitwww.juliagerace.com. June 2008 • Professional Photographer • 85
  • Strength in numbers BY STEPHANIE BOOZER For Christian Oth and his exceptional team of photographers, every wedding is a work of fine art©Christian Oth Photographers
  • ooking around his studio inNew York’s hip Chelseadistrict, Christian Oth seemsalmost surprised by his success. Sincemoving into the lofty studio in fall 2005,this Austrian native has emerged as a leadingcreative force in wedding photography with his honest, yet fashionable documentarystyle. With five photographers working alongside him in New York, plus two at largein San Francisco and Sydney, Australia, Oth’s boutique approach to weddingphotography generates a lot of buzz among posh brides. Each of the photographers on his team has his own successful editorial and commercialcareer, from sports photography to photojournalism. Oth encourages them to pursue theircreative endeavors and maintain their independent artistic identities beyond weddings. “All of these guys have creative influences from elsewhere, which brings so muchmore to our weddings,” says Oth. With a decade of experience in commercial and editorial photography and a long-standing relationship with The New York Times Magazine, Oth launched his firstwedding Web site in 2001. Fashion-forward, upscale Manhattan brides wereinstantly smitten. It helped to have early exposure to one of the most influentialmatriarchs of home, hearth, and nuptial ceremony, Martha Stewart. In a lucky twistof fate, Stewart was a guest at one of Oth’s first gigs. “She actually baked the cake,” says Oth. “It was just me and my assistant, but wecame back with incredible pictures. That was one of my few initial lucky breaks.” Luck aside, Oth’s commitment to stunning imagery and rock-star customer serviceis the cornerstone of his success. With a photo editor and art director on staff, each weddingcollection is edited to perfection, and the final album worthy of fine-art book status. “Our clients have to be treated like royalty,” says Oth, who makes his guestscomfortable with a cappuccino or glass of wine, whatever they need. Oth’s prices start at $15,000 if he’s behind the camera. Otherwise, prices rangeupward from $4,500, depending on the photographer. Thus, brides have access to awide pool of photographic talent, at an approachable range of prices, and can choosethe photographer who best suits their personality and style. Oth’s personal style doesguide the other photographers to keep the studio’s portfolio unified, yet each brings aunique perspective to every event. “It grew organically,” says Oth, who couldn’t be more pleased with his team. “When90 • www.ppmag.com
  • “Having worked so many years on my York City photographer since I was about 15,” says Connell. He got lucky in the U.S. Stateown, it’s nice to have a community,” Department’s Green Card Lottery program, winning a ticket to a new life in America,says Meredith Davenport. “Christian’s provided he found employment. He e-mailedenthusiasm is the pulse of the place. three other photographers in New York, but in Oth he found the affinity he was looking for.He attracts positive, energetic people.” “I love the freedom,” says Connell, who’s currently working on two independent creative projects—snorkeling with humpbackI started in wedding photography, I had no years ago. Connell already had a successful whales in the South Pacific, and documentingidea that I’d have all of these really great pho- career in Australia, with high-profile magazines beachgoers in Australia and America.tographers working with me five years later.” and clients, including former Prime Minister “Christian allows me to go after the pho- Australian photographer Shawn Connell John Howard for his daughter’s wedding. tography I believe in.”was the first to approach Oth more than four “But I had dreamed of becoming a New Meredith Davenport, a hard-hitting
  • photojournalist, has been with Oth forabout two-and-a-half years. For her, too, therelationship is rewarding, both in financialstability and as a change of pace. Oftencovering war and strife in Third Worldcountries, Davenport finds a wedding day arefreshing break from the routine, thoughno less compelling. “I’ve been less stressed in war zones,”laughs Davenport. “It’s intense—I’m drawnto intensity in everything. I like beingemotionally intimate with people, andweddings are very emotional.” Davenport and Connell agree that partner-ing with Oth is an almost perfect gig. Theybenefit from the steady work with clients,but dodge the day-to-day hassles of runninga busy studio. And Oth couldn’t be happier.The business has grown from a one-manshow into a multi-member creative force. To keep the team unified and driven, Othholds bi-monthly meetings to toss aroundideas, find out what everyone’s into outsidethe studio, and of course, discuss anywedding business at hand. Oth finds thecollaboration of creative minds fosters adynamic environment for everyone. “Having worked so many years on my own,it’s nice to have a community,” says Davenport.“Christian’s enthusiasm is the pulse of theplace. He attracts positive, energetic people.” Due to his increasing weddingpopularity, and the birth of his son, Oth cutback on editorial work two years ago, butstill takes assignments with The New YorkTimes Magazine when he’s able. For now,weddings are where it’s happening. “When I show up at the wedding, I lovejust immersing myself in it,” says Oth. “Ifocus on the creative energy of the occasion,and I’m determined to make it beautiful. Allof the weddings I shoot are incrediblybeautiful though, so it’s not that hard.” �Read more about Christian Oth and his talentedteam at www.christianothweddings.com.
  • calendar August 23-27 October 12-14 C: Florida PP; Rosen Plaza Hotel, Orlando, Fla.; S: PP of Mississippi/Alabama, Guntersville State Alan Dust, 800-330-0532; www.fpponline.org Park, Ala.; Wayne Rawson, 601-693-1966; wayne@waynerawson.com; www.ppma.net September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; October 18-21 Ted Newlin, tednewln@aol.com; www.ppok.org C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;Submit your organization’s convention, work- September 13-16 photobyjil@aol.comshop, seminar or exhibition dates to Professional C: PPA of New England, Radisson HotelPhotographer at least six months in advance. Nashua, N.H.; Roland Laramie, P.O. Box 316, October 20Editors reserve the right to select events to be Willimantic, CT 06226; ppanerl@aol.com S: PP of Massachusetts; Steve Meier,announced on these pages, and to determinewhen announcements will appear. Editors are smphoto@comcast.net; www.ppam.comnot responsible for conflicting or incorrect dates. September 13-17For readers’ convenience, each event is identi- C: Georgia PPA, Athens, Ga.; Tom McCollum, October 20-21fied by a code preceding its name: C=Convention, 770-972-8552; gppaed@bellsouth.net; C: Wisconsin PPA, The Osthoff Resort,W=Workshop, S=Seminar, C/E=Approved PPA www.gppa.com Elkhart Lake, Wis.; Mary Gueller,Continuing Education Seminar, E=Exhibit. Send 920-753-5302; Jim Buivid, 262-377-5118;all Calendar of Events additions or corrections September 27-29 Deb Wiltsey, 866-382-9772;to: Marisa Pitts, Professional Photographer, C: PP of Nebraska, Midtown Holiday Inn, Grand wppa-online.com229 Peachtree St., NE, Suite 2200, Atlanta, GA Island, Neb.; Brian Baer, baerphoto@kearney.net;30303; FAX: 404-614-6404; mpitts@ppa.com. www.ppofn.org October 26-27 C: PP of Iowa, Airport Holiday Inn, Des October 3-7 Moines, Iowa; Chris Brinkopf, P.O. Box 108, C: Southwest PPA, Sheraton Arlington Sumner, IA 50674; 563-578-1126;Current Events Hotel, Arlington, Texas; Michael Scalf Sr., ppichris@iowatelecom.net Box 1779, Blanchard, OK 73010-1770;July 20-23 405-485-3838; michael@swppa.com; October 26-28C: PP of Mississippi/Alabama, Riverview Plaza, www.swppa.com S: Northern Light/Minnesota PPA;Mobile, Ala.; Wayne Rawson, 601-693-1966; Nicole Bugnacki, 763-390-6272;wayne@waynerawson.com; www.ppma.net October 5-6 nicole.bugnacki@gmail.com S: Kentucky PPA; Hyatt Regency,August 2-5 Lexington, Ky.; Randy Fraley, November 2C: PP of Louisiana, New Orleans, La.; Dayna 606-928-5333; rgimage1@aol.com; S: PP of Louisiana, Northern Exposure,Ponthieu, 318-359-6633; www.ppla.net www.kyppa.com Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.netAugust 9-13 October 12-13 November 9-10C: Tennessee PPA, Marriott Cool Springs, Franklin, C: PP of Colorado, Denver, Colo.; Jeff Johnson, C: PP of Ohio, Hilton Easton, Columbus, Ohio;Tenn.; Ernie K. Johnson, 615-509-5737; 303-921-4454; president@ppcolorado.com; Carol Worthington, carol@ppofohio.orgphoto4u2b@aol.com; tnppa.com www.ppcolorado.com Future Events PPA EVENTS January 11-13, 2009 Imaging USA, Phoenix January 31 - February 3, 2009 Professional Photographers of America (PPA) C: PP of Iowa, Airport Holiday Inn, Des January 10-12, 2010 has a proud tradition of providing its members Moines, Iowa; Chris Brinkopf, P.O. Box 108, Imaging USA, Nashville with outstanding educational opportunities Sumner, IA 50674; 563-578-1126; through its annual events, PPA-Merited classes ppichris@iowatelecom.net and its PPA Affiliate School Network. Don’t miss out on the vital knowledge you’ll gain at February 6-10, 2009 these events! For information on PPA events, call 800-786-6277 or visit www.ppa.com. Certification Exam C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat, wilber@jeffcoatphotography; For a complete list of exam dates, go to June 6 www.ppofsc.com www.ppa.com and click on Certification. 117th Annual International Print February 13-15, 2009 Competition Deadline for Entries C: PP of West Virginia, Morgantown, W.V.; Tom Gilson, 304-232-3686; July 22-23 Image Review photogils@verizon.net; www.ppwv.org Judges Workshop, Daytona Beach October 9-18 February 20-23, 2009 Online submission: PPA Fall Cruise C: PP of Oregon, Embassy Suites Hotel, PDX, August 8 & October 10 Portland, Ore.; Arlene Welsh, October 27 800-370-5657; pporegon@teleport.com; Super Monday www.pporegon.com 96 • www.ppmag.com
  • PPA-Approved Continuing July 21-25 C/E: Basic Business Modules, July 23 C/E: Kentucky PPA Merit Monday; EmbassyEducation Seminars Union College, Lincoln, Neb.; Suites, Lexington, Ky.; Randy Farley, Quinn Hancock; 785-883-4166; custom- 606-928-5333PPA members receive both merits classics@myvine.comand the best published prices. August 1-4 C/E: Oxford Painter Workshop, SanJuly 12-18 July 22 Francisco, Calif.; Jeremy Sutton, 415-626-C/E: Copan Honduras Study Abroad Excursion C/E: Escaping from the Box; Fort 3971; www.jeremysutton.comwith Paul Wingler, Suzette Allen & Jon Yoshinaga; Worden, Wash.; Paul Rogers,800-483-6208; pwphoto@mindspring.com; 815-436-0422;www.suzetteallen.com/copan www.paulrogersphotography.com August 4 C/E: Print Competition Boot Camp; Batavia, Ill.; 630-761-2990 August 13 C/E: “Making Digital Photography Easy, Predictable & Fun” with Robert D. Lloyd, Malta, Ill.; Wend Weugeler, 815-356-1231; www.info@ppani.org Lighting Systems For Digital and Film Cameras August 25-27 C/E: The Artistry Corel Painter Retreat, Malibu, The New EXPLORER 1500 Calif.; 818-981-2803; www.artistrymag.com August 28-29 Digital Power Supply C/E: The Artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; www.artistrymag.com • Uses one or two Speedotron Black September 12-17 Line Light Units and universal C/E: Great Gatsby Impressionist Workshop, accessories. San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com • Cost effective solution to gas powered generators where electrical October 20-23 power is not available. C/E: Painter Creativity, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; • Provides up to 225 full power flashes www.jeremysutton.com November 2-6 • Removable battery, “The Juice Box” C/E: The College! Master Biennale; module with built-in charger Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com 1500 Watt-seconds at full power November 14-16 C/E: The Artistry Corel Painter Retreat, HIGH PERFORMANCE Malibu, Calif.; 818-981-2803; www.artistrymag.com ADVANCED FEATURES Future events ILLUMINATED LCD DISPLAY February 16-18, 2009 VERSATILE C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com Two-Year Warranty February 19-20, 2009 C/E: The artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; www.speedotron.com • info@speedotron.com www.artistrymag.com 310 South Racine Avenue • Chicago IL 60607 • call us: 312.421.4050 • fax: 312.421.5079 98 • www.ppmag.com
  • February 20-23, 2009C: PP of Massachusetts; Steve Meier, 2008 PPA-AFFILIATED SCHOOLS781-829-4282; smphoto@comcast.net;www.ppam.com PPA members receive both merits August 24-27 and the best-published prices. Carolina Art & Photographic School,February 20-25, 2009 Randolph Community College, July 13-17 Archdale Campus, Creekside Park, N.C.;C: Virginia PPA, Renaissance Hotel, Image Explorations, Shawnigan Lake, Bob Henderson, 336-288-1132;Portsmouth, Va.; William Garrett, bhphoto47@earthlink.net;434-836-2751; bgarrett25x25@juno.com British Columbia; Don MacGregor, 604- 731-7225; don@macgregorstudios.com; www.capsartschool.com www.imageexplorations.ca/February 26-March 4, 2009 September 28-October 2C: PP of North Carolina; Sheraton Imperial Lamarr Williamson School of SouthHotel, Durham, N.C.; Loretta Byrd, July 20-25 PPSNY Photo Workshop, Hobart/ Carolina; Springmaid Resort,888-404-7762; ppnc@earthlink.net; Myrtle Beach, S.C.; John Wrightenberry, William Smith Colleges, Geneva, N.Y.;www.ppofnc.com Linda Hutchings, 607-733-6563; 803-781-2130; jwfoto@aol.com; ppsnyworkshop@pws1893.com; www.ppofsc.comFebruary 27-March 3, 2009 www.ppsnysworkshop.comC: Wisconsin PPA, Marriott Conference Send all additions or corrections to:Center, Madison, Wis.; Mary Gueller, 920- August 4-7 Marisa Pitts, Professional Photographers753-5302; Mary Mortensen, 262-754- Long Island Photo Workshop, Sheraton of America, 229 Peachtree Street, N.E.,8889; Deb Wiltsey, 866-382-9772; Hotel, Smithtown, Long Island, N.Y.; Suite 2200, Atlanta, GA 30303;wppa-online.com Jerry Small, 516-221-4058; jerry@jsmall- mpitts@ppa.com. photo.com; www.liphotoworkshop.comMarch 15-18, 2009C: Mid-America Regional, Decatur August 10-14Conference Center, Decatur, Ill.; East Coast School, Sheraton ImperialJill Sanders, 309-697-9015; Hotel, Raleigh, N.C.; Janet Boschker,photobyjil@aol.com 704-567-0775; jbnlight@aol.com; www.eastcoastschool.comMarch 28-31, 2009C: Heart of America, KCI Expo Center,Kansas City, Mo.; Stephen Harvey, October 18-21, 2009 March 4-9, 2011620-624-4102; sharveymo@yahoo.com; C: APPI, Decatur Conference Center, C: PP of North Carolina, Sheraton Imperialwww.hoappa.com Decatur, Ill.; Jill Sanders, 309-697-9015; Hotel, Durham, N.C.; Loretta Byrd, photobyjil@aol.com 888-404-7762; loretta@ppofnc.com;March 28-31, 2009 www.ppofnc.com November 1-2, 2009C: PPSNYS, Desmond Hotel, Albany, N.Y.; S: PP of Iowa, Airport Holiday Inn, April 2-5, 2011Kelvin Ringold; 315-451-3716; Des Moines, Iowa; Chris Brinkopf, C: Heart of America, KCI Expo Center,kelvn@ringold.net; www.ppsnys.com 563-578-1126; ppichris@iowatelecom.net; Kansas City, Mo.; Stephen Harvey, www.ppiowa.com 620-624-4102; sharveymo@yahoo.com;April 3-8, 2009C: Minnesota PPA; Joanie Ford, www.hoappa.com February 6-9, 2010763-560-7783; joanieford@comcast.net; C: PP of Iowa, Airport Holiday Inn,mnppa.com Des Moines, Iowa; Chris Brinkopf, 563-578-1126; www.ppiowa.comApril 4-8, 2009C: Northern Light, Minnesota, February 26-March2, 2010 Send all Calendar of Events additions orJeff Fifield, 218-722-377; C: Wisconsin PPA, Radison Hotel, corrections to: Marisa Pitts, Professionalfifieldjg@aol.com; Nicole Bugnacki, Green Bay, Wis.; Donna Swiecichowski, Photographer, 229 Peachtree St., NE,P.O. Box 567 Ironton, Minn.; 56455; 920-822-1200; Carl Caylor, Suite 2200, Atlanta, GA 30303;763-390-6272 906-779-1535; wppa-online.com FAX: 404-614-6404; mpitts@ppa.comApril 25-28, 2009 April 10-13, 2010C: SEPPA, Athens, Ga.; Tom McCollum, C: Heart of America, KCI Expo Center,770-972-8552; seppa@bellsouth.net; Kansas City, Mo.; Stephen Harvey,www.4seppa.com 620-624-4102; sharveymo@yahoo.com; www.hoappa.comAugust 8-12, 2009C: Tennessee PPA, Marriott Cool Springs, November 14-15, 2010Franklin, Tenn.; Ernie K. Johnson, C: PP of Ohio, Hilton Easton, Columbus,615-509-5737; photo4u2b@aol.com; Ohio; Carol Worthington,tnppa.com carol@ppofohio.org100 • www.ppmag.com
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  • TODAY JUNE | 08 PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President © Bert Behnke © Dennis Craft © Dennis Craft © Dennis CraftTraveling this spring for PPA, I have offering little in regards to business now time to repeat this survey. Thanksfound that every conversational topic and marketing. In fact, when business to this upcoming study and analysis,seems to be about taking care of and marketing programs were offered, we will have even more information tobusiness. We’re in an industry that is not the attendance was very low. But help you navigate your business.only changing rapidly in technology, recently there has been a strong surgebut also in business practices. in educational opportunities that help As your business and marketplace PPA News & Notes grow photographers’ business skills. continue to change, PPA will continueFor instance, in the last year, our studio to update the resources you need tochanged many of the ways we market PPA has made a conscious effort to stay on the cutting edge. Whether youto and nd customers…and what we offer business programs at Imaging are attending a PPA Local Afliate,sell to them. We have changed more in USA, which has generated a new PPA Afliate School, PPA Webinar, orthe last twelve months than we did in group of industry instructors—a Imaging USA itself, PPA is committed tothe previous twenty-seven years. Some wonderful resource for all PPA afliates making the best resources available.of these changes were brought on by and members.technology, some by the changing May your business continue to grow.marketplace. A few years ago, PPA also conducted a survey of studios around the country.Education reects these changes, The 2005 Studio Financial Benchmarktoo. Years ago, most photography Survey gave us, as members, a wealthconventions’ programming was heavily of information about how we could Dennis Craft, M.Photog.Cr., CPP, API, F-ASPgeared towards lighting and posing, make our studios more protable. It is 2008-2009 PPA President FRIENDS MET ALONG THE WAYThrough my photographic journey, I Photography brought us together, renewed a friendship that startedhave had the opportunity to meet but true friendship goes beyond many years ago.many wonderful people. Some have the camera. A few years ago, myinspired me with their photography, family joined the Busath family and a My journey has become richerothers with their business savvy. Over few other photography friends on a because of the people I have met,the years, some have become close houseboat at Lake Powell. Friendship, and I feel lucky to count Drake asfriends, people I have spent time with laughter, great food, and fun…all a friend. This month, remember theoutside of photography. started because of a camera. It will friends that you wouldn’t have if it always be one of my family’s treasured wasn’t for photography.One such person is Drake Busath of Salt memories.Lake City, an incredible photographerwith a successful business. I met Drake This April while representing PPA atabout ten years ago and count him as the Asian Pacic Regional, it was aa great friend. I have had the pleasure pleasant surprise to see Drake as oneof visiting his studio and spending time of the invited speakers. We crossedwith his family. paths 6,000 miles from home andnews from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P1
  • TODAY BOARD MEMBER SPOTLIGHT Kevin Casey, Collages.net, President & CEO Industry Advisor PPA Member since: 2003 Location: LANGHORNE, PA Pictured left: Kevin Casey and son “I’ve always liked what PPA does for And even though he is more of a colors, and styles of products and the industry,” remarks Kevin Casey, watercolor artist than a photographer, services. In today’s competitive PPA’s Industry Advisor. “It has one Casey had to handle Collages.net’s market, it is important to keep an goal: to help photographers.” workow when he was a one-man open mind. Today’s customers want business. For instance, to variety and choice, so exposing them In his business, Casey also deals with build his business model in a pre- to the products now available is a professional photographers’ needs digital world (1999), he sped up the fundamental key to success.” (split about even between wedding manual scanning process by taking and portrait work). The company digital images of paper proofs. If it wasn’t enough to be the original that provides online posting, Then, as photographers wanted to creative and business mind behind printing, albums, press-printed books, discourage customers from copying, Collages.net and PPA’s Industry workow solutions and more for pro he had the word “proof” etched onto Advisor, Casey is now the seventh- photographers was conceived nine glass and placed over the image fastest boardercross racer in hisPPA News & Notes years ago when Casey received the before taking its picture. age group. (He was convinced to photo of an employee’s baby and try boardercross, a snowboard wondered how it could be shared. “It’s much smoother now. It is race, by his 22-year-old son who is Now, pro photographers can save incredible to see how far this entire starting a pro-snowboarding career. time, save money, and differentiate industry has advanced,” he says. They both went to the March 2008 themselves through Collages.net’s Nationals.) While he might have comprehensive product line. Smoothing out the Collages.net trouble nding snow in Phoenix, process has given Casey an edge Imaging USA 2009 will be the perfect “I tracked my early customers,” Casey as the Industry Advisor. In his mind, place for him to share more business remembers. “Many of them stopped there is a need to balance great insights with PPA members. using other advertising mediums (like photography with the stylish products Yellow Pages) because of the referrals many consumers look for. As Casey they received by posting their events/ says, “The most successful studios portraits online.” keep current with the new trends, IN MEMORY…ALFRED LOUIS DEBAT Alfred Louis DeBat, 76 passed “DeBat was a great editor, photogra- away on March 30 after a lengthy pher, and teacher,” says Kim Brady, battle with cancer. A graduate of photo editor and writer living in the Northwestern University’s Medill Atlanta area. “Many who worked School of Journalism, DeBat traveled alongside Al considered him both a extensively as a photographer and close friend and mentor in the eld of served as editor-in-chief of several publishing, including me.” imaging publications, including PPA’s Professional Photographer, “He was always enthusiastic about Photomethods, Darkroom Techniques innovations in photography,” says & Creative Camera, and Digital Larry Thall, a close friend. “For a man Imaging Digest. He was also a in his mid-70s, Al was able to adapt member of the American Society of and embrace new technology.” Media Photographers (ASMP) and PPA. Sought-after as a digital photo DeBat is survived by Marla Kalbhen, expert, DeBat most recently served who shared Al’s life and travels for as technical editor for major book 25 years; his daughter, Avril DeBat; publishers and edited several digital a sister, a brother, two nieces, three imaging and photography volumes. nephews, and seven great nieces and nephews. A celebration of his life is scheduled for late this summer. P2 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
  • TODAY2008 AFFILIATE COMMUNICATIONS COMPETITIONPPA recently held its 2008 Afliate Communications Competition, designed to improve afliatepublications and Web sites, and recognize those involved in producing these communicationtools. The newsletters and Web sites were scored in the following three areas: » editorial content » overall appearance » service to membersCATEGORY I Hon. Mention: 2nd Place:Printed publication of 12 or Jessica Galaska, Professional Kimberly Sayre, Professionalmore pages, 4-color, published Photographers of Nebraska Photographers of theat least 3 times per year. PPN News & Views Greater Bay Area The Bulletin1st Place: CATEGORY III 3rd Place: Donna Jirsa, Professional Printed publication of 12 or Linda R. King, Professional Photographers of California fewer pages, 4-color, published Photographers Guild of Pro Photo West at least 3 times per year. the Palm Beaches2nd Place: 1st Place: PPGPB Newsletter (e-mail version) Bill Hedrick, Texas Professional John Fuller Royal, Professional Hon. Mention: Photographers Association Photographers of Arlene Welsh, Professional Texas Professional Photographer North Carolina Photographers of Oregon3rd Place: Focus on Carolina In Focus Donald E. Hayden, 2nd Place: Southwest Professional Dave Johnson, Twin Cities CATEGORY VII PPA News & Notes Photographers Association Professional Photographers Web site designed exclusively for Southwest Image Association a PPA afliate group or school.Hon. Mention: In Focus 1st Place: Karna Roa, Professional 3rd Place: Linda R. King, Professional Photographers of the Jim Nardone, Professional Photographers Guild of Redwood Empire Photographers of Central Ohio the Palm Beaches PPRE Click Topiks www.ppgpb.com Hon. Mention: 2nd Place:CATEGORY II Linda R. King, Professional Jeff Johnson, ImagingPrinted publication of 12 or more Photographers Guild of Workshops of Coloradopages, 1- or 2-color, published the Palm Beaches http://coloradoworkshops.comat least 3 times per year. PPGPB Newsletter 3rd Place:1st Place: Jeff Johnson, Professional Scott J. Green, Detroit Professional CATEGORY V Photographers of Nebraska Photographers Association E-newsletter distributed in HTML or http://ppofn.org Detroit Newsletter PDF format, via e-mail or online, Hon. Mention:2nd Place: at least 3 times per year. Maydrick Arnaud, Professional Jon R. Smith, Professional 1st Place: Photographers Guild of Houston Photographers of Oklahoma Harriet Ahlstrom, Northern Light www.ppgh.org The Oklahoma Photographer Professional Photographers3rd Place: Association Ladd Scavnicky, Professional Northern Light Photographers of Ohio The Contact Sheet2008 AN-NE MARKETING AWARDSCOMPETITION: ENTER NOW!Don’t miss the free critiques, new Rules and submission guidelines arecategories and great prizes this year! online—see the Competitions sectionEntries must be postmarked by of www.ppa.com.June 27, 2008. news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com P3
  • TODAY AFFILIATE SCHOOL SPOTLIGHT LONG ISLAND PHOTO WORKSHOP EAST COAST SCHOOL CAROLINA ART & August 4 - 7, 2008 | Smithtown, PHOTOGRAPHIC WORKSHOPS PHOTOGRAPHIC SCHOOL Long Island (NY) August 10 - 14, 2008 | Raleigh, NC August 24 - 27, 2008 | Archdale, NC Contact: Jerry Small Contact: Janet Boschker Randolph Community College info@liphotoworkshop.com jbnlight@aol.com Contact: Bob Henderson 516-221-4058 704-567-0775 bob@CapsArtSchool.com Web site: www.liphotoworkshop.com Web site: www.eastcoastschool.com 336-288-1132 Tuition: $650 Members; $700 Non- Tuition: $650 by June 15; Web site: www.CapsArtSchool.com Members ($50 discount before July 1) $700 after June 15 Tuition: $450 for a 4-day class Course Information: Course Information: Course Information: Create Your Signature Photoshop CS3 for Prot -Suzette Allen Painter for the Photographer -Joseph and Louise Simone Portraits and Lighting -Doug Box -Fred Powell Mastering the Techniques: How To Intro to Portrait Photography Introduction to Photoshop Be a Complete Photographer -Bob Boyd --Rose Mary Cheek -Hanson Fong I Want It All -Don & Nancy Emmerich Using Photoshop to Create New Professional Digital Imaging The Complete Photographer Products & Marketing Pieces -Gary Small -Hanson Fong -Bob Coates Corel Painter -Fay Sirkis Succeeding in the Fine Art Studio Weddings -Cherie Steinberg-Cote -Tim Kelly Light is the Greatest Inuence Seniors from Start to Finish -Fuller Royal -Dave Black Take it to the Next LevelPPA News & Notes -Monica Sigmon & Michael Taylor Mastering the Light -John Woodward UNIQUE PHOTO EXHIBIT by Robert (Bob) Alexander “Innovation” and “prestige” are poetry that really caught the to expand the idea to the other words that have motivated Holmes attention of attendees. branches. In fact, the interest was Community College’s Workforce so great that the photography Training Center Branch in Ridgeland, Director Angela Crain and classes have dramatically Miss. Those guiding words were Coordinator Sherry Hager increased in attendance. trumpeted loud and clear when the envisioned, decorated, managed college held its First Annual Exhibit and advertised the exhibit. Five The poem idea grew from an earlier of Fine Art Digital Photography at classes entered about 50 prints exchange between Alexander and the college last December. Why so that were placed in individual another PPA member and friend, innovative? It was the combination of gold cloth settings. Then longtime pro photographer Eric Greulich great photography and storytelling PPA pro photographer and Digital from Indianapolis. Greulich had Photography and Photoshop sent Alexander a photo, to which Continuing Education instructor, Alexander added a poem about Robert Alexander, printed the 11x14 the feeling he received from the images and wrote poetry for each. photo. In response, Greulich Each poem was placed next to its shared something he learned respective print. On the adjacent playing in a college dance band: side of each display, the photo’s “adding good lyrics dramatically creator placed an explanation as to improves a song’s popularity.” why and how they made it. The same seems to hold true for photography combined with poetry. Almost the entire crowd wanted to read the poems and explanations, Alexander stated, “Eric showed along with viewing the photos. It me how adding another was such a success that the college dimension of artistic interest leaders have expressed their desire widens the magnetic attractiveness of each print. The viewer can glimpse So hurry along, don’t dilly-dally. the spirit in which it was made and Cheer real loud at the pep rally. the intended message is magnied.” No home-runs or cheers from above, One thing’s for sure: it denitely Can e’er replace a Brother’s love. attracted attendees’ interest at the Mississippi exhibit. © Linda Graves Poem excerpt by Bob Alexander P4 news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
  • 3�DAY BUSINESS WORKSHOP BUSINESS BASICS WORKSHOPS:NOW’S YOUR CHANCE TO INCREASE PROFITABILITY THE BUSINESS OF PHOTOGRAPHYand receive instruction on essential elements for July 19-20: Ann Monteith & Mary Fisk-Taylorbusiness success (in both a group setting and aone-on-one consultation). THE BUSINESS OF WEDDING PHOTOGRAPHY June 9-11: Ann Monteith, Carol Andrews August 10-11: Jen Roggi & Julia Woods & Sarah Petty August 4-6: Ann Monteith & Lori NordstromNEW WEBINARS (online seminars)PPA and SMS are bringing education to you, and all you need is a computer and the Internet. Keep watchingyour inboxes for information on live business webinars.NEW BOOKKEEPING SERVICESBehind on your bookkeeping? Our Bookkeeping Program can help! With competitive pricing and programstailored to meet your studio’s individual needs, SMS can help ease your headaches and getyour studio off to a great start.Classes fill up fast…Register today...800.786.6277For more information, call Beth Moore at 800.339.5451 x244 Professional Photographers of America | www.ppa.com
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(www.emotionmedia.com) . . . . 116 (www.perfectiondistibuting.com). . . . . . . . . . . . 117AlbumX/Renaissance Albums ESS Data Recovery (www.datarecovery.com) . . . . . . 116 Photoprism Color Lab (www.photoprismcolorlab) . . 113 (www.renaissancealbums.com) . . . . . . . . . . . . . 47 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . 121 Pictobooks (www.pictobooks.com) . . . . . . . . . . 117, 118Allied Photographic & Imaging Lab Fredericks Photo Lab (www.fredericksphotolab.com). 109 Pictology (www.go.pictology.com) . . . . . . . . . . . . . . 119 (www.alliedphoto.com). . . . . . . . . . . . . . . . . . . 109 GP Albums (www.gpalbums.com) . . . . . . . . . . . . . . 63 Pictorico (www.pictorico.com). . . . . . . . . . . . . . . . . . 25American Color Imaging (www.acilab.com). . . . . 49, 111 GTI Technology Inc. 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Cover III Portrait Weavers (www.portraitweavers.com) . . . . . 118Backdrop Outlet (www.backdropoutlet.com) . . . . . . 114 Hallmark Imaging (www.hallmarklabs.com) . . . . . . 109 Quantum (www.qtm.com) . . . . . . . . . . . . . . . . . . . . 85Back End Studio (www.backendstudio.com) . . . . . . 115 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . . . . 111 Ramsey Resources (www.ramseyresources.com) . . . 113Backgrounds by David Maheu I Shoot People Tour (www.ishootpeopletour.com) . . 95 Reedy Photo (www.reedyphoto.com) . . . . . . . . . . . 110 (www.backgroundsbymaheu.com) . . . . . . . . . . . 116 Imaging USA (www.ppa.com) . . . . . . . . . . . . . . . 69-72 SanDisk (www.sandisk.com) . . . . . . . . . . . . . . . . . . . 3Bay Photo Lab (www.bayphoto.com) . . . . . . . . 37, 108 Imaging Spectrum (www.imagingspectrum.com) . . 114 Simply Canvas (www.simplycanvas.com) . . . . . . . . 110Big Black Bag (www.bigblackbag.com) . . . . . . . . . . 118 Jonathan Penney Inc. (www.jonathanpenney.com) . 121 Speedotron (www.speedotron.com) . . . . . . . . . . . . . 98Bogen Imaging Inc. (www.bogenimaging.us) . . . . . . 53 The Levin Company (www.levinframes.com) . . . . . . 118 Studio Dynamics (www.studiodynamics.com) . . . . . 121Brightroom Inc. (www.backprint.com) . . . . . . . . . . . 113 Lustre Color (www.lustrecolor.com) . . . . . . . . . . 59, 112 Studio Logic (www.studiologic.com) . . . . . . . . . . . . . 13Buckeye Color (www.buckeyecolor.com). . . . . . . . . . 113 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . 35 Studio Pro Group (www.studioprogroup.com) . . . . . 112Paul Buff Inc. (www.white-lightning.com) . . . . . . . . . 11 McKenna Pro (www.mckennapro.com) . . . . . . . . . . 108 Successware (www.successware.net) . . . . . . . . . . . . 67CPQ (www.cpq.net) . . . . . . . . . . . . . . . . . . . . . . . . . 55 Mamiya (www.mamiya.com). . . . . . . . . . . . . . . . . . . 23 TAP Professional (www.tap-usa.com) . . . . . . . . . . . 119Candid Color Systems Inc. (www.candid.com) . . . . . 110 Meridian Professional Imaging Tyndell (www.tyndellphotographic.com) . . . . . . . . . 116Canon (www.usa.canon.com/dlc) . . . . . . . . . . . . . 15, 17 (www.meridianpro.com) . . . . . . . . . . . . . . . Cover II Unique Photo Supplies (www.uniquephoto.com) . . . . 4Canvas Artworks.com (www.canvasartworks.com . . 115 Mesilla Digital Imaging Workshops United Promotions Inc. (www.upilab.com) . . . . . . . . 111Capital for Merchants (www.capitalformerchants.com). 115 (www.mesillaworkshops.com). . . . . . . . . . . . . . 59 Used Camera Buyer (www.usedcamerabuyer.com) . . 51Christopher Imaging (www.chrisimaging.com) . . . . 110 Michel Company (www.michelcompany.com) . . . . . . 117 White House Custom ColorCollages.Net (www.collages.net) . . . . . . . . . . . . . 18-19 Michigan Photo (www.michiganphoto.com) . . . . . . . 112 (www.whcc.com). . . . . . . . . . . . . . . . . . 8-9, 28-29Color Incorporated (www.colorincprolab.com) . . . . . . . . . 109 Midwest Sports (www.midwestsportslab.com) . . . . 111 White Glove (www.wgbooks.com) . . . . . . . . . . . . . . 115Corporate Color/Prolab Express Miller Professional Imaging (www.millerslab.com) . . . 33 Xrite (www.xritephoto.com) . . . . . . . . . . . . . . . . . . . . 7 (www.prolabexpress.com) . . . . . . . . . . . . . . . . 108 Morris Group (www.themorriscompany.com). . . . . . 116 Publisher not responsible for errors & omissions June 2008 • Professional Photographer • 119
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  • PRESENTATION BOXES FANTASY STUDIO FOR RENT. Not ready to buy, wanting to relocate and test an area? This is a studio unlike anyBOXES—FREE SAMPLE PRESENTATION BOX—FROM other. Now you can afford to be the best with minimalTHE ORIGINAL BLACK BOX MANUFACTURE—Fast outlay. Complete with lights, wardrobe, props and 5000delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", sq.ft. of movie set backgrounds. Unlimited creativity and11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY an exceptional opportunity to be the best you can be.AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 Colorado Springs, Colorado, is waiting for you. www.ljm-(phone); 757-440-1149 (fax); 888-440-1146 (toll free). photography.com; 719.593.2424.www.aufengerbox.com STUDIOS WANTEDPRESENTATION BOXES available for immediate shipment;19 sizes—4 stock colors. For FREE catalog & samples call COLUMBUS CAMERA GROUP, INC. buys whole studios800-969-2697 or fax request 800-861-4528. BUY or any part including cameras, film, darkroom, long roll,DIRECT AND SAVE. NPD Box Company, 3000 Quigley lighting, and misc. No quantities too small. Call 800-325-Road, Cleveland, OH 44113. www.NPDBox.com 7664. Ask for Eric.H-B Photo E-Store Box Manufacturer, buy direct and save.Complete Line of presentation boxes, better quality atlower prices. Bags, Totes, Tissue, Ribbons, customize withyour logo. WWW.H-BPHOTO.COM H-B PACKAGINGGROUP CENTRAL FALLS, RI. Call 401-725-3646 forfree samples. RETOUCHINGWHEN YOUR NAME is on the line, nothing but thebest will ever do. Our retouchers know what you need: fast Better than ever!service, a retouch that looks like the photo was neveraltered and the lowest prices in the industry. If you demand Professionalthe best log onto www.retouchup.com and your first 10retouches are free just to prove our claims—the best—thefastest and the least expensive or call 888-700-3686. Photographer SALES AIDS Online has excitingBOXES—FROM THE ORIGINAL BLACK BOX MANUFAC-TURE—FREE SAMPLE—Fast delivery, Finest quality new features4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”.AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, for you.VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149(fax); 888-440-1146 (toll free). www.aufengerbox.comCREATIVE FRAMES…Designed frames for the professionalwedding, portrait and school photographers. Our frames At ppmag.com, we don’t simplyare manufactured here in the USA. Visit us at recreate the magazine online,WWW.CREATIVEFRAME.COM to see our full line. Professional Photographer Online 5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 goes far beyond that with www.colorphotobusinesscards.com $10 off /with ad loads of cool, useful and STUDIO FOR SALE inspiring content. And it’s all all yours free.FULL SERVICE Studio with Great Reputation in CharmingMid-South Town with Major University and Large Trade Area. Go to www.ppmag.com today!30-Year-Old Business—Only Studio in Town. GreatOpportunity—Owners Retiring and Will Assist in Transition.$125,000 Studio Real Estate Available. To obtain further infor-mation, please reply to :mmartin@ppa.com and refer to ad #107.QUAINT PHOTOGRAPHY STUDIO in Sterling, Coloradofor lease or sale. This studio is very unique and is located onprime main street property. Sterling, Colorado is located innortheast Colorado approximately 125 miles east of Denver.The community consists of 13,000 people and is a smaller,friendly town. The property sits on 5 lots totaling 15,000square feet. The large studio has been totally remodeled andis 3,000 square feet with all studio lighting, props,backgrounds, etc. There is an adjoining 2,000 square footbuilding that is equipped with scenery and props also. Thebackyard has extensive landscaping including a barn, pier,gazebo, pond, bridge, waterfall, and various settings. A greatopportunity with limited potential for an energetic, artisticphotographer. Please call 970-522-7408 for moreinformation. Serious inquiries only.STUDIO ESTABLISHED in the Pittsburgh, Pennsylvania,area for over 20 years, with a great image and a very largeclient base. Owner is PPA Certified, Master Photographer& Photographic Craftsman. Wants to slow down. Will trainand is willing to work for new owner to maintain continuityduring transition. For information call 724-789-7371.WESTERN COLORADO—just hours from national parks.40 year-old established studio plus client list. Amazingoutdoor photo park. Thriving economy in this sunnycollege town of 150,000 - a great opportunity. Owner willassist your transition. Call 970-596-1975. June 2008 • Professional Photographer • 121
  • 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. ©Jeff Carsten mal lives. Most of all, I wanted to show the bond between the parents and children.” Carsten got the go-ahead about a year later. In two months, he interviewed and photographed 20 families. The local non- profit Charlotte Mothers of Multiples donat- ed the money for the framing and installa- tion, plus a little cash to offset Carsten’s printing expenses. Carsten donated his time, artistry and most of the cost of the prints. The exhibit became a permanent installa- tion in a highly visible area of the NICN. “This exhibit took on a life of its own,” says Carsten. “As the photographer, I almost became invisible. I showed up at the opening and said a few words, but afterwards, the pictures took over. They truly engaged people.” A wall of hope There were plenty of tears at the exhibi- tion’s opening. Nurses and doctors who hadn’t seen the children since they’d been EMOTIONAL SUPPORT FOR A NEONATAL INTENSIVE CARE NURSERY released were astonished at how well theyC had grown. The parents of the children relived their experience at the NICN, and harlotte, N.C., portrait photog- photograph 20 families with children who families with children there at the time were rapher Jeff Carsten’s inspiration had been cared for in the NICN and gone on inspired by the success stories. for the “Wall of Hope” started with a portrait to lead normal lives. Carsten wanted to take “There is no question that photography of infant twins born prematurely. Weighing down the families’ stories and display them can be extraordinarily powerful when the only two pounds at birth, the on placards alongside 20x24 black-and- emotions are real,” says Carsten. “This proj- twins were placed under round- white prints. He felt the stories and images ect had an impact that I hadn’t anticipated. the-clock care in the Neonatal Intensive Care would be as a source of inspiration and hope I may have captured the images, but it was Nursery (NICN) at the Levine Children’s for other anxious families. the children who really made them. I was Hospital in Charlotte. The twins rallied, and “Imagine your child in the NICN,” says almost irrelevant. I’d never seen that before, went on to pursue the normal business of Carsten. “These are little babies hooked up and it was very powerful.” � being babies. Meeting them at the studio, to heart monitors and tubes, going through Carsten was struck by the intense bond surgery. Imagine how frightening it would To see more from Jeff Carsten, visit his studio between the children and their parents in be. I wanted to show that it’s not hopeless at online at www.southernlightphoto.com. the wake of the family’s ordeal. all. The majority of these babies get out of Carsten approached the Children’s Hospital the NICN and survive. I wanted to show Share your good works experience with us by e-mailing Cameron Bishopp at with an idea for a project. He proposed to them as toddlers, as regular kids with nor- cbishopp@ppa.com 122 • www.ppmag.com
  • © Mary Fisk-Taylor Mary Fisk-Taylor & Profoto ComPact“ Now we get perfect color balance, incredibly even illumination and consistency shot-to-shot. In the early days, my par tner Jamie Hayes and I had to make do with what we had, but Profoto was always on our ‘goal list’. When we used Profoto’s for the first time we were shocked by the difference we saw – beautifully natural lighting. Now we are a high-end studio and we have to produce the best possible results. Profoto is just the best there is.” ComPact Kits now include a FREE ComPact and new ComPact R 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