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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
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P ROF E S S I ONA LEDITORIAL director of publications CAMERON BISHOPP email@example.com senior editor art director/production manager JOAN SHERWOOD DEBBIE TODD firstname.lastname@example.org email@example.com It’s business time features editor LESLIE HUNT manager, publications and sales/strategic alliances KARISA GILMER HOW TO HANDLE PRESSURE-PACKED ASSIGNMENTS firstname.lastname@example.org email@example.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 firstname.lastname@example.org email@example.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, firstname.lastname@example.org business and investing, my job included setting up and overseeing western region ad manager BART ENGELS, 847-854-8182, email@example.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, firstname.lastname@example.org circulation consultant impatiently fidgeted and complained during the 30-minute MOLLIE O’SHEA, email@example.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: firstname.lastname@example.org; 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: email@example.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: firstname.lastname@example.org; 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 email@example.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 firstname.lastname@example.org Communications email@example.com firstname.lastname@example.org DON MACGREGORProfessional Photographers directors M.Photog.Cr., API SCOTT HERSHof America DON DICKSON email@example.com Director of Sales &229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP Strategic AlliancesAtlanta, GA 30303-1608 firstname.lastname@example.org industry advisor email@example.com; 800-786-6277 KEVIN CASEYFAX: 404-614-6400 SANDY (SAM) PUC’ firstname.lastname@example.org J. ALEXANDER HOPPERwww.ppa.com Director of Membership, M.Photog.Cr., CPP, ABI email@example.com Copyright and Government legal counsel Affairs2008-2009 PPA board Howe and Hutton, firstname.lastname@example.org RALPH ROMAGUERA, SR. Chicago*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP WILDA OKENM.Photog.Cr., CPP, email@example.com Director of AdministrationAPI, F-ASP PPA staff firstname.lastname@example.org@ppa.com CAROL ANDREWS DAVID TRUST M.Photog.Cr., ABI Chief Executive Officer LENORE TAFFELvice president email@example.com firstname.lastname@example.org Director of Events/Education*RON NICHOLS email@example.comM.Photog.Cr., API SUSAN MICHAL SCOTT KURKIANrnichols@ppa.com M.Photog.Cr., CPP, ABI Chief Financial Officer SANDRA LANG firstname.lastname@example.org email@example.com Executive Assistanttreasurer firstname.lastname@example.org*LOUIS TONSMEIRE TIMOTHY WALDEN CAMERON BISHOPPCr.Photog., API M.Photog.Cr., F-ASP Director of Publications *Executive Committeeltonsmeire@ppa.com email@example.com firstname.lastname@example.org of the Board12 • 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.
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
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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.
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).
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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
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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
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
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 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
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: email@example.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
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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
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
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 firstname.lastname@example.org charities
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
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; email@example.com; www.ppma.net September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; October 18-21 Ted Newlin, firstname.lastname@example.org; www.ppok.org C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;Submit your organization’s convention, work- September 13-16 email@example.com, 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; firstname.lastname@example.org S: PP of Massachusetts; Steve Meier,announced on these pages, and to determinewhen announcements will appear. Editors are email@example.com; 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; firstname.lastname@example.org; 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, email@example.com;30303; FAX: 404-614-6404; firstname.lastname@example.org. 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., email@example.com Box 1779, Blanchard, OK 73010-1770;July 20-23 405-485-3838; firstname.lastname@example.org; 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;email@example.com; www.ppma.net October 5-6 firstname.lastname@example.org S: Kentucky PPA; Hyatt Regency,August 2-5 Lexington, Ky.; Randy Fraley, November 2C: PP of Louisiana, New Orleans, La.; Dayna 606-928-5333; email@example.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; firstname.lastname@example.org; Carol Worthington, email@example.com@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 firstname.lastname@example.org 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 email@example.com; 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; firstname.lastname@example.org; 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 email@example.com 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; firstname.lastname@example.org; 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; email@example.com 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 • firstname.lastname@example.org 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; email@example.com;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, firstname.lastname@example.org;434-836-2751; email@example.com British Columbia; Don MacGregor, 604- 731-7225; firstname.lastname@example.org; 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; email@example.com; Myrtle Beach, S.C.; John Wrightenberry, William Smith Colleges, Geneva, N.Y.;www.ppofnc.com Linda Hutchings, 607-733-6563; 803-781-2130; firstname.lastname@example.org; email@example.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- firstname.lastname@example.org. 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,email@example.com 704-567-0775; firstname.lastname@example.org; 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; email@example.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, firstname.lastname@example.org 888-404-7762; email@example.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,firstname.lastname@example.org; www.ppsnys.com 563-578-1126; email@example.com; Kansas City, Mo.; Stephen Harvey, www.ppiowa.com 620-624-4102; firstname.lastname@example.org;April 3-8, 2009C: Minnesota PPA; Joanie Ford, www.hoappa.com February 6-9, 2010763-560-7783; email@example.com; 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; firstname.lastname@example.orgApril 25-28, 2009 April 10-13, 2010C: SEPPA, Athens, Ga.; Tom McCollum, C: Heart of America, KCI Expo Center,770-972-8552; email@example.com; Kansas City, Mo.; Stephen Harvey,www.4seppa.com 620-624-4102; firstname.lastname@example.org; 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; email@example.com; Ohio; Carol Worthington,tnppa.com firstname.lastname@example.org • www.ppmag.com
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.” workow 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 workow 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 Afliate Communications Competition, designed to improve afliatepublications 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 afliate 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
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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Call today toll free: 888-849-7352 for your free copy of our 2008 Product Catalog; or MARKETING PORTRAIT PHOTOGRAPHER—BEAUTIFUL BOISE, ID.visit us on the web at: www.knowledgebackgrounds.com We’re a rapidly growing studio in Boise, ID, specializing in NEED BODIES IN YOUR DOOR NOW? fine art family portraiture— maternity through high school Inexpensive MARKETING SOLUTIONS that produce a CAMERA REPAIR seniors. We’re looking for a team player with 5 years of HUGE RESPONSE for seniors children, family, weddings. portrait experience, DSLR mastery, lighting experience, FRANK DONNINO; WWW.FRANKSBABYPLAN.COMHASSELBLAD REPAIRS: David S. Odess is a factorytrained technician with 31 years experience servicing the digital retouching expertise, great client skills, and most importantly, a desire to learn, grow and have fun. Must be PHOTO RESTORATIONHasselblad system exclusively. Previously with HasselbladUSA. Free estimates, prompt service, reasonable rates and willing to learn how to sell. Ideal candidate is motivated to 1st PHOTO RESTORATION FREE! Try us, you’ll like us!a 6 month guarantee. Used equipment sales. 28 South become a partner in the studio. Health and vacation Point & click easy. No sign up cost. 100% guarantee.Main Street, #104, Randolph, MA 02368, 781-963-1166; benefits available. Qualified candidates only, send resumes Online leader since 1993. Wholesale only to professionals.www.david-odess.com. and sample images to email@example.com. www.hollywoodfotofix.com or call 888-700-3686.120 • www.ppmag.com
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