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Professional photographer 2008 11 Professional photographer 2008 11 Document Transcript

  • NOVEMBER 2008©Heather Smith
  • Isn’t it Time to Start Saving Money? “Received my prints today, and they are beau- tiful. Thank you, thank you.” — Lancaster, OH “I will never print locally again. Your work is fantastic. The photos are carefully packaged and color, exposure and clarity of the images astounds me.” — Wasilla, AK “Your company saved me time and money without sacrificing quality and my integrity! My customer loved his portraits. I look forward to a long relationship with Meridian, you truly are Pros!! Again Thank you.” — Lake Worth, FL “Just received my 2nd order and I am so pleased with the results. Simple to order, fast delivery and perfect prints! Thanks for doing things right.” — Blackwood, NJ “... another order from Meridian and I’ve This is just one example. We offer gotta tell you: excellence once again. I wish Iover 60 print sizes, up to 30x40, along had known about your company years ago, thewith professional mounting, texturing, quality, service and speed are second to none.” and a growing line of press printed — Frisco, TX cards, calendars, and books. Great Prints. Great Prices. Easy Ordering. It’s that Simple.
  • P RO F E S S I O NA LEDITORIAL director of publications CAMERON BISHOPP Questions answered senior editor JOAN SHERWOOD art director/production manager DEBBIE TODD A SPECIAL ISSUE DEVOTED TO BETTER BUSINESS manager, publications and The publication of this month’s Professional Photographer is truly features editor sales/strategic alliances LESLIE HUNT an event. We’re presenting a super special “How to Do Everything KARISA GILMER Better” section. editor-at-large sales and marketing assistant If you’re having trouble making sense of a particular matter, JEFF KENT CHERYL PEARSON more often than not, others are too. So we combed through our archives, pored over reader requests, and took note of PP’s most- technical editors circulation read online articles to gather a few of the ongoing questions ANDREW RODNEY, MOLLIE O’SHEA ELLIS VENER, DON CHICK everyone seems to be asking. In some instances we merely covered the basics, to help you bone director of sales and strategic alliances SCOTT HERSH up on the essentials, in others, we tackled more complicated questions, 610-966-2466; like how to land that first wedding assignment. It’s a question I’ve western region ad manager eastern region ad manager wondered about for years—as a bride, would I entrust my wedding BART ENGELS SHELLIE JOHNSON 847-854-8182; 404-522-8600, x279; images to someone who had never photographed an event before? How does a wedding photographer get his first break? We asked the editorial offices Professional Photographer talented David Jay, who launched his now booming career just a 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. few years ago; his answer finally helped us understand how it’s done. 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly Turn to p. 35 and see if there aren’t a few things we can help you subscriptions do better. Have any suggestions for next year’s issue? E-mail me Professional Photographer your confounding questions and let’s see if we can find the answers. P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:; Web site: member services AND THE WINNER IS… PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail:; Our first-ever cover photo contest started simply enough. For three Send all advertising materials to: Debbie Todd, Professional Photographer, months last spring, we threw open our doors to host a sort of 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 open house, giving photographers at all skill levels a chance to Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. see their work gracing the cover of Professional Photographer International: $39.95, one year digital subscription. magazine. As the entries rolled in, and the numbers mounted, we Back issues/Single copies $7 U.S.; $10 Canada; $15 International. realized just how many photographers were willing to line up for PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation that opportunity. More than 5,000 photographers entered more Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; than 50,000 images. FAX 404-614-6406; email:; Web site: Periodicals postage paid in Atlanta, Ga., and additional mailing offices. But this wasn’t a photo contest; it was a cover photo contest. We Postmaster: Send address changes to Professional Photographer magazine, held the entries to the high standards of our regular cover P.O. Box 2035, Skokie, IL 60076 selections, so we had to roll up our sleeves and get to work. The Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at selection process took a full four months of careful deliberation. Wright’s Reprints; 1-877-652-5295. My absolute favorite part of the judging was working alongside our Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 guest judge, past PPA president Helen Yancy. Her photographic resume Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA is legendary. Both Debbie Todd, the magazine’s art director, and I enjoyed Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, hearing Helen’s evaluations of the images, and having the opportunity GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by to see photography through her exceptionally gifted eyes. I Professional Photographer or any of its authors do not necessarily reflect positions of Professional Cameron Bishopp Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photo- Director of Publications graphic Weekly, St. Louis & Canadian Photographer, The Commercial Photog- rapher, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide. 4
  • Introducing ROES and collagesColor TMMac and PC Photographers areNow Printing with PROFESSIONAL To celebrate this launch, we have two great offers for you: TM COLOR LAB 1. $25.00 worth of FREE prints $25 FREE PRINTS COUPON CODE: 27803DM EXPIRES: 12/31/08 2. FREE Premium Websites Spend $75.00 on printing in November, and get FREE Premium Websites in December! V 2.0 available with ROES Exceptional print quality Competitive pricing Best of all, you can use your free $25.00 print credit to get started. Rapid turnaround time Call (877) 638-7468 Extensive lab options Contact today (877) 638-7468 or customerservice@collages.netAlbums | Press Printed Books | Professional Printing | Online Presentation | High-End CardsCheck out’s comprehensive product line at ©2008 Inc. All rights reserved. Photos ©2008 Forever Photography.
  • CONTENTS 14 FOLIO 73 IMAGING USA 106 CALENDAR 111 PPA TODAY PROFESSIONAL PHOTOGRAPHER | NOVEMBER 2008 | WWW.PPMAG.COM 130 GOOD WORKS©George Hurrell Norma Shearer in “The Divorcee” Departments C O N TA C T S H E E T 20 Profiles in history 22 The trial of the tilted tiara 24 David Hobby teaches small-flash lighting by Curtis Joe Walker 26 Green marketing 28 Getty, Time open Life Collection 30 Win a portfolio review with Anne Geddes C OV E R C O N T E ST 92 Talent Rising The 2008 Professional Photographer Cover Photo Contest draws talent from every corner of the world By Jeff Kent ON THE COVER: Heather Smith of Cumming, Ga., took first place in the 2008 Professional Photographer Cover Contest with our cover image, a portrait of her youngest daughter.20 This image was chosen from more than 50,000 entries. Says contest guest judge Helen Yancy, “It’s a studio shot that was executed perfectly with excellent lighting. The composition is per- fect.” In addition to the landing the cover, Smith was awarded a valuable prize package of products from Bogen Imaging, Canon, Millers Professional The vintage portrait above (of Norma Shearer by George Hurrell), recently Imaging, Kodak Professional and Microsoft. Smith has been a professional photographer sold at auction for $19,500. It’s part of a collection of historical images from the Golden Age for five years. She and her husband, Steve, of Hollywood that are being auctioned at record prices by art dealer Profiles in History. operate Smith Photo Design. See a collection of super entries in the feature beginning on p. 92. 8
  • ! N EWMamiya 645AFD III Designed for digital backs New, faster, quieter autofocus system Fast 2-fps frame advance rate The widest selection of lenses in the medium format world 2-year warranty 914-347-3300 Distributed by MAC Group
  • Mind. Body.
  • Photography.A Picture-Perfect Relationship
  • chairman of the board DOUG BOX SCOTT HERSH *JACK REZNICKI M.Photog.Cr., API Director of Sales & Cr.Photog., Hon.M.Photog., API Strategic Alliances DON MACGREGORProfessional Photographers M.Photog.Cr., API J. ALEXANDER HOPPER directors Director of Membership,of America DON DICKSON229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP industry advisor Copyright and GovernmentAtlanta, GA 30303-1608 KEVIN CASEY Affairs404-522-8600; 800-786-6277 ahopper@ppa.comFAX: 404-614-6400 SANDY (SAM) PUC’ legal counsel WILDA OKEN M.Photog.Cr., CPP, ABI Howe and Hutton, Chicago Director of Administration spuc@ppa.com2008-2009 PPA board PPA staffpresident RALPH ROMAGUERA, SR. DAVID TRUST LENORE TAFFEL*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP Chief Executive Officer Director of Events/EducationM.Photog.Cr., CPP, ltaffel@ppa.comAPI, CAROL ANDREWS SCOTT KURKIAN BING ZENG M.Photog.Cr., ABI Chief Financial Officer PPA China Managing Directorvice president*RON NICHOLS CAMERON BISHOPPM.Photog.Cr., API SUSAN MICHAL Director of Publications SANDRA M.Photog.Cr., CPP, ABI Executive Assistant slang@ppa.comtreasurer DANA GROVES*LOUIS TONSMEIRE TIMOTHY WALDEN Director of Marketing &Cr.Photog., API M.Photog.Cr., F-ASP Communications *Executive of the Board Professional Photographer Online’s exciting features At, 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, tutorials and reviews you’ll ONLY find online! Archived features,organized relevant to your specialty. Photo Gallery Profit Center An in-depth product review library Online Classifieds 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:
  • folio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of award-winning photography by PPA members. The Loan Collection is a select group of some 500 photographs chosen annually by the PPA print judges from more than 5,000 entries.©Ray Haskell RAY HASKELL Fascinated by wildlife, Ray Haskell, CPP, of Perfect Image Photography in Jaffrey, N.H., captured these tom turkeys performing an age-old strutting ritual. With a Canon EOS 20D and Canon 75-300mm f/4-5.6 USM EF lens, Haskell exposed “Duel at Dawn” for 1/200 second at f/5.6, ISO 400. Post- capture, Haskell burned in the rump feathers of the bird seen from behind, and used a LucisArt filter for a painterly effect. “There’s a real challenge recording wildlife on its own terms,” says Haskell. “You have to be prepared, go unnoticed and anticipate their next move.” (
  • 58: Number of lenses in the legendary NIKKOR family. 58: Number of legendary NIKKOR lenses you’ll want.Over 45 Million NIKKOR Lenses Produced. ®For more than 70 years, the NIKKOR family of lenses from Nikon has been recognized for itssuperb image quality and exacting standards. And it’s a tradition of excellence that continuestoday, with many of our lenses equipped with proprietary ED glass to help limit chromaticaberration. When you consider some of their other remarkable new features (see oppositepage), you’ll understand why all 58 of our NIKKOR lenses remain in such high demand.Learn more at ® Upload, organize and share your pictures online at mypicturetown.comNikon and NIKKOR are registered trademarks of Nikon Corporation. ©2008 Nikon Inc. ® ®
  • folio Decisions, decisions. The NIKKOR family of lenses from Nikon offers an astonishing range of creative options designed to fit your ©Jeff Williams photographic needs perfectly. These four lenses are a great example: A 14-24mm f/2.8, that sets a new standard for fast-aperture zoom performance. A 60mm AF-S Micro, engineered for close-up performance enhanced by Nikon’s exclusive, glare-reducing Nano Crystal Coat. A 16-85mm DX VR, remarkably compact with high-performance zoom and wide-to-portrait versatility. A 24mm PC-E, with creative tilt, shift, and rotation perspective. Now, for the tough part: Deciding which one you should get. Learn more about these and other legendary NIKKOR lenses at nikonusa.comJEFF WILLIAMSThis bridal portrait is all about the mood set by the abundant window light. Jeff Williams,CPP, of JS Photography in Gainesville, Fla., captured “Waiting for the Moment” with a NikonD2X and Nikkor 28-70mm f/2.8 D IF-ED AF-S Zoom lens, exposing the image for 1/30second at f/5.6, ISO 100. In Adobe Photoshop, Williams performed minor dodging andburning, and removed a distracting chair rail from the background. ( Nikon® and NIKKOR® are registered trademarks of Nikon Corporation. ©2008 Nikon Inc.
  • Cody Clinton & Mike Fulton | TriCoast Photography KODAK PHOTOGRAPHERS TO WATCH 2008
  • It takes two or three photographers to make one great image. We do not worry about who captured the image. We do not worry about who created the final product. When we and our clients are happy, then we have succeeded in doing our job and our art correctly. Teamwork is truly the foundation of TriCoast, just as it is with Miller’s. . Without a doubt, TriCoast is about color and unique angles. We LOVE color. When we see it, we grab it, absorb it, and create something out of it. We push every color to the point of breaking. . We try to create an enjoyable environment in everything we do and plan on making lifelong friends with our clients. Believing that the more information a client has about us, the better he or she can decide if we are the right artists for them. If TriCoast is not the “right” artist, we gladly share a cup of coffee and do everything in our power to find what is right. And that’s what is so great about Miller’s. They are doing the same thing. Always growing, always changing, always helping the professional photographer, even if they are not a client of Miller’s. By leading the market, in many aspects the other labs follow with the products which Miller’s develops, making the entire professional photography world stronger and better for everyone. Our lab is Miller’s Professional Imaging because we Expect More.To see how Cody & Mike use Miller’s to grow their studio, please visit
  • CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.©Clarence Sinclair Bull “Five years ago, there was no such thing as a $5,000 photograph in this particular market. Now we sell $5,000 to $50,000 photographs by the hundreds.”Profiles in history Historical portraits sell at record prices BY JEFF KENT Jean Harlow
  • During the so-called Golden Age of Hollywood,roughly from the 1920s to the late 1950s,some of the nation’s leading portraitphotographers plied their trade among theHollywood royalty. While the movie studioscranked out copious machine-madecommercial prints, these photographerscreated commissioned portraits for privatedisplay. Long secluded in private collections,many of these portraits are now emerging,and selling at unprecedented prices. At a recent auction held by Profiles inHistory, a leading dealer in historical documentsand photographs, upwards of 100 prints fromthe early to mid-20th century sold for morethan $5,000 apiece, grossing a total of about$1.2 million. A George Hurrell portrait ofJohnny Weissmuller (the original Tarzan) wentfor $27,000, a record for a Hurrell photographsold at auction. Portraits by Otto Dyar, ErnestBachrach, Eugene Robert Richee and ClarenceSinclair Bull, depicting Carole Lombard, ©George Hurrell Johnny WeissmullerLouise Brooks, Norma Shearer, MarleneDietrich, Jean Harlow and other GoldenAge stars, sold in the high four-figure range. digital technology … you can’t copy those For Joseph Maddalena, Profiles president historical photographs. It’s an art form thatand CEO, these sales indicate a growing no longer exists. So many images are not goingappreciation for historical photographic to be saved. That’s why these are treasures.”portraits, fast approaching non-photo- This appreciation of historical portraits isgraphic fine art in value. “I’ve seen it change evidenced by Profiles’ sale of an 1858 portrait ofdramatically just in last year,” he says. “Five Abraham Lincoln, at a record price for a printyears ago, there was no such thing as a of that particular signed Lincoln image. Created$5,000 photograph in this particular for Lincoln’s presidential campaign by photog-market. Now we sell $5,000 to $50,000 rapher Roderick Cole, the portrait is one of thephotographs by the hundreds.” best recognized images of the 16th U.S. presi- Maddalena asserts that the spike is due dent. Signed by Lincoln himself and in excellentto the realization that these portraits are condition, it fetched an astounding $209,000.true originals, unique in today’s world of Profiles in History hosts another auctiondigital imaging. “Take a negative from in December, during which the dealer will sell1930,” says Maddalena. “It was hand- an enormous trove of Hollywood memorabilia,touched. A contact print was made from the as well as a collection of high-end historicalnegative with perfect clarity. We can’t make photography. For more information, visitthat same print now. Even with our amazing ©Roderick Cole November 2008 Professional Photographer 21
  • CONTACT SHEET The trial of the tilted tiara Clients contended it was up to the photographer to correct a misaligned headdress The matter of a bride’s tilted tiara became a photographer’s nightmare when a PPA member in Texas became embroiled in a 15- month legal battle over an accessory mishap. “What am I supposed to know about tiaras? I’m a professional photographer, not a tiara expert,” says Dwayne Lee, M.Photog.Cr. Lee ©Dwayne Lee got a quick lesson in bridal jewelry when his wedding clients sued him for photographing the bride without correcting her skewed tiara. An expert witness stated that the placement of the Lee first saw the tiara in question on the day of the ceremony as the bride and her tiara can vary drastically based on the event, the attendants exited the limousine. Lee took brides hairstyle, ethnicity and personal preference. pre-ceremony photographs of the bridal party, friends and family, including one of the bride and her mother gazing at each another. protection program that helps PPA members in supporting evidence in the form of a The skewed tiara went unnoticed by all. cases of allegations of photographer negligence. wedding album filled with pictures of the Out of Lee’s sightline, as the bride was about The attorneys at Howe & Hutton offered bride in question, standing close to her to walk down the aisle, a family member Lee the option of settling the case with the mother and surrounded by her attendants. noticed the tilted tiara and straightened it. clients, with PPA covering the costs. Lee Last, the expert witness took the stand. Lee continued to document the day for the would pay only the Trust’s per-incident Rubin cited her 32 years of tiara experience. happy couple, never hearing a word about deductible of $200. Lee firmly turned the Under oath, she stated that the placement of the skewed headdress. offer down. He wasn’t willing to have this the tiara can vary drastically based on the Two weeks later, when the groom came customer tarnish his reputation further, or event, the bride’s hairstyle, her ethnicity, and to Lee’s studio for the previews, he imme- let someone else pick up the tab for an above all, her personal preference. For a diately pointed out the tilted tiara in the pre- unreasonable lawsuit. photographer to suggest repositioning a ceremony images. Then the bride and groom Representing themselves, the plaintiff ’s bride’s tiara, Rubin testified, would be sued Lee for $1,500, their reckoning of the sole witness was the bride. Lee came in with offensive to many women. price of those images. The bride and groom 10 witnesses, comprising photographers, The jury ruled in favor of the defendant contended that it was Lee’s responsibility to hairdressers, wedding consultants, and tiara after a 5-minute deliberation. correct the misaligned tiara before shooting. expert Cheri Rubin. After the groom “People started coming out of the wood- The small claims court date was set for questioned his witness, Lee called on his work to help me out,” Lee says, commenting September 15. As a PPA member, Lee called supporting witnesses, all of whom opined on PPA’s assistance throughout the ordeal. on the PPA Indemnification Trust, which that it was not the responsibility of the “I don’t see how photographers who aren’t provides legal counsel from the law firm of photographer to alter the placement of the members of PPA can sleep at night. It’s peace Howe & Hutton, specialists in legal matters tiara. That detail was in the purview of the of mind—and you can’t put a price on that.” concerning photographers. The hairdresser, the bridesmaids, and the —Anne Mahaffey, Indemnification Trust is a unique malpractice mother of the bride. Lee provided PPA Membership Coordinator 22
  • !"#$%&()*+,+-.(/+##( Mpix has partnered with Zenfolio! Mpix has partnered with Zenfolio to bring you the best in online hosting and e-commerce. Visit to see our full line of photographic and press products.
  • CONTACT SHEET not to dissuade photographers from using professional gear, but to free them to experiment with new techniques economically. Certainly it’s inadvisable to David Hobby teaches small-flash lighting and inspires photographers position clients who pay hundreds for a BY CURTIS JOE WALKER portrait session in front of gear cobbled from tinfoil and cardboard, but using that homemade gear to pull off an excellent portfolio image is another story. It might help you land a job that will pay for the professional version, or at least a rental. In 2007, Hobby produced a set of eight instructional DVDs, which sells for $139. In keeping with the spirit of Strobist, the self- funded production favors content over polished production values. Hobby has also begun teaching lighting seminars. Despite these various Strobist projects, Hobby finds time to shoot for and give private instruction to clients such as the U.S. Military Defense Information School. Local Flickr Strobist groups are springing up in metropolitan areas, meeting to share their knowledge and collaborate on projects. Find links to Strobist projects mentioned in Professional Photographer’s Web Exclusives at Curtis Joe Walker is aAll images ©David Hobby freelance writer and photographer in Las Vegas. David Hobby’s has demystified Hobby uses his own real-world experience, off-camera flash for seasoned pros and and also keeps a close eye on what other ambitious amateurs alike. The Strobist’s pros and up-and-comers are doing. primary tool is the versatile yet unsung hot- is his best friend in this endeavor. shoe flash, a relatively low-cost, portable and The Strobist group on Flickr is bursting flexible location lighting solution. with photos and discussions of new gear and Strobist started as a hobby in April 2006. how-tos. Hobby culls the best and posts them After 20 years as a newspaper photographer, on his site. One of the hottest recent topics Hobby was able to retire from his day job at is a do-it-yourself beauty dish to replace a The Baltimore Sun thanks to income from the costly ready-made light modifier. Enterprising site. Despite its tiny budget, the site has become Strobists have devised a DIY version that successful with a readership of around 200,000. takes less than $20-worth of supplies. With Explaining and illustrating the techniques, an assemblage of a plastic flower pot, CD equipment, and principles of photographic spindle, a length of rain gutter, a convex mirror lighting through photographs, videos and and spray paint, you can achieve top-notch diagrams is nothing new. What’s novel is doing results. Made with care, this sturdy beauty so for free with a focus on getting professional dish won’t even look homemade. results without huge gear expenditures. The underlying goal of is 24
  • CONTACT SHEET Green marketing empty claims of big business, so you have to put your biodegradable packing peanuts where your Styrofoam used to be. Let the Show clients you care about the earth other guys hand out plastic-coated junk- Consumers the world over want to do your business policies are genuinely green drawer stuffers, while you imprint your something to heal our ravaged ecosystem spirited, by all means, trumpet the fact in message on items that won’t contribute to even if it’s simply patronizing businesses your marketing. the wasteful overuse of natural resources. that are environmentally conscientious. If Consumers have been inundated by the Make your studio’s imprint on one of these environmentally conscious items: Re-usable shopping bags made of polypropylene cloth or recycled materials. Mars M&M candies with custom Hurricane, flooding, torrential rains... words, photo images, logos and colors, packaged in tins, wedding-worthy organdy gift bags, and more. DriveSavers to the rescue! We can save it! What’s the number one fear of professional photographers around the world? The unexpected, sudden Herb, vegetable or flower seeds in loss of irreplaceable images due to a crashed or damaged packets made of recycled paper and tied with camera, computer or other digital device. ribbon or herb seed bookmarks. DriveSavers understands, and we know how to help. Dove chocolates in custom imprinted We’ve recovered more data for photographers and other mini-boxes tied with ribbon. creative professionals than any other company in the world. We offer special benefits to PPA members plus free Water bottles made of recycled materials return shipping and direct access to our data recovery or metal. Matchbook forget-me-not seed sticks, engineers. And, if we don’t retrieve the data, you don’t pay. 866-661-9696. So, what’s our advice for getting rid of that fear? Visit for Easy. Back up today...or call us tomorrow. more ways that you can consider the environment in your business and connect 800.440.1904 with other like-minded photographers. ©2007 DriveSavers, Inc. DriveSavers Data Recovery, We can save it! and the life-ring logo are registered trademarks of DriveSavers, Inc. 26
  • CONTACT SHEET Getty, Time open Life Collection Photo by: Margaret Bourke-White ©Time Inc. 2008 Time Inc. and Getty Images are jointly preparing for the early 2009 official launch of, giving public access to the largest collection of images in the world. In addition to the vast collection of historic images from the Getty archive—which are pouring onto the new site at the rate of 3,000 images daily—the site is acquiring new images daily, in the realms of news, entertainment, sports, celebrities, travel animals and more. will also feature millions of images from Life magazine, many of them previously unavailable for public viewing. Consumers will be able to search and view the image bank as well as print select images and share them with friends and family. They can also create personal image collections based on their interests, and purchase albums of their selections. 28 26
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  • CONTACT SHEET ©Anne Geddes, 2008. All rights reserved. Win a portfolio review with Anne Geddes Interested in having your work critiqued by a legendary photographer? The Anne Geddes Portfolio Review Contest, international audiences, and revolutionized sponsored by Epson America, has just been children’s portraiture. announced. Sign up at to win To enter the contest, you’ll be asked for a the chance at a one-on-one portfolio review link to an online portfolio containing 10 or with legendary photographer Anne Geddes more of your images. In addition to artistic at Imaging USA 2009. and technical excellence, your body of work New York Times best-selling author and should include a majority of portraits or photographer Geddes will be speaking at images featuring people. Imaging USA, being held this year in Epson America will choose randomly Phoenix, January 11 to 13. 300 Web sites from the total pool of The Australian photographer became qualified entrants. Once 300 finalists have WORDS OF WISDOM an international phenomenon in the 1990s been drawn, image collections will be judged What judges are looking for with her remarkable images of babies. based on both technical and artistic merit. 1. The best you: Your collection should Geddes’ latest book, “A Labor of Love” Judges are seeking images that exhibit exhibit your own singular style. (Andrews McMeel Publishing), is a proficiency in professional photographic 2. Keep it photographic: Your body of personal account of her life. lighting, composition and portrayal of work should not be dependent upon A Geddes photograph is instantly recog- subject matter. heavy post-production techniques, but nizable. Her unique perspective enthralled Go to for information. photographic excellence. 30
  • TRAVEL LIGHT, EVEN WHEN YOU’RE ON ASSIGNMENT My photographer friends were camera and the attached lens snug- spare battery amazed to hear my husband and I ly, providing protection within my and a small case were heading to Europe for three lightweight day bag, and adding holding a polariz- weeks of travel photography with almost no weight. ing filter. Another no checked baggage. Each of us I was worried about neck strain zippered pocket held took just one carry-on suitcase and after hours of carrying the camera two extra memory cards a small day bag. Here’s how we around my neck. I needed some- and a lens-cleaning cloth. did it: thing to help support the weight, With the pack around my We made a packing list and did yet allow me to be quick on the waist and the camera a practice pack to see what fit. draw. I envisioned something like a strapped around my neck, I The tripod had to go—our travel front-loading baby carrier, but had everything I needed for a style doesn’t allow time to set it up couldn’t find such a product for day of shooting. every time I want to shoot some- photographers. (Manufacturers, For flash on this trip, I used my thing anyway. take note!) D200’s onboard flash. Next time I’ll I took only one lens, a Nikon 18- My solution was a small nylon take my Nikon SB-400 flash. It’s 200mm, which covers most of the waistpack worn unzipped. I placed small and lightweight, and it will tag on my cam- focal range I’d need and has built-in the camera lens down into the pack, improve my indoor shots. era strap in case vibration reduction—a good feature and handily pulled it out when I Another necessity was my cam- I misplaced the camera. In three to have sans tripod. needed to shoot. The long lens hood era’s battery charger and a plug-in languages, the tag said thered be The next consideration was stor- and a UV filter protected the lens, adapter for European outlets. I car- a reward for the finder if hed ing, viewing and sorting 21 days- even when I didn’t replace ried them in a plastic bag in leave it with the local police for worth of images. In lieu of a laptop, the cap. The camera my suitcase, along with owner pickup. I took an 80GB Epson P-4000 body itself stuck up MAKE the Epson viewer and As for how my husband and I Multimedia Storage Viewer, which above the waist- A DETAILED adapter. With two packed our clothes and daily neces- comes with a snug-fitting neoprene pack, and tended PACKING LIST & adapters, I could sities, that’s another article. case. The P-4000 has more than to flop around a DO A PRACTICE have a battery is a terrific resource. enough space for the estimated little, but with PACK TO BE SURE charging while I Our trip to Italy, Switzerland 3,000 raw + JPEG images Id cap- the camera strap downloaded images and Austria was full of amazing IT ALL FITS. ture with my Nikon D200. around my neck, in the evening. photo ops (examples at www.four- I didn’t want the weight and there was no danger of I took along two feath-, and I bulk of a typical camera bag or case. its falling out. erweight necessities, a sturdy had no occasion to make good on An Op-Tech neoprene pouch was The waistpack had a small zip- plastic bag to protect the camera that reward. the perfect solution. It held my pered pouch in front that held a from rain, and a laminated luggage —Elaine McDonaldI understand. m 2. Learn about your subject MANAGE THE BARGAIN HUNTER: AVOID NEGOTIATING before the day of the session. m 1. Listen carefully and quietly WITH YOUR CLIENTS m 3. Be enthusiastic about to the request. what you’re creating. Clients who m 2. Cushion your reply, “I NO-HAGGLING GROUND RULES: feel your excitement are less likely understand exactly how you feel.” m 1. Do not lower your fees or give to haggle. m 3. Look the person in the eye away photography for free. It will only m 4. As soon as the session’s and inform him you just can’t do damage your business in the long run. over, book a viewing session for what he asks right away. m 2. Not everyone who tries to the following week. You need m 4. Tell a little story or use get something for free actually time to narrow the selection to 15 an example from the client’s expects to get it. or fewer perfect images. The fewer line of work to illustrate the images you show, the better your sale. outrageousness of his request. LAY THE GROUNDWORK: m 5. Present images in an emo- m 5. Redirect the negotiation m 1. Build rapport. Ask emotion- tional way. Clients’ emotions are conversation to an emotional dis- al questions; listen to the answers. strongest when they first see images. cussion about the photographs, 36
  • $ PET PHOTOGRAPHY KEEP THE FUR FLYING Even if you have experience handlinganimals, it’s wise to learn all you can froman animal obedience trainer, even toattend classes. Animal shows—dog, cat,horse—are a fine place to observe howvarious animals are handled, and tobecome familiar with the breeds. COMMERCIAL PRICING Make your camera room animalfriendly. Indoor-outdoor carpeting saves PROTECTflooring and is easy to clean up. YOUR VALUE The animal should be allowed to Never sell a photo-roam the camera room and become graph—sell usage rights,familiar with the surroundings. based on the time span You’ll need a main light, a fill light, of the usage, how, where ©Keith A. Howea hair light, and sometimes a reflector. and for what purposeMy lights are mounted on stands with the image will be used.casters, so if an animal bumps into one, There are two parts BE A DIAMOND PHOTOGRAPHER OF THE YEARthe light will roll instead of falling over. to any estimate: the WITH FOUR IMAGES IN THE PPA LOAN COLLECTION To market your animal portraitservices, post display ads in veterinarian creative fee (depending 1. Practice, practice, practice. No one way unique. It could be an extraordi-offices, pet stores, grooming shops and on the photographer and performs at the top of his game with a once- nary subject, or an ordinary subjectanimal events. the advertisement in-awhile effort, so photograph voraciously. rendered extraordinarily well. Different involved), and the produc- 2. Enter every print competition that for the sake of being different is not tion expenses (time, sets, yields constructive feedback. Ask the enough. Past Loan Collection books can travel, etc.). Don’t scare judges to be specific about how they arrived inspire, but don’t copy the images. away buyers by pricing at your score. The judges’ critiques in Review the 12 elements of PPA’s print below their expectations. national print competitions are a tremen- merit criteria (go to dous resource. Be a print monitor at 5. Everything about your images Buyers are well aware of Imaging USA and keep your ears open. should contribute to the message you’re the costs involved in 3. Before you enter, ask photographers conveying. shooting high-end and whose skills you admire to comment on 6. Don’t stop working until every- low-end jobs. your prints. Be judicious about whom thing about the image is excellent. With —Jack Reznicki, Cr.Photog., you ask—too many cooks spoil the broth, that and a little luck, you’re in! —Debrah H. Muska, Hon.M.Photog., API, “A Bid for Success,” too many opinions sully artistic vision. —2008 Diamond Photographer M.Photog.Cr., “Animal Pet Photography,” PP Archive PP Archive 4. Choose images that are in some Keith A. Howe, M.Photog.M.Artist.Cr. ©Juli Cialonehow beautiful they are, how much of having these beautiful portraits in size, as long as they order the addi- on a six-month payment plan.they’ll mean to the family through your home for years to come!” tional print the same day as the rest No extra charge at all. Is thatthe years. of their order. fair enough?” EXAMPLE 2: Dad says, “If we Let him know the only way heEXAMPLE 1: Mom clearly loves your buy these, will you throw in two EXAMPLE 3: You’ve totaled up the can lower the investment is to elimi-images but Dr. Dad says, “What are 8x10s as gifts for our parents? order, and the dad says, “I’ll tell you nate something he truly wants. Iyou really going to charge us? What It would cost you hardly anything what. I’ll give you $X for all of the would rather get the sale that day,deal can you make me?” to do that.” photographs,” a figure well below even if it’s less than we anticipated, You: “I understand exactly how You: “As much as I’d love to, I what you’d actually charge. than risk losing the sale feel, but there’s nothing I can just can’t. Here’s what I can do: I’ll You: “I understand exactly how And we don’t want the client to losedo about the price. It’d be like include them for 20 percent less you feel, but I can’t lower the out by not going home with portraitsasking you to discount your surgery than if you purchased them sepa- investment for you. But just look they simply love.fee. Of course you wouldn’t. You rately. How does that sound?” how terrific everyone in your familylove these photographs! Think We do that for clients who looks in this portrait. It’s wonderful! —Charles J. Lewis,how much enjoyment you’ll get out invest in a portrait of a particular I’ll tell you what. Let’s put this M.Photog.Cr. November 2008 Professional Photographer 37
  • REGISTER A COPYRIGHT WITH THE U.S. COPYRIGHT4 WAYS TO IMPROVE YOUR LIFE WITH WORKFLOW AND IMAGING SOFTWARE OFFICE1. PORTRAITURE PLUG-IN BY 2. PROSELECT BY TIME EXPOSURE 3. LUCISART BY IMAGE CONTENTIMAGENOMIC The secret is finally out about this Photographers have been using 1. Visit www.copy-This easy-to-use Photoshop or Aperture easy-to-use presentation and slide- LucisArt for years to jazz up prints smooths out smile lines, small show making software. If learning one for competition, shows and sales. 2. Select a methodblemishes and other imperfections more piece of software is likely to LucisArt can turn an ordinary image of registration: online,without altering the contrast or high- make your head explode, make just a into something that makes photogra- Form eCO; by mail,contrast areas of your image, as other little room in your brain for this one, phers look twice and clients say things Form CO or Form VAfilters do. Particularly good on acne, even if you have to jettison valuable like, “That looks like a painting!” 3. Complete the appli-the plug-in has several sliders to control celebrity trivia. If you dial back the controls a bit, cation online or on paper.the application of the filter. For even ProSelect lets you make slideshows LucisArt works as an everyday appli- 4. Upload yourmore precise control, make the alter- with dissolves and music, in literally cation. In moderate amounts, the filter images or burn a CD ofations on a separate layer in Photoshop, just a couple of clicks, and it uses very makes portraits that appeal to awere you can adjust the opacity. little memory and hard drive space. younger generation looking for some- your images and mail This is a fine finishing tool to use That alone would justify the cost, thing new. Light application of a filter with application to theafter doing basic touch-ups with the but there are plenty of other excep- such as Sculpture can add just enough Copyright Office.Healing Brush or any of your preferred tional features. You can show clients sharpness or contrast or texture to 5. Pay the applicationPhotoshop tools. It will also help those projections at exact sizes and crop the make a wedding candid pop or add a fee: $35 for eCO, $45 forwith less than perfect technique. projected images. You can instantly nice feel to a studio portrait, especially Form CO or Form VA.Portrait photographers will recoup the make composites and framing exam- a black-and-white image. 6. Look for thecost in just a few sessions. ples with the built-in templates, or With such a range of control for arrival of your Certificate Price: $169.95; free demo at make your own. If you need printed each filter, the possibilities for practi- of proofs, one click and a simple slider cal use are endless. adjustment Price: $595; upgrade $100 at let you create custom labeled proof 4. TIME MACHINE BY APPLE. sheets. Time Machine is built into the latest When the Mac operating system, 10.5, a.k.a., client is ready, Leopard. It makes backing up your ProSelect files simple as can be, with one click, allows you to performed one time. Connect an enter the external drive to your Mac, and you’ll order infor- get a prompt asking if you want to mation, then make it your backup drive. When you How to take a computes the click yes, Time Machine takes over. bill. You can Every hour, it makes an incremen- picture? “You even print the tal backup of your entire machine. It look through invoice with a saves the hourly backups over the past the viewfinder, thumbnail of 24 hours, daily backups for the and when your each image month, and weekly backups for every- ordered. thing older. You can return to any of mouth drops Price: those states to see how your machine open in awe, $362; free looked on a particular day. you click the demo avail- Price: $129 for Mac OS 10.5, shutter.” able at including 299 other new features. — Harold Feinstein, www.time- —Michael Brantley, “Urgent Purpose,” M.Photog.Cr, CPP PP Archive38
  • “How can we make your life easier?” It’s the busiest time of the year. Are your vendors making your life easier? If you’re working with, the answer is yes. Our knowledgeable customer service team has been trained extensively in every aspect of our product lines. We can help with your workflow. Most of all, we can offer live, friendly assistance when you need it most. Don’t get lost in the shuffle this season. Call today, and we’ll have you smiling in no time. Contact at (877) 638-7468 or to experience the industry’s premier one-stop solution. You’ll quickly see why 98% of our customers would recommend to another professional photographer. Albums | Press Printed Books | Professional Printing | Online Presentation | High-End Cards Check out’s comprehensive product line at ©2008 Inc. All rights reserved. Photos ©2008 Stephanie Post.
  • LAND YOUR VERY FIRST WEDDING JOB EMBRACE THE LIGHT Embrace the lighting conditions you find.“Yeah! I’ll shoot it!” I screamed, whenmy friend Deyl Kearin asked if I ‘d Look for opportunities rather than situations.shoot a wedding on a day he’d I look for areas with backlighting. I look foralready booked. I’d just reflected light. I look for how I can manipulatedropped out of college the existing light. I look to discover areas thatand the $1,000 I’d makesounded like a jackpot. I’d can make a portrait work. I look atnever even assisted a pho- unique situations. Most important, I looktographer at a wedding for a fresh way to use light.before, and had no idea —Michael Glen Taylor, M.Photog.Cr.,what to do. But this was my Hon.M.Photog.Cr., CPP, API, F-ASP,start, my first big job. “All the World’s a Studio,” PP Archive Since then I’ve shot morethan 100 weddings, and my prices have THE BABY PLANrisen to more than $15,000 per job. I’ve CASH IN ON THE FACTS OF LIFEdone no advertising, never gone to a Babies go through so many changes in just one year. When you market tobridal show, displayed no sample mate- that check? It isn’t great wedding families with new babies, you can have year-round business. Our Marklerial other than on my business card and pictures—you haven’t shot their wed- Studio plan offers four portraits over baby’s first year—3 months old, 6my unique Web site. What I do have is ding yet. The only thing you give them months old, 9 months old, and baby’s first birthday. Mom can be includedan army of customer-evangelists. You at that moment is a promise, a com- in one of these sessions. At the conclusion of the series, the client getscan get your business rocking, too, with mitment, a feeling of security that a custom photo mat with openings for one portrait from each session.four simple steps. their wedding will be captured in 1. FOCUS. Before you do anything else, incredible photographs. You are the Get creative with variations on the plan, like adding special albumchoose a specialty and believe whole- source of their feeling of security. Sales packages. Our plan requires a payment up front that covers all four portraitheartedly that you can actually do it. in wedding photography are the trans- sessions plus the panel composite at a discount on our studio’s regular 2. BUILD RELATIONSHIPS. Take fer of emotion. pricing. We also offer packages from each session at a discount. The discountadvantage of word-of-mouth marketing 4. INVEST IN OTHERS. The busi- is a reward to our clients for repeat visits and loyalty to our studio.and get the message spreading through- ness of wedding photography is a lot —Valerie Markle, M.Photog.Cr.,out your immediate network. Stop sit- like high school—the most popular kids “Growing Babies: Year-Round Cash Flow,” PP Archiveting behind your computer editing your win. The people with the most friendspictures and get out there and meet and biggest networks usually come outpeople! on top, so spend time getting to know Build a relationship with other wed- people. As Dale Carnegie wrote, “You’llding photographers. Photographers have go further in two months by becomingbeen my largest source of referrals. Other genuinely interested in just two otherphotographers aren’t your competition, people than you will in two years of try-they’re your colleagues, and the biggest ing to get other people interested in you.”pipeline to your first clients. Right now, visit the Web site of a 3. MAKE AN EMOTIONAL photographer in your area, find some-CONNECTION. Emotion is a magic potion. thing you like about him or her, and thenWe do everything for one reason—the let that person know it . Bestow somefeeling it gives us. It’s true of the restau- encouragement and start a relationship.rants we choose, the clothes we buy, and Join professional groups like PPA andthe people we hire to perform such your local affiliate, and hop on freeservices as photographing our wedding. forums like andWhat are your clients really buying It’s business and pleasure.when they book your services and sign —David Jay ©Richard Marchisotto Continued on p. 4840
  • Why am I passionate about my pen?This may sound crazy, but the pen allows me to achieve perfection.What can I say? I’m a perfectionist. I like things to be exact.I’m Alex. I’m a Photo Retoucher. I’m all about the details. It’s myduty. People come to me and ask: “Can you just Photoshopthis?” And I know they don’t have a clue what that means.Their eyes don’t see the details the way mine do. Do they evenknow what dodging, burning, cloning and healing mean? Andthen there’s compositing…Small details are huge things. With my pen, I can work at thepixel level, creating masks and selections with speed and control.Making everything just right.At the Pen Collective, I’ve found people who understand my obsession.Listen. Share. Learn.Come to Grips with Your Pen © 2008 Wacom Technology Corporation. Wacom is a trademark of Wacom Company, Ltd. All other references to third-party software are recognized as trademarked property of their respective owners and used with their permission.
  • All images ©Ellis Vener read a HOW TOhistogram Demystifying a challenging tool BY ELLIS VENER
  • Editor’s Note: This article by Ellis Vener first appeared on’s Web Exclusives in December 2007. Since then, it has become the most popular story on our site. We asked Vener to update his story for publication in this special issue. What does a histogram tell us about a capture, the compression level. photograph? The data being sent to the preview is A histogram is a bar graph that shows based on a highly compressed, low- how the luminance values in a digital resolution JPEG, using an 8-bit-per-channel photograph are distributed. But you can’t version of the color space you’ve chosen, and actually see the individual bars, unless one possibly incorporating the tone settings inm appears as a singular spike or is missing the camera’s processing parameters. altogether, leaving a visible gap. With raw capture and with large color The histogram displays a scale of light, from spaces (e.g., ProPhoto’s 16 bits per channel), black to white. Except with a histogram of a the image file contains more information scanned negative, the scale reads from black than the histogram displays. Bad thing: the at the left to white at the right. Almost every image might actually have a lot more detail photographic histogram has 256 increments, in the upper highlights or near-black shadows. corresponding to an 8-bit scale of zero to 255. Good thing: you know the image is at least Simple histograms map the total distribu- as tone-rich as the histogram indicates. tion of the recorded luminance values. More The late Bruce Fraser articulated a key con- complex histograms display the luminance cept, “Tonal differences are detail.” Histograms values as a layered composite of each of the show where those differences are, and where red, green, and blue color channels, or, in there are problems, such as clipping. the histograms of certain cameras and one Clipping appears as a peak at the ends of viewing option in Photoshop, luminance the histogram. Unless there are detail-free values of each color channel individually. areas of black or white of a significant size in A histogram’s horizontal scale measures the photograph, the problem is likely that exposure latitude. The vertical scale measures your exposure setting is destroying (clipping) quantity as a percentage—how much of the the differences that define detail at the extremes image has a specific luminosity value. The of your exposure (aperture + shutter speed + horizontal scale measures in absolute values ISO setting + in-camera processing settings (0 to 255), but the vertical scale’s measure- if you’re shooting JPEGs). Remedy— ment is affected by several factors: the color shooting raw and processing the capture space, the bit depth, and with JPEG with a raw processor gives you more latitude A Photoshop layered composite histogram. A camera histogram showing individual channels. November 2008 Professional Photographer 43
  • than shooting in-camera-produced JPEGs. photo site (pixel) is capped with either a red, states it can be in. Obviously, the more states A rule of thumb when using a histogram green or blue filter. A full set of color values the smoother the transition will be betweento evaluate exposure, expose to the right. for each point is created when the photo is one shade of gray and the next. There is a sound reason for doing this, processed from its raw state to a demosaiced To keep this simple, I’ll use a 12-bit-per-and it goes back to how the CMOS and CCD RGB file, whether by the camera or by an channel model. Devices record light in a linearsensor arrays in digital cameras and scanners external raw processer. A 1-bit device is like a manner, but the pixels do not evenly share thework. Linear arrays record more data at the light switch: it has two states—it’s on (white) wealth of detail. The brightest stop of exposurehigher bit levels. You can tease those or it is off (black). A 2-bit device has four contains half of the available states, or levelsdifferences apart with a good raw processor states (or 4 shades of gray: white, light gray, of detail (2,048 in 12 bits). The secondor in Photoshop and find those details. dark gray, black). A 3-bit device has 8 states brightest stop down contains a quarter of It’s important to understand that each (white, six shades of gray, and black), a 4-bit the total (1,024) the third brightest containspixel in a camera’s array is a separate mono- device has 16, and an 8-bit device has 256 (2 512 levels, the fourth brightest 256, device. It does just one job: record x 2 x 2 x 2 x 2 x 2 x 2 x2). A 12-bit device The farther to the right you expose withoutthe total amount of light striking it. Each has 4,096 and a 14-bit device has 16,384 clipping the highlights, the greater the differ-
  • Lean, mean, money-making machine.Wireless shoot-to-print saves time, boosts revenue.Don’t waste time — or miss revenue — by sliding media cards out of your camera and into yourdigital photo printer. Be faster and more productive with the wireless shoot-to-print capability ofthe Sony UP-CR20L SnapLab® system. Your on-location photo lab, the SnapLab system is selfcontained — no computer required! You get gorgeous, rocket-fast prints from 3”x5” to 6”x8” withsoftware-selectable Glossy or ProMatte™ finish. The SnapLab system makes customers smile, savesyou time, and makes you money. click:© 2008 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to changewithout notice. Sony, ProMatte and SnapLab are trademarks of Sony.
  • ences you’re recording. Post capture, you canstart teasing it apart to see the differences intone. On the other end, in the shadows, youstart to run up against the signal-to-noisethreshold—a lot of what looks like shadow detailmay actually be electronic noise. That’s anotherreason to expose to the right: the more signalrecorded, the lower the percentage of noise. When you start with an underexposedimage and have to lighten it during processing,you create gaps between the steps, because theimage data has fewer and cruder gradations.This shows up as banding, abrupt changesin tone. Noise begins to become moreapparent as well. You can reduce noise withsoftware, but at the expense of image detailand time. As with film, exposing well in thefirst place results in both better imagequality and time savings. With many cameras, you have the optionof viewing a simple composite luminancehistogram or a precise exposure level foreach color channel. If you believe that themore information you have, the sounderyour decisions, go for the latter view. What a histogram does not do: Tell youwhat colors are out of gamut. One morereason to shoot raw! When processing, use alarge color space like ProPhoto or AdobeRGB(1998) at 16 bits per channel. Aftermaking all adjustments, you can convert aversion of the master image to the colorspace or profile and bit depth required forthe intended output. It’s all about the wisecontrol of the tangible portions of your work. Be aware that there’s no such thing as astandard shape for a histogram; the shape ofthe histogram depends on the content of theindividual photograph. A photograph of awhite dog against a black backdrop will havea U-shaped histogram with very few mid-tone values. A histogram for a photographof a gray-haired man in a gray flannel suitagainst a mid-gray backdrop will have ahump and very little data on the ends. I
  • Adobe Continued from p. 40 CS4: PhotoshopPHOTO EDIT WITH TWO FINGERS andOpen Adobe Bridge CS4 and navi- down key to eliminate images from Bridgegate to a folder of images. the selection. You can continue If the folder includes JPEG + repeatedly dumping with the downraw captures, Review Mode will dis- key. Cmd/ctrl-Z will restore theplay both files. You can use the fil- last photo you dumped if youter panel (Window > Filter Panel) haven’t used the arrow key show only the file type you want Cmd/ctrl-[ or ] will rotate a phototo work with. 90 degrees. Hit cmd/ctrl-B to see the Review Continue through the carouselMode (View > Review Mode). view until you’ve narrowed the selec- Put your right middle finger on tion to your best. Click the Collectionthe right arrow key and your index icon on the lower right corner.finger on the down arrow key. Use Name the collection and clickthe right key to advance and the Save. Bridge will revert to a review Review reverts to your workspace, where you can compare and remove images. of your new collection. Here you delete it from your selection. can compare images in pairs or Your original images remain more if you need to make further untouched in their original loca- refinements. Select an image and tion. This set of images now exists click the space bar to see it in a full- as a Collection. Choose Window > screen view; click the space bar Collections Panel if you don’t see again to return to the Bridge inter- the Collections tab in the Bridge face. Select an image and click the interface. Remove from Collection button just —Joan T. Sherwood,Click the Collection icon to create a new collection from the Review Mode. above the thumbnails panel to Senior EditorTOSS AND TILT YOUR IMAGE WITH A WACOM PENPhotoshop CS4 capitalizes on pow- from the menu for the lower half oferful modern graphics processors to the pen button and type R (Rotate Viewenhance image viewing. You can toss shortcut). Close System Preferences.and tilt your image as if it were a In Photoshop, all you have to do nowphoto on a table in front of you. It is access the Hand tool with the topworks with a mouse, but if you’re side of the Pen button. Touch pen tousing a graphics tablet, it’s great to tablet and flick to toss the image, makingcontrol this function with your pen. it glide across the screen. The motion Access your pen control preferences. stops with its own momentum or asOn a Mac, choose System Preferences soon as you again press pen to tablet.and click on the Wacom Tablet icon Clicking the lower half of the Penunder the Other category. Windows button now keys the Rotate Viewusers, find the tablet preferences in tool. Tilt your image to any anglethe Control Panel. Choose the Pen tool. non-destructively to make the action Select the menu for the upper half of painting and drawing much moreof the Pen button control, choose natural than ever before.Keystroke, hit the space bar (Hand tool —Joan T. Sherwood,shortcut), click OK. Choose Keystroke Senior Editor48
  • WORKFLOW EXTEND DEPTH OF FIELD MENUS AND KEYBOARD m 1. Take several exposures of a still subject, extending SHORTCUTS the focus to a more distant point with each frame. Cmd/ctrl- Hide menu items click the images you want to blend in Bridge CS4. Go toyou never use: Window > Tools > Photoshop > Load Files into Photoshop Layers.Workspace > KeyboardShortcuts & Menus > m 2. A new Photoshop file opens with the imagesselect the menu or panel, imported into layers. Shift-click to select all the layers in theclick the Visibility button. Layers palette. Choose your own Step 1keyboard shortcuts: m 3. Choose Edit > Auto-Align Layers, choose Auto,Window > Workspace > click OK.Keyboard Shortcuts &Menus > select the Key- m 4. Choose Edit > Auto-Blend Layers, choose Stackboard Shortcuts tab, click Images, and Seamless Tones and Colors; click OK.on the menu command.An open field will display. m 5. Photoshop blends the selected layers according toType in your shortcut. The content, creating a layer mask for each layer, isolating the bestinterface will warn you if information for the blend.your shortcut is invalid,or if it is in use for another Step 3command, giving you theoption to change it. Show KeyboardShortcuts: opt/alt +shift + cmd/ctrl + K Browse in Bridge:opt/alt + cmd/ctrl + O orshift + cmd + O Close and GoTo Bridge: shift +cmd/ctrl + W Save for Web & Step 4 Step 5Devices: opt/alt + shift + First layer Last layer Ten layers blendedcmd/ctrl + S All images ©Joan T. Sherwood New Layer: shift +cmd/ctrl + N Merge Layers:cmd/ctrl + E Merge Visible Layersto a New Layer: opt/alt+ shift + cmd/ctrl + E Layer Via Copy:cmd/ctrl + J Modify Feather:shift + F6 Last Filter:cmd/ctrl + F View Gamut Warn-ing: shift + cmd/ctrl + Y Proof Colors:cmd/ctrl + Y November 2008 Professional Photographer 49
  • LAUNCH YOUR BUSINESS PROTECT YOURSELF AND YOUR BUSINESS FROM MALPRACTICE SUITS START ME UP Join Professional Photographers of Indemnification claim is filed, you must or film due to an employee delivery is America and take part in PPA’s work with the attorneys of Howe & also ineligible. Begin with research Indemnification Trust (for members in Hutton. The Trust will not provide Copyright infringement by mem-and a business plan. the United States and Canada), a fund monetary compensation for negotiated bers or others Check local zoning established to protect photographers settlements or resolutions completed Expressed or implied warrantiesregulations and get appro- against alleged negligence on assign- without the consultation and assistance or guarantees of the quality of film,priate business licenses. ment in the case of: of Howe & Hutton. products, or services otherwise pro- Get a tax ID number Data loss (e.g., corrupt media card vided by the member or any thirdand find out what taxes or hard drive failure); THE TRUST DOES NOT COVER: party for film or pictures that subse-you’re required to report Equipment failure; Liability suits in cases of dishon- quently fade.and when. Failure of the photographer to esty, intentional fraud, criminal or business liability be at the event or assignment at the malicious acts, libel, slander, defama-insurance. Home-based specified time; tion of character or reputation, breachbusinesses need coverage Client dissatisfaction with services of confidentiality or invasion of privacy, The Trust has seenspecifically for business rendered during an assignment or as injury or mysterious disappearance, a spectacularproperty, professional contracted. loss of or damage to tangible property. increase in dataliability, personal and Should a lawsuit or the threat of The actions and work of independ-advertising injury, loss of recovery and one occur, the Trust will intervene to ent contractors hired by PPA data, crime and represent your interests, and provide Business interruptions, loss of profits, damaged mediatheft, and disability. legal counsel and advice in resolving a lost or damaged property, or casualty loss. claims. Back up The Small BusinessAdministration suggests dispute. Unlike traditional error and (You might be required to ship damaged your work as soon omissions or professional malpractice digital media for data recovery services, butpurchasing business insurance, PPA members will not incur any business disruption caused by the as possible oninterruption insurance rate increases or loss of coverage when damaged media is not covered.) removable media,to cover lost revenuedue to natural disasters, a claim is filed. Contract disputes that arise due to and in multiple Coverage for the above allegations the client’s intended breach of contract.fires or other catastro- could include the payment of damages and Trust attorneys and the PPA locations!phes that temporarily judgments, fees charged by an attorney Copyright & Governmenthalt business. designated by The Trust, and reasonable Affairs staff are always avail- Every state save costs and expenses resulting from the able to provide advice about mem-Texas requires businesses investigation, settlement, defense, or bers’ legal options in resolving dis-to carry worker’s compen- appeal of the initial claim. The attorneys putes or misunderstandingssation insurance for assigned to file claims work closely with with clients.employees (in some states the professional photographer to find an Claims of inva-you’re exempt if you have acceptable, expedient, and equitable sion of privacyfewer than a specified solution. Lab loss of filmnumber of employees). Lawsuits based on If you have substan- HOW TO FILE A CLAIM: breach of contract, or mat-tial personal assets, it can The first step is to call PPA at 800-786- ters that may be criminalbe smart to safeguard them 6277. A team member will ask you for or viewed as intentional,by setting up your busi- information regarding the incident, as opposed to negligenceness as a limited liability and file the claim. Loss or damage ofcorporation (LLC) to keep A representative from the law firm photographic propertyyour business and per- of Howe & Hutton, specialists in pho- that is in transit, withsonal identities separate. tographer indemnification, will call you the exception of film that —Lorna Gentry, to discuss your options and next steps is shipped with a tracking “Taking Care of Business,” PP Archive in resolving the issue. Once a Trust number. Loss of property Continued on p. 5650
  • pose kidsAll images © Sandy Puc’ HOW TO Sometimes it’s OK to break a few rules and have fun BY SANDY PUC’, M . PHOTOG . CR ., CPP
  • Perfecting children’s portraiture requires or a hair be out of place, and make the most still be there every time. After posing a child’spatience and a great attitude; many of the of the limited time left me. head, I walk back to the camera withoutrules of photography are thrown over for the taking my eyes off him. I gently coax the“Law of the Jungle.” I do try to follow the HEAD TILT. The general rule is that girls child to stay still, then snap! I’ve got my shot.rules, but success depends to a large degree tilt their head toward the lower shoulder, boyson the child’s attitude and willingness to listen. toward the higher shoulder. At about age 3, ARMS AND HANDS. There are manySometimes we should settle for fun, and let children start to take direction on tilting their formal rules for posing arms and hands.go the idea of perfection. I have a good time head. Understand, though, that children are For instance, never crop a body part at awith the kids, knowing that mom and dad quite literal—if you say “tilt,” they’re going to joint, as it makes the image disquieting.won’t see what I didn’t get, as long as I got a really tilt. Often, you’ll need to physically posi- And fingers and hands should not begreat expression. If the child is nearing the tion the subject’s head. And when you get pointing toward the camera. That’s one Iend of his patience, I’ll let a shirt go untucked back to the camera, don’t rely on the tilt to try hard not to break.
  • One of my pet peeves is not using a propersupport arm. You must find poses that donot seem forced or uncomfortable. Havingan arm stiff or in an awkward position isnot only a distraction in the final image, butwill also result in an unfortunate expressionreflecting the child’s obvious discomfort.For arms or hands, I always prefer anatural, informal approach with children. With more than one child, the oldest child’sarms and shoulder should be positionedbehind the younger children’s. I want toshow the siblings closeness, but withouthiding the little guys. This pose also reflectsthe appropriate ratio of the subjects’ sizes.LEGS AND FEET. I generally use twoleg poses with children. The boy pose is aseated position with the legs to the side, withone knee bent. (It’s important that boys notbe seated flat on their bottom, as it drawsattention to the groin area.) The boy placeshis elbow on the raised knee and makes aslight fist. Be sure his trouser legs arecovering his socks. The girl pose is similar, except with bothlegs extended slightly. The palm of the girl’ssupport hand should be flat on the ground,fingers pointing away from the camera. Theother hand can rest across the leg, although Iprefer to place it on the lower thigh. From there you can create many simplevariations. The one pose we almost neveruse is what we all know as “Indian style” (or“criss-cross applesauce” for the younger andmore politically correct). This pose flattenseverything out, and makes it impossible toget dynamic head, shoulder, and body tilts.Of course, every once in a while, a child justsits in that position naturally and it’s adorable—even my strictest rules can be broken. EXPRESSION. Controlling all thevariables that go into making a perfectimage isn’t always easy. Looking back at my
  • early work, I sometimes cringe at thelighting, exposure, and composition I used,because now I recognize my mistakes. Butwhatever little mistakes you might make,I’ve found that if you capture the realexpression of the child, one that willemotionally move your client, minor flawswill be overlooked. A child’s smile or laugh can melt hearts,but that doesn’t mean that the subject needs ‘‘ I have a good time with the kids, knowing that mom and dad won’t see what I didn’t get, as long as ’’to be all smiles all during the session. Sometimesa soft look or even a sad pout will stir the same I got a greatemotional connection. When the subject isn’t expression.smiling, the eyes are at their fullest, most wide-open shape. Warm and inviting, they, too,can capture the viewer’s heart. I typicallyprovide an even mix of these expressions. personality. When I select images for expectations include a healthy balance. I Your clients trust that you’ll capture studio samples, I’m always drawn to the Excerpted and condensed from the book,the whole essence of their child, and that images where the subject is not smiling. “The Sandy Puc’ Guide to Children’s Portraitincludes a full range of emotions and But I understand that my clients’ Photography” (Amherst Media). November 2008 Professional Photographer 55
  • Continued from p. 50 *ACTUAL TIME MAY VARY, DEPENDING ONMEASURE YOUR FINANCIAL HEALTH IN 30 MINUTES OR LESS * THE STATE OF ahead, and exit with a start? See below on downloading a YOUR FINANCIAL quick financial health list of categories from SHOE BOX. diagnostic tool. Remember how to YOUR MAGIC NUMBERS determine the circumfer- In a healthy photography business, ence of a circle? You mul- the benchmark for annual owner’s expenses; home-based—35 percent tiply the diameter of the salary plus net business profit is 35 to cost of sales, 30 percent to general circle by pi ( ). Easy as percent of the total amount of sales expenses. So in a sense, the “ ” in man- you-know-what if you (gross profit). Altogether, the owner agerial accounting, the benchmark know the measurement of keeps 35 cents out of every sales for retail-based studios is 25-40-35, the diameter and that the dollar coming in. and for home-based studios, 35-30-35. magic number = 3.14159. The remainder of the gross prof- True, applying the formula will Determining your it, 65 percent of the money taken in, take some thought, commitment, dis- studio’s financial health goes to paying two kinds of business cipline, maybe belt-tightening, even is much the same. The expenses: the cost of sales, which is hardship, and professional advice. But magic numbers used in the cost of producing the “products” after doing a reality check through the formula for photo- sold; and general expenses, which managerial accounting, you’ll know graphic business suc- include business administration costs what questions to ask. Best of all, you cess—one for home- (among them equipment, office sup- will be in control of your business. You based businesses, anoth- plies, outside legal and accounting ser- will be able to support your inner artist. er for retail location vices, taxes and license fees) and over- The Benchmark Survey is avail- businesses—have been head costs (employee expenses, mar- able for PPA members online in a determined for you by keting, capital expenditure, building downloadable PDF document. Go toBookkeeping, budgeting, pricing, the photographers and SMS maintenance, rent, utilities, insurance)., click the Studiofinancial forecasting—ugh, who accountants who authored the PPA Home-based businesses and retail Management Services tab, then clickneeds it; there’s money in my busi- Studio Financial Benchmrk Survey. location-based businesses have dif- SMS Resources. You’ll also find tem-ness account, I’m paying my suppli- The formula is the benchmark, ferent overhead expenses (there’s more plates for categorizing expenses,ers, and my accountant keeps my the standard, against which to diag- overhead for retail spaces), so there cost-based pricing, and buildingtax reports up to date. I don’t see nose the financial health of your busi- are separate benchmark allocations your annual this managerial accounting ness. Applying the formula, created of that 65 percent for each model: For more information, check out Studiothing could help my business suc- especially for the business of pho- retail-based benchmarks—25 percent Management Services at, or callceed, even if I knew what it was. tography, to those numbers is man- to cost of sales, 40 percent to general Beth Moore at 800-339-5451 ext. 244. That’s a prevailing sentiment agerial accounting. Managerialamong professional photographers, accounting will pinpoint any prob-says accountant Bridget Jackson, lems and clarify the remedy. And LIGHTING OBJECTSmanager of PPA Studio Manage- get this—PPA has automated the ALL THAT GLITTERSment Services. That’s why Jackson’s “crunching the numbers” part.enthusiasm on the subject catches The numbers you need for man- Use tent lighting for small, shiny objects, completely enclosing the object in aone off guard. “I love showing agerial accounting are right there diffused light chamber. You can construct such an environment from a simpleclients that something as important in your shoebox, the actual amount matte acetate cylinder, though the opening at the top of the cylinder couldas managerial accounting is almost of your gross sales, cost of sales and cause dark reflections. You could also use a cone that would extend from theas easy as organizing your closet!” general expenses. Get past the hurdle camera lens to the shooting table. For the setup to be light fast, you’ll have to You’ll find this hard to believe, but of sorting these into categories on take care in cutting the bottom of the cone so it sits flat on the table. For ashe witnesses financial epiphanies on a spreadsheet, says Jackson, and cheap and easy option, cut out the bottom of a frosted plastic gallon water juga regular basis. Photographers enter you’ll know how your business is and place it over the object on a light table or white surface. Place a light out-with a shoebox of jumbled receipts doing. Moreover, you’ll see exactly side the jug, and shoot through the mouth of the jug.and vague hopes for the months where any problems lie. (Where to —Al Francekevitch, “Lighting Small, Shiny Objects,” PP Archive56
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  • ©Mark Garber HOLD A GREAT HOLIDAY SPECIAL In just two days of shoot- ing and fewer than 10 MAKE WEDDING ORDERS STICK hours of production time,  Collect a substantial deposit the day you book the wedding. Barbara Yonts’ Christmas  Record the names, phone numbers, e-mail addresses special grosses $13,000 and complete street addresses of the bride, groom and both bride to say you’re looking forward to working with her, and reit- to $15,000. Partner with sets of parents. erate the date and time of the session. a kids clothes boutique—  Immediately after collecting the deposit, book an  Send a personal note to both sets of parents. Introduce a shop with great décor— engagement session at locations important to the couple. These yourself, and say you’re looking forward to photographing the and do the portraits there. will be presented in a romantic slide show at the reception. It couple. Engaging the parents is a powerful sticking strategy. Let the store book the further cements the agreement, and gets the couple too excited  One month after booking, mail another handwritten note appointments, all of 5 over the upcoming session to suffer buyer’s remorse. with yet another appropriate gift, such as a paid subscription to minutes apart, from 9 a.m.  Mail a handwritten thank-you and a small pertinent gift Bride Magazine. This tells the couple you care about them. to 7 p.m. Forget showing immediately after your first meeting.  Two weeks later, send another note with a box of gour- proofs; it’s strictly photog-  Next day, mail another personal letter recommending met cookies or fine chocolates, and tell them you’re excited rapher’s choice. After each wedding vendors whom you know and trust. This positions you about the big day coming up. mini session, let an assis- as an expert on the specialists in the community, and the bride If you think this is too much trouble because you so seldom tant hired specially for the will truly appreciate the helpful information. have cancellations, I’m pretty sure your prices are way too low! occasion help customers  One week after booking, send a casual e-mail to the —Charles J. Lewis, M.Photog.Cr., “Wedding Orders—Make It Stick!” PP Archives , In just two days of shooting and fewer than 10 hours of LEARN TO PROTECT YOUR CANVAS PRINT production time, Barbara Yonts’ 1. Check the manufacturer’s specs coating. “The easiest method of finishing without being exposed to Christmas special grosses on your canvas to be sure it’s compati- a canvas is to spray it with a preservative, dust or other airborne particles. $13,000 to $15,000.. ble with your printer’s inks. usually acrylic-based,” says Alan Zarter Look into building a DIY spray of Lawrenceville, Ga. “The spray adds booth. Follow the product’s appli- durability and display life to the print. cation guidelines. select a print I use PremierArt Print Shield, which I’ve painted on self-fixed canvas package and collect pay- doesn’t alter the look of the print.” prints with good results, but the pro- ment in full. In addition You can also use Krylon matte, fessional finishes have an extra depth to a nominal session fee satin or glossy finish sprays. Read the because of the additional steps the per child, Yonts’ packages specs for the coating you’re consider- pros take after applying the first pro- range in price from $35 ing to make sure it’s compatible with tective coat, from multiple coats of to $165. Customers can your canvas and inks. It’s a good idea lacquer to silk-screened photo-poly- add photo products and to test the finish on a sample print. mer UV coating hardened and poly- prints to any package. They Choose a product with UV inhibitors merized in a UV reactor. get eight free wallets if to lessen the long-term effects of expo- Once the canvas is coated, you the child is photographed sure to light, because the canvas will have to stretch it on a frame, which in an outfit purchased at©Karen Sperling not be displayed behind glass. requires a whole other set of skills. The the store. At pick-up Jack Duganne of Santa Monica, acrylic will flex with the stretching and they get a 20-percent Calif., recommends a spray coating like protect the canvas. store discount coupon 2. Let the print cure—dry at room Krylon Workable Fixatif available at art Your efforts will show in the toward their next clothing temperature next to a fan set to low— stores, or water-based PremierArt ECO results. If you don’t have the time or purchase. Yonts delivers for at least 24 hours. “This lets the col- Print Shield, which you apply with a patience to learn how to do a profes- beautifully packaged orders ors and tones stabilize,” says J Vee of J foam roller. Duganne says spraying the sional job, outsource it. to the store for pickup in Vee Graphics in Jacksonville, Ill., thus canvas first makes the rolling easier. about three weeks. —Karen Sperling, with contributors J Vee, preparing the surface to accept the Sprays smell and the vapors get J Vee Graphics,; Jack — Barbara Yonts, Duganne, Duganne Ateliers, M.Photog., CPP, next medium you apply. into your lungs. Spray in a well-venti-; Alan Zarter, Alan “Children’s Christmas Special: 3. After curing, apply a protective lated area where the finish can dry Zarter Fine Art, Easy, Fun and Profitable” Continued on p. 64 58
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  • get creative HOW TO with flash Learning to love your speedlight BY DAVID HOBBY Over the last 20 years as a newspaper photojournalist, I’ve learned something important about big studio flashes: They work poorly when I’m on assignment and they’re at home under my bed. Awhile back, I decided to learn how to better use the speedlights that always go with me in my Domke bag. Like Crosby, Stills and Nash said back in 1970, “If you can’t be with the one you love, love the one you’re with.” My newspaper days over, I’ve moved on to corporate and magazine photography. I still love my speedlights, and have adapted my shooting style to rely heavily on these pint- sized wonders. My current favorite is the Nikon SB-800. I like to think of it as a little monobloc, not such a stretch, really. It has full manual power, and as a bonus, wireless TTL. It also features a PC sync jack and a killer built-in slave. That’s a lot of fun in a package about British photographer Ant Upton the size of a hot dog. When I’m not shooting I publish a blog,60
  • All images ©David Hobby, Strobist.comMarketing specialist Asif Somji of Dubai
  • The Hobbys at their Florida, which teaches lighting tech- a 1/4 CTO filter to warm up the flesh tones modifier ofniques. It has evolved into a sort of lighting (Ant, after all, is British). about 7x9co-op, where a couple of hundred thousand The environment was a classroom at the inches. A cardboardphotographers hang out to learn about flash. University of London. The background was gobo placed a little high between the boxWe recommend getting your small flashes a gray room divider. Ugh. To get some color, and Asif kept the light off his your camera, and having a willingness to I gelled a second speedlight with a blue CTB I filled the shadows with on-axis light, atry anything at least once. The result is a gel and underexposed the background by a second SB-800 in an ExpoImaging Rayhyper-creative, peer-to-peer learning environ- couple of stops. Flash ringflash adapter. I set the fill about 3ment where the next “pro tip” you pick up might To create texture, I shot my background f/stops lower than the key light.come from a 17-year-old kid busting a new flash, positioned back, camera right, I love using on-axis fill light, whether itlighting move on his skateboarding friends. through a stack of drinking glasses. These comes from a ring flash or an umbrella Everyone can use a creative jumpstart created wavy diffractions on the back wall. I behind the camera. The light reaches backevery now and then. To prime the pump, picked up a little rim light from the blue in there and reveals detail in a controllablehere are four quick ideas on lighting flash on Ant’s face as a bonus. way. And it doesn’t ruin the logic of the keysubjects with small flashes. light by introducing another lighting direction. RINGFLASH FILLDRINKING GLASSES BACKDROP This photograph of Dubai-based marketing SUNSET YEARSThis photo of British photographer Ant specialist Asif Somji (p. 61) was shot with two My parents are approaching the 50th anni-Upton (p. 60) was lit with two speedlights. I speedlights. The key light was an SB-800 versary of their first date, and I wanted to createlit him with a single flash in a shoot-through placed high and close in, mounted in a small something special at their lakefront home inumbrella, camera left. I gelled the flash with LumiQuest SoftBox II, a folding light Florida (above).62
  • I clamped a single SB-800 to the insideof the tiki hut roof and triggered it with aPocketwizard. It was fitted with a domediffuser and a CTO gel, to mimic a baretungsten bulb. It may look like there’s a tungsten bulb inthe hut, but I have far more lightingflexibility with the flash. A continuous lightbulb will balance with the sunset for just afew minutes. By keeping the apertureconstant and opening up the shutter speed,I can track the balance between flash andsunset all the way into deep dusk.ROOFTOP PUPPETEERFor this shot of puppeteer Patrick Zung Puppeteer Patrick Zung(right) in New York City, we worked well intodusk—as in near darkness—zooming the We used three speedlights. The main kicker light, back camera right. The thirdcamera during the long exposures to make light was in a shoot-through umbrella, flash, used as an up light, was placed on thethe city lights abstract. camera front right. We used a bare-flash ground under the puppet’s chin. I PowerLight Accuracy. Consistency. Reliability. FREE Product Offer Get up to $200 in Free product ... Soft Boxes, Umbrellas, Stands and More! Go to for details. November 2008 Professional Photographer 63
  • Continued from p. 58BE SMART ABOUT BUSINESS DEBT I BY ANN K. MONTEITH, M.PHOTOG.CR., HON.M.PHOTOG., ABIExcessive debt is the No. 1 business cover these costs and earn a profit. BEFORE YOU DECIDE al or borrowed funds to construct akiller. PPA’s Studio Management Services TO GO FULL TIME business building or retail studio. Before I became a business offers a Basics of Business workshop Don’t quit your day job until you PPA’s Studio Managementinstructor and consultant, I learned that provides this vital information. either have worked part-time for Services offers a one-time financialthis the hard way by incurring so For dates and locations go to the someone else or built your own part- analysis that will help inform yourmuch debt in my first two years of Studio Management Services page time business at home or in a very decision that I faced the real possi- at and click the link low-overhead retail space. It takesbility of losing my home, which was for more information on workshops. time to build a successful photogra- BEWARE OF DEBTpledged as security against a Another important resource phy business, as well as many long WARNING SIGNShigh-interest bank loan. is the PPA Studio hours learning to master all the Inability to pay down short-It took several years DON’T Financial complex and interrelated elements term business debt within a 12- SPEND ITof relentless, Benchmark of business operations. This can take month period.stress-filled, Survey, which from two to five years. Borrowing to finance your liv-round-the-clock UNLESS YOU provides finan- Don’t quit your day job until you ing expenses. CAN AFFORDwork to put our cial standards know you have sufficient resources (in Borrowing to replace worn-outfinancial house in for home studios the bank or from other family income) equipment that your business can-order so that we TO SPEND IT. as well as retail to cover your living expenses until not fund.could grow what locations. PPA your business shows a profit (yeah,turned out to be three members can down- you guessed it—two to five years). WHEN DEBT’S OUT OFsuccessful businesses, with a load it from CONTROL, REDUCE IT BY …fourth now in the works. Budget your start-up expenses DON’T GO FULL TIME Cutting back business expenses. In addition to the hands-on real- (cameras, lights, computers, soft- UNTIL YOU’VE: Increasing sessions and salesity gleaned from the School of Hard ware, props, furnishings, etc.) very Developed a following among through low-cost marketingKnocks, I studied and learned the carefully. Even if you have the cash your target market (which means and marketing success to purchase them, make sure it is gaining client referrals) and devel- Reducing personal spending soprinciples that govern many types of money you can afford to lose, as no oped consistent cash flow from your that you draw less from the businesssmall businesses. small business is a sure thing. If you part-time business. and accelerate debt repayment. Photographers whose debt load must borrow to make these purchas- Created an efficient workflow that Selling personal or businessis out of control often quote one of es, create a prioritized budget for will allow you to deliver orders on time. assets if necessary.those principles: You have to spend equipment essentials as well as Created a realistic financial and Taking part-time employmentmoney to make money. This is true, funds for a few key marketing marketing plan for the next 12 to pay down debt.but I would add this important pieces, professional association months. Most experts agree that acorollary: Don’t spend it unless you membership, and fundamental photographer should be gross-can afford to spend it. professional education. ing between $50,000 and Excessive debt is the But how do you know what is, or If you decide to borrow for your $100,000 annually beforeis not intelligent use of debt? Here start-up items, investigate lending it is wise to consider a full- No. 1 business killer.are a few practical suggestions for options. Avoid using high-interest time home-based business, ormanaging business debt: credit cards. Cap your borrowing $150,000 to $200,000 annually budget at a level that you can pay before considering a full-time retail- IF YOU’RE JUST back within 24 months using per- location business.GETTING STARTED sonal resources in case you do not have Don’t even start a hobby business enough positive cash flow from the BEFORE YOUuntil you’re aware of all business business to reinvest in the business. BUILD OR LEASE Acosts (investment costs, costs for Once you have the essentials, a STUDIO SPACEproducing your product, and general good rule of thumb is to purchase Get professional advice beforeexpenses) and how many sessions or only those extras that you can pay you sign a lease agreement forevents you must photograph to for within 12 months. a studio space or invest person-64
  • IN AMERICA, BROKE ISCLIMB OUT OF DEBT FAST I BY FRANK DONNINO, CR.PHOTOG. REBOOT NORMAL. TAKE AToo many Americans have incurred huge We paid in full to build the new studio. FRESH STEPdebts by spending more than they earn. I was nervous, though, about uprooting BE WEIRD.I’ve been there. After nine years in busi- my family and renting while the condo At some point in theirness, in 1999 I got serious about the was being built. I kept promising my career, all photographersfinancial health of my studio. I’d been wife, “It will be okay. I will not let you need to reinvent them-moving money, not making it. With the down, and you will be happy someday.” We cut up our credit cards and used selves. If you can affordhelp of mentors and PPA’s Studio Our residential condo was ready in debit cards only. We cut out all non- it, I recommend taking aManagement Services, I learned what I April 2006, but I’d taken on a 30-year vital spending and literally went on a month off and gettingneeded to do to turn it around. I did it, mortgage, and was none too happy rice and beans diet, as Ramsey calls it, out of the shooting rou-but not without hardship and sacrifice. about it. As is the case with home loans, to save money. We budgeted using an tine. In that month, go to In 2004 we were told to I’d be paying more than double envelope system. For example, $300 galleries and art exhibitions,vacate our rented studio the cost of the condo went into an envelope each month for watch movies, MTV. Getspace within 30 over time. That did food; when the cash was gone, that was immersed in anything visualdays. The land- not sit well with it. We’d play games to see how far we save wedding photography.lords were me, and I could stretch that money. We felt we When you come back toousting all immediately had control over our money instead of shooting, go out with oneeight tenants began mak- being controlled by it. I maxed out my lens and one camera andto establish a ing extra retirement savings while paying extra force yourself to shootdaycare cen- payments on on the mortgage principal. outside your comfort zone.ter. I’ll never the principal. The following summer, I suspended — Jeff Ascough, “Inside Job,” PP Archiveforget my That my retirement deposits to pay offson, Tony, October I the mortgage even faster. My invest-looking at me heard a Dave ment broker thought I was crazy, REFERENCE TARGETSwith tears in his Ramsey radio but my accountant said I was smart— WHEN SAME-OLD,eyes, saying plaintively, broadcast that changed and weird. Fine. In America, normal SAME-OLD IS A“Dad, what are we going to do?” everything. Ramsey, who at is broke. GOOD THING We heard of some live-work spaces one point had lost everything and filed According to Ramsey, only 1 per-for sale nearby, but I didn’t have the for bankruptcy, subsequently learned cent of America’s mortgage holders pay Predictability is an impor-money to buy anything. My only asset how to handle money and became a it off in three years. I did it in 25 months. tant element in an efficientwas my home. On the other hand, sim- millionaire by age 28. I realized I was At age 52, I am officially debt free. workflow, so photographple math proved it would be cheaper to an idiot to accept debt as a way of life. This July I began putting 50 per- a reference target everybuy a space than to rent another place Following Ramsey’s principles, the 7 cent of my income into my retirement time the lighting changes.for the next five years. Baby Steps, my short-term sacrifices fund. We are enjoying our lifestyle, The target can be a digi- In 2003, my wife and I had put a would pay off in long-term gain: donating money, saving money, and tal gray card, a collapsibledown payment on a condo that had yet Step 1. Start an emergency fund spending money in a responsible way. digital target or an expo-to be built. We’d planned to rent it out with $1,000. If you’d like to be weird like me, try sure using a white balanceuntil we retired someday. We decided Step 2. Pay off all debt. reading David Ramsey’s book, “The filter like the ExpoDisc. Ifto sell our home and use the proceeds Step 3. Save three to six months’ Total Money Makeover.” necessary, you can useto buy a space for the studio. It was the worth of expenses. this target to color balancehardest decision of our lives. We could Step 4. Deposit 15 percent of your all files photographeddownsize and live in a condo, but it yearly household income into Roth under the same lighting Editor’s note: After a rigorous applicationwould be a big sacrifice for my family. IRAs and pre-tax retirement fund. process, Dave Ramsey recently accepted both conditions with a single We packed up the studio and put our Step 5. Start college fund for your Frank Donnino and his son Tony, 26, to click in post-production. become certified financial on the market. Against all odds children. —Robert D. Lloyd, Cr.Photog.,and despite two hurricanes in the inter- Step 6. Pay off home mortgage early. Donnino Gallery Portraits is in Boynton Hon.M.Photog.CPP, APII Beach, Fla. ( For “How to Work: Basics of aim, the house sold in the softest of Step 7. Build wealth, invest in Safe, Efficient Digital information about Donninos January sem-housing markets. mutual funds and real estate. inar, go to Workflow,” PP Archive November 2008 Professional Photographer 65
  • Continued from p. 50 Digital capture is less forgiving than film under mixed color temperatures. You’re particularly susceptible to unwanted color casts if you’re using a hodgepodge of lighting gear with differentCHECK LIGHTING THE LAZY MAN’S WAY color temperatures. Try to use lighting units and modi-Set your camera for raw capture. slightly off, it’s okay to adjust it, but fiers from the same manufacturer.(The in-camera image processing of by no more than 1/3-stop. Use theJPEG images could influence the software’s eyedropper to find a point inresults.) Set the white balance for flash. each file where the red measurement Photograph smooth, white is the same (below, left), then make a umbrellas are getting warm, trymatte board, foam board or a gray chart of the green and blue measure- washing the fabric. If things arecard under each light source alone. ments at that point in each file, along going blue, two options: color cor-Cover or turn off any ambient light with the red (Light color test, below). because I use it mostly as a main rection gels or new fabric. For greensource. Set your exposure about a The R, G and B measurements light, I’ll do a separate custom white imbalances, the only easy fix ishalf-stop under the point where the might not be identical (maybe the test balance in the camera. gelling. When your lights are bal-camera’s LCD starts showing high- card wasn’t exactly white), but no The general rule with slight anced, do a new studio customlight warnings. Start with the f-stop problem. Your goal is to have the same imbalances in your lights is to point white balance for your use most in the studio, but readings from light to light. I prefer the bluish lights at the subject—and If you use other lights on loca-bracket the exposure a bit so the to have no more than 0.5 percent do custom color balance only with tion, test them as well. The moreimages look consistently exposed. difference among the lights. (Your these lights—and use your warmer consistent your lights, the betterUse the fastest shutter speed you tolerance might differ.) In Table 1, lights for accents. your results.can without losing flash sync. the difference in the hair light is a If your soft boxes, reflectors or — Tim Cameron, M.Photog.Cr., CPP Open the raw files. I used the big problem. Move up the color tem-develop mode in Adobe Lightroom, perature slider and you’d find the bluebut any raw processing program reaches 95%, 650K higher than the SENIOR MARKETINGworks. Do not use auto settings— as-shot reading. That’s the equiva- RUN A SENIOR AGENT PROGRAMthe files must be processed exactly lent of using an 81c warming filter.the same way. If the exposure is Use the process of elimination to Limit the number eight free wallets with one fully understands find the problem. First, re-shoot the of agents to one for any package ordered. the program, fees, and light with the bulb bare. If the results every 40 to 70 For each card turned deadlines. —Bruce Berg, are in line with the other lights, the classmates. in, the agent receives M.Photog.Cr., modifier is the problem; otherwise Offer a free indoor $20 cash; for five to “Portraits with Senior color session in April nine cards, $30 each; Reps,” PP Archive it’s the light or its flash tube. The fix depends on your situation. of the student agent’s for 10 redeemed cards, My problem was the modifier, so I junior year. the agent gets a $100 changed the soft box on the hair To showcase your bonus. This win-win light. I also replaced the diffusion work, do a free make-up offer motivates both material that had gone warm on the enhancement session. the agent and the other light. I prefer my background Give agents a $25 prospective senior. light a little warm, so I left it alone. credit toward an out- Present agents the The ring light is a little blue, but door session (good same minimum order until early August). requirement as all Agents must place your seniors, LIGHT COLOR TEST their orders by mid but give Light R G B Fix August to get package them a prices. 5-percent Main 95 94.9 95 Give the agents discount on Fill 95 95 95.2 personalized digital the total order. BG 95 94.7 94.4* X wallet portraits to Require the hand out. On the back signatures of the Hair 95 94.9 97.2** X of the prints, place a agent and one parent Side Fill 95 94.8 94.7 sticker offering the on your agreement Hair 2 95 94.8 94.5* X bearer of the card form, to ensure every- ©Kay Eskridge66
  • All images ©Sarah Pettybalance HOW TO your life
  • Build a successful photography business in 40 hours a week or less BY SARAH PETTY, CR . PHOTOG ., CPP 1. KEEP YOUR DAY JOB. It sounds closing your doors to clients on Mondays it. Invest the time and money to get anlike a joke, but I’ve seen too many business and use the time to do the retouching, education in business management. Youowners bite off more than they can chew, album designing, paperwork, whatever, to can’t make business decisions if you don’tand accrue sizeable debt. Desperate studio clear your evenings and weekends. Or try understand the numbers. I’ve seen newowners make drastic decisions like deep reserving every other Monday afternoon for photographers with potential, but who can’tdiscounting, which erodes their brand. Have creative time. Throughout the week, save up really afford the studio mortgage or rentsome income—and confidence—while you ideas, clippings, art books, or anything that they’ve taken on. Often, just waiting a yearbuild your brand and your business. inspires you, to review during this time. or two before taking on more expenses 2. SCHEDULE TIME TO WORK 3. UNDERSTAND YOUR BUSINESS. makes the difference between success andAND TIME TO BE CREATIVE. We all Successful business owners talk about failure. Read over the PPA Studioneed quiet time to foster creativity. Try working on their business as opposed to in Management Services Studio Financial
  • Benchmark Survey Analysis to help you gain campaign, believe me, you will get focused. 6. MARKET EFFECTIVELY. Useperspective. It truly clarifies your options. Then, when you’re in your 15 shooting slowdowns to stretch your marketing(Members can download the survey analysis hours, the creative juices are free to flow.” muscles. Budget money annually forfrom Lori Nordstrom, M.Photog.Cr., of Winterset, marketing education. Choose instructors 4. PLAN AND SCHEDULE. John Iowa, agrees. “I have to schedule everything who have similar philosophies, businessHartman, M.Photog.Cr., A-ASP, of Stevens into my calendar,” she says. “I plan everything models and are successful. I recommendPoint, Wis., one of the strongest marketers —shooting, image editing, sales appoint- learning in small groups from someonein photography, offers this advice, “If you ments, order placement, packaging, marketing, who’s where you want to be.want to run a successful business working networking, even the planning is planned. 7. LEVERAGE YOUR PRICES. If40 hours or less, the first thing you need to Everything has a place and someone you’d rather not schedule weekend sessions,do is determine what those hours will be, assigned to the task, or it doesn’t get done.” price to discourage requests. Charge athen divide them into hours for planning, 5. AUTOMATE. For production tasks, higher session fee or minimum orderpublic relations/marketing, photographing maximizing your automation tools in amount. If you’re giving up personal timeand business (bill paying, tax forms, meeting Photoshop and other imaging software on a gorgeous Saturday, make it worth yourwith insurance salesmen). If you know you is simple and efficient. Set up actions, while. Gary Box, Cr.Photog., of Sapulpa,have, say, only 10 hours to plan a marketing use hot keys, use templates. Okla., tells of a man who insisted that the70
  • ‘‘ … even the planning is planned.only day his entire family could get togetherfor a portrait would be Sunday. Box replied, Everything has a place and someone ’’“Of course we can book you then. You knowthere’s a minimum order amount for assigned to the task, or it doesn’t get done.Sunday bookings?” The man said,“Thursday is lovely.” You can also use value-added incentives to get clients to do what —LORI NORDSTROMyou want. For example, if a senior keeps allof his appointments without rescheduling,throw in a few wallets, gratis. If the client at the start of the study had amassed more 10. BUY TIME WITH YOUR MONEY.orders at the first portrait viewing, reward wealth than the remaining 97 percent put Recently, when I’d fallen into that workinghim with a gift or special pricing valid for together. At the very least, invest in some nights and weekends trap, I brainstormedthat day only. It’s amazing how little things planning and projections software and build about tasks I could hire someone else to rescheduling and lagging on ordering a goal spreadsheet of your own. I outsourced a pile of accounting, tax and pay-will erode your productivity. 9. SET BOUNDARIES. If you’ve con- roll tasks to our accounting firm, which bought 8. WRITE DOWN YOUR GOALS. A vinced yourself that nobody notices the me about day a month. This isn’t a solutionYale University 20-year study on goal setting laptop in your lap during dinner and if you don’t yet have the profits to afford toamong Yale graduates had astounding results: family activities, you’re deluded. Set a finite pay others, but if you do, go for it. IAt the end of 20 years, the 3 percent of the time in the evening to your check e-mail, Sarah Petty Photography is in Springfield,subjects who had written down clear goals then turn off the computer. Ill. ( We pay top-dollar for used camera gear. Visit, get a free instant quote and print your pre-paid shipping label. We send a check when we receive your gear! Call toll-free 1.866.735.5444 or get your free instant quote at November 2008 Professional Photographer 71
  • RULES ARE MADE TO BE BROKEN, AND HARD WORK PAYS OFF… that’s my philosophy. Working as an advertising executive creating branding and campaigns for Fortune 500 companies, I directed photography for years. But I never considered becoming a pro photographer until I parted ways with my last employer and met PPA staff at the 2005 PhotoshopWorld. After taking in PPA and Af!liate education, I started my own photography business. My focus—to teach customers to really have fun with the entire experience—has led me to break six !gures with my !rst full year in business. AND KNOWING THAT PPA HAS MY BACK JUST MAKES RUNNING MY BUSINESS EASIER.ONE OF THE MANY FACES OF PPA Nikki Loehr Moxie Photography Studio PPA Member since 2005 !"#$%&"(")%**+,*%- Professional Photographers of America | | 800.786.6277 |
  • SEMINARS Cities & DatesProfessional Photographic Pittsburgh, PA Sept. 15, 2008and Fine Art Printing Washington, DCfrom Start to Finish Sept. 17, 2008 Boston, MA Sept. 29, 2008Learn new ways to quickly produce New York, NYprofessional-quality inkjet prints so you can save Oct. 01, 2008time and money and generate more income from Chicago, IL Oct. 13, 2008your best work. Using in-class demos, instructor Indianapolis, INTom Hauenstein will show how to: Oct. 15, 2008 Denver, CO Control color to get prints that look Oct. 27, 2008 like your on-screen images Minneapolis, MN Oct. 29, 2008 Create and use quality profiles for Seattle, WA Nov. 10, 2008 your choice of photo and art papers, Portland, OR canvas, and other materials Nov. 12, 2008 San Francisco, CA Use wide-format printing to help bring Jan. 19, 2009 new clients and revenues to your studio Los Angeles, CA Jan. 21, 2009 Santa Fe, NM Feb. 09, 2009 Dallas, TX Feb. 11, 2009 Space is Limited. Call Today! Cincinnati, OH Feb. 23, 2009 Nashville, TN Feb. 25, 2009 Charlotte, NC Mar. 09, 2009 Atlanta, GA Mar. 11, 2009 Miami, FL Mar. 23, 2009 Orlando, FL Mar. 25, 2009 Time 10 am to 4 pm Registration Fee $49 Includes Lunch, Refreshments, and Giveaways
  • ©Heather Smith
  • Talent rising The Professional Photographer Cover Photo Contest draws talent from every corner of the world BY JEFF KENTThe 2008 Professional Photographer Cover editors narrow the selection to 500 semifinalists. Professional Photographer: What were youPhoto Contest drew more than 50,000 entries Enter guest judge Helen Yancy, a past PPA looking for in the cover contest images? Whatfrom photographers around the world. president with a list of degrees almost as long were the criteria for a winning image? From March 1 to May 31, entrants were as the entry list for the contest (M.Photog. Helen Yancy: I started out looking for imagesinvited to submit as many images as they wished M.Artist.MEI.Cr.Hon.M.Photog., CPP, API, that would qualify for the PPA Loanthrough the magazine’s Web site, F-ASP, to be exact). As a PPA-approved Collection, but I quickly discovered that what The first stage of judging was based on photographic instructor and a juror of the makes an excellent Loan image doesn’t nec-composition and technical competence. PPA International Print Competition, Yancy essarily make a good cover image. It’s a very(Was the orientation vertical for the cover brought the perfect mix of experience and different process with very different require-format? Was there room at the top for the insight into the daunting task of picking a ments. People are quick to criticize covermagazine’s masthead? Was the image in winner from so many worthy choices. image choices, but they probably don’t under-focus? Was the subject matter relevant for We asked Yancy to say a little about the stand the criteria for selecting a good cover.the professional market?) These basic guide- judging process, and what qualities she saw in Foremost, you look for a strong messagelines helped Professional Photographer’s the images that inspired or disappointed her. and impeccable technical excellence. Here1ST PLACE: HEATHER SMITH HELEN YANCY’S TAKE:Located in Cumming, Georgia, our first place cover winner, Heather Smith, KUDOS: “There’s simply nothing wrong with it. This image meets all theruns Smith Photo Design with her husband, Steve. With five years experience technical requirements of a good cover. It’s a studio shot that was executedas a professional photographer, Smith concentrates on families and children. perfectly with excellent lighting. The composition is perfect. It has goodShe created the winning cover image when her youngest daughter wandered color. Content-wise, the image shows a beautiful expression on a darlinginto her studio as she was preparing for a client session. Smith enlisted her child. The hat she’s wearing says the season is fall, which works perfectly fordaughter to help test the lighting setup, barely getting the 13-month-old to the November cover. It’s nothing flashy, just pure simplicity. And simplicityslow down long enough to capture this image. “When I downloaded the card works. Significantly, this image illustrates exactly what we do as professionallater, I saw this image and thought to myself, ‘That is so her,’” says Smith. photographers. It’s a retail portrait that speaks to the readership of the“That is exactly the reaction I want from my clients when they see their images.” magazine.”Smith lit the scene with Profoto AcuteB heads. She modified her main lightwith a Photoflex 4x6-foot soft box, pulling it close to her daughter to CRITICISM: “Would I put this in the Loan Collection? I don’t know. It’s asimulate window light on her face. She set a 42x72-inch Larson Reflectasol bread-and-butter image for a portrait photographer, but as professionalSuper Silver reflector opposite the main light. A parabolic reflector photographers, we’re about bread and butter a lot of the time, so it works.”illuminated the background. Smith set up a kicker light behind and oppositethe main light, and modified it with a Photoflex HalfDome Strip Softbox. Shooting with a Canon EOS 5D camera and a Canon EF 70-200mmf/2.8L IS USM lens, Smith exposed for 1/60 second at f/8, ISO 100. November 2008 Professional Photographer 93
  • ©pea pod photography
  • too, the criteria for a magazine cover aredifferent than those for a competition print. TO THE WINNERS GO THE SPOILS The composition has to accommodate the Professional Photographer picked five top images, one of them the grand prize winner on themagazine logo and cover text. That rules out cover of this issue. In addition to being included in the Cover Photo Contest feature article,most horizontals, as well as images that take the top five photographers were awarded a package of prizes from the contest’s sponsors:up most of the frame. Many well-composed The FIRST PLACE WINNER received an Elinchrom Digital Style 300RX/600RX 2-images that would work for a portrait simply Monolight Kit and Skyport RX Trigger Set (retail value $2,773), a Canon EOS 40D digitaldon’t translate to the cover of a magazine. SLR (retail value $2,300), a $1,000 prize package from Miller’s Professional Imaging, a Clarity is important. The image has to be $1,000 lab credit from Kodak Professional, and a Microsoft Photography Workflowperfectly clear to reproduce well on the cover Package valued at $1,700.stock, which is quite different from photo paper. SECOND PLACE landed a Gitzo tripod and ball head (retail value $1,077), a Canon Color is crucial, even for black-and-white PowerShot G9 digital camera (retail value $599), and a $500 lab credit with Kodak Professional.images, which could exhibit an unwanted THIRD PLACE went home with a $600 Microsoft Expression Studio Package.color cast. FOURTH PLACE received a $500 Miller’s Professional Imaging Studio Sample Package. Of course, the content is central. PPA FIFTH PLACE earned a Manfrotto 055XPROB Tripod, a Manfrotto 056 3D Juniorand Professional Photographer have a Head and Kata KT OC-84 Photo Organizer (total retail value $500).message to convey. Cover images have toreflect the focus of the magazine. Many ofthe images we saw were highly creative, but prints, but when you convert the file to What impressed you?they didn’t necessarily communicate a CMYK for offset printing, it just falls apart. The creativity. So many fresh ideas. And themessage appropriate for the readership. I saw a lot of over-sharpening. A heavy talent the contestants exhibited. For the Impact is critical. The image must hand killed several images that otherwise most part, the entrants were working PPAimmediately speak to the viewer without would have been finalists. The over-sharpening members, from everywhere in the Unitedconfusion. While viewing the images, I would have been too apparent in the offset- States and abroad. Overall, I was verylooked for something that grabbed my eye printed cover. impressed.and made me look again. Soft focus was an issue. Often, selectively Finally, we tried to ignore old-fashioned soft focus is acceptable, even in print com- What’s your top suggestion to all thoserules. They haven’t existed in our image petition. But again, it wouldn’t necessarily aspiring cover photographers?competition for some time, and they don’t reproduce well for the cover. Consider how your images will be used. Thereexist when picking a cover image. We eliminated images that were overly were so many beautiful images I wanted to contrived or overly casual, like a snapshot. A select but couldn’t because the compositionWhat were some common mistakes you saw? good cover image has a natural, unstaged feel. wouldn’t work. Bottom line, a cover image isOver-manipulation was a big one. When an At the same time, it has to look professionally about selling the magazine. It needs to attractimage has all those filters and special effects created. There’s candid and then there’s snap- viewers, make them want to pick up theapplied, it may look nice in the maker’s shot. Snapshots won’t make it to the cover. magazine and read it.2ND PLACE: HEATHER LEED HELEN YANCY’S TAKE:Heather Leed of Pea Pod Photography in Lancaster County, Pa., created KUDOS: “This image displays excellent expression. The love on theour second-place winner to show the love of a mother for her child. “The mother’s face is amazing. It tells a great story and is a beautiful was sitting on the mother’s lap, and I posed her to lean over the baby A very near miss.”so the light would fall gently over both of them,” remembers Leed. “Ibacklit them and told the mother to relax, give her baby a gentle kiss, CRITICISM: “When we produced a cover mockup, the resolution on thethink about how much she loves him, and forget that I was there.” mother’s forehead was off. The transition from light to dark just fell apart. Working with a Canon EOS 5D camera and a Canon EF 24-70mm f/2.8L “In a print competition, we’d have looked long and hard at the ear, but thatUSM lens, Leed exposed for 1/125 second at f/8, ISO 100. She illuminated the wasn’t so much of a concern here—the magazine title would have gone rightscene with Photogenic studio lights modified by a Larson 4x6-foot soft box. across that ear.” November 2008 Professional Photographer 95
  • ©Marie Labbancz3RD PLACE:MARIELABBANCZWhen Marie Labbancz wasapproached by designerMilliner Artikal tophotograph her new line ofbridal headgear, she jumpedat the chance, especiallywhen the client offered hertotal artistic freedom. Theowner of Marie LabbanczPhotography in Princeton,N.J., envisioned a highfashion editorial look.“I am inspired by all theamazing editorial images inEuropean fashion maga-zines,” she says. “In myeyes, the photographers inthese publications are thetrue photographic artists ofour day.” Employing natural lightand silver reflectors in herfavorite loft studio inPhiladelphia, Labbanczexposed for 1/80 second atf/2.8, ISO 160. She workedwith a Canon EOS 5D cameraand Canon EF 70-200mmf/2.8L IS USM lens.HELEN YANCY’STAKE:KUDOS: “Almosteverything is right.Composition and exposureare perfect. This image wasdesigned for a cover anddone extremely well. It’spowerful. It’s fashion.”CRITICISM: “Lookingclosely, it became apparentthat the subject’s beautifulolive skin would have turnedgreen when converted toCMYK and printed.Sometimes that’s all thatkeeps an image off thecover—how it wouldreproduce in the particularprinting format on theparticular paper. And there’sa bit of a dull look to thesubject’s eyes. That alsokept it out of first place.”
  • 4TH PLACE: JENNIFER FIELDS Located near Kansas City, Jennifer Fields runs J.Fields Photography. She captured the fourth-place winner using her daughter as the model. Holding the camera low and shooting upward as her daughter swung away from her, Fields exposed for 1/500 second at f/9, ISO 400. She shot with a Canon EOS 30D camera and Canon EF 17-40mm f/4L USM lens. “The sky and light were just perfect that day,” she remembers. “The sun was slightly diffused behind some clouds, and there was just the right combination of clouds and blue sky.” Fields processed the RAW image in Adobe Lightroom and created two different exposures (one exposing for the clouds and the other for her daughter). She blended the two versions in Photoshop for the ideal combination of subject and background. HELEN YANCY’S TAKE: KUDOS: “This image is so fresh, so vital. I can’t see the subject’s face, but I know she’s laughing. The sky is wonderfully exposed. There’s great resolution. It has almost everything we were looking for.” CRITICISM: “There isn’t enough space at the top of the image for the mast- head. That composition element is all that kept it out of the top spot. That said, I wouldn’t change the image. If there had been room at the top, the view- point of the subject wouldn’t have been above my head. That’s where she needs to be for this image to be effective. She needs to be above, flying high into the sky. So what works for a great image doesn’t always work for a cover.” ©Laura Kay Wootan ©J.Fields Photography 2008 5TH PLACE: LAURA KAY WOOTAN Laura Kay Wootan, owner of The Smile House in San Marcos, Texas, created the fifth-place image during a session with little Katie, who she’s photographed since Katie was a newborn. “I wanted to create a fun, unique portrait that would work well with some of the other portraits I had already done for this family,” says Wootan. Using a single AlienBees B800 flash modified by a 2x3-foot Larson soft box, Wootan lit the scene to make it look like Katie was in a regular kitchen, not a photo studio. She shot with a Nikon D200 camera and an AF-S Zoom Nikkor 17-35mm f/2.8D ED-IF lens, exposing for 1/125 second at f/6.3. Wootan set ISO to 100 and white balance to 5,000K. HELEN YANCY’S TAKE: KUDOS: “Expression, expression, expression! The face is incredible.The way the photographer captured the expression is just wonderful. I also like the creativity of representing this little girl as an adult.” CRITICISM: “The hands are a little soft. That’s the only knock on this image, and the only thing that kept it out of the top spot.”
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  • HONORABLE MENTION Ross Bothwell Tania Quintanilla Rebecca Worple Firestone, Colorado Austin, Texas Terrace Park, Ohio David Sacks Laura Siebert Bryan Cox New York, New York Wildwood, Missouri West Point, Utah 100
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  • HONORABLE MENTION Carrie Sandoval Andrew Nock Carla Nelms Fallbrook, California Salisbury, Maryland Midlothian, Virginia Lindsay Docherty Ritz Blanco Rivera Dena Strban San Francisco, California Coral Gables, Florida Lufkin, Texas 102
  • HONORABLE MENTION Paul Van Hoy II Julie Klaasmeyer Desiree Elting Rochester, New York Paola, Kansas Fort Collins, Colorado Michelle Moore Matt Nicolosi Kristen Beinke Snohomish, Washington Plano, Texas Santa Barbara, California 104
  • calendar February 6-10, 2009 March 28-31, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; C: Heart of America, KCI Expo Center, Kansas Wilber Jeffcoat, wilber@jeffcoatphotography; City, Mo.; Stephen Harvey, 620-624-4102;; February 13-15, 2009 March 28-31, 2009 C: PP of West Virginia, Morgantown, W.V.; C: PPSNYS, Desmond Hotel, Albany, N.Y.;Submit your organization’s convention, workshop, Tom Gilson, 304-232-3686; Kelvin Ringold, 315-451-3716;seminar or exhibition dates to Professional;; www.ppsnys.comPhotographer at least six months in advance.Editors reserve the right to select events to be February 15-16, 2009 March 28-31, 2009announced on these pages, and to determine S: PPA of Pennsylvania, Radisson Hotel and C: PPA New Mexico, Albuquerque, N.M.;when announcements will appear. Editors are Conference Center, Camp Hill, Pa.; Jessica Lozoya, 505-243-1007;;not responsible for conflicting or incorrect dates. Scott Weldon, 610-641-9025; www.ppanm.comFor readers’ convenience, each event is identifiedby a code preceding its name: C=Convention,; April 3-7, 2009W=Workshop, S=Seminar, C/E=Approved PPA February 20-23, 2009 C: PP of Washington Western States,Continuing Education Seminar, E=Exhibit. Send C: PP of Oregon, Embassy Suites Hotel, PDX, Great Wolf Lodge, Grand Mound, Wash.;all Calendar of Events additions or correctionsto: Marisa Pitts, Professional Photographer, Portland, Ore.; John Alexander, 541-382-5587; Lisa Lamping, 503-861-1200;229 Peachtree St., NE, Suite 2200, Atlanta, GA;; www.ppw.org30303; FAX: 404-614-6404; February 20-23, 2009 April 3-8, 2009 C: PP of Massachusetts; Steve Meier, 781-829- C: Minnesota PPA; Joanie Ford, 763-560-7783;Future Events 4282;;; February 20-25, 2009 April 19-21, 2009January 24-26, 2009 C: Virginia PPA, Renaissance Hotel, C: PPA of Pennsylvania, Radisson Hotel andC: PP of Nebraska, Midtown Holiday Inn, Portsmouth, Va.; William Garrett, Conference Center, Camp Hill, Pa.;Grand Island, Neb.; Jeff Funk, 402-991-4413, 434-836-2751; Scott Weldon, 610-641-9025;; February 26-March 4, 2009January 31 - February 3, 2009 C: PP of North Carolina; Sheraton Imperial April 19-22, 2009C: PP of Iowa, Airport Holiday Inn, Des Hotel, Durham, N.C.; Loretta Byrd, 888-404- C: Northern Light, Breezy Point, Minn.; JeffMoines, Iowa; Chris Brinkopf, P.O. Box 108, 7762;; Fifield, 218-722-3777;; NicoleSumner, IA 50674; 563-578-1126; Bugnacki, P.O. Box 567, Ironton, MN, 56455; February 27-March 3, 2009 763-390-6272; www.nlpp.orgFebruary 6-9, 2009 C: Wisconsin PPA, Marriott Conference Center,C: Maryland PPA, Columbia, Md.; Madison, Wis.; Mary Gueller, 920-753-5302; April 25-28, 2009John Stein, 240-344-1460; Mary Mortensen, 262-754-8889; Deb Wiltsey, C: SEPPA, Athens, Ga.; Tom McCollum, 866-382-9772; 770-972-8552;; March 15-18, 2009 ww.4seppa.comFebruary 6-10, 2009C: PP of Michigan, James B. Henry Center, C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; April 25-28, 2009Lansing, Mich.; Scott Green, 248-318-5182; C: New Hampshire PPA, North Conway, N.H.;; Don Chick, 603-335-4448; don@chickpho-February 6-8, 2009 March 19-23, 2009; www.nhppa.comC: PP of West Virginia; Morgantown, W.V.; Tom C: PP of California, Pasadena Conference April 26-28, 2009Gilson, 304-232-3686;; Center, Pasadena, Calif.; Roger B. Daines, S: PP of Michigan, Inn at Bay Harbor,; Harbor, Mich.; Scott Green, 248-318-5182;; PPA EVENTS, EXAMS & REVIEWS April 26-28, 2009 C: PPA New Jersey, Atlantic City, N.J.; Leslie, Professional Photographers of America (PPA) January 10-12, 2010 866-985-4300;; has a proud tradition of providing its members Imaging USA, Nashville with outstanding educational opportunities through its annual events, PPA-Merited classes June 14-15, 2009 and its PPA Affiliate School Network. Don’t Certification Exam S: PPA of Pennsylvania, Radisson Hotel and miss out on the vital knowledge you’ll gain at January 11-13, 2009, Imaging USA, Conference Center, Camp Hill, Pa.; these events! For information on PPA events, Phoenix. Call 800-786-6277 to register. Scott Weldon, 610-641-9025; call 800-786-6277 or visit February 6, May 8, August 7, October 9,; December 8-10, 2008 2009: Certification image submission August 8-12, 2009 Studio Management Services, Atlanta deadlines online C: Tennessee PPA, Marriott Cool Springs, For a complete list of exam dates, go to Franklin, Tenn.; Ernie K. Johnson, 615-509- January 11-13, 2009 and click on Certification. 5737;; Imaging USA, Phoenix 106
  • August 21-22, 2009 October 4-6, 2009 November 1-2, 2009C: PP of California, South San Francisco S: PPA of Pennsylvania, Radisson Hotel and S: Northern Light/MPPA Fall Seminar, St. Cloud,Conference Center, S. San Francisco, Calif.; Conference Center, Camp Hill, Pa.; Minn.; Nicole Bugnacki, 763-390-6272;Roger B. Daines;; Scott Weldon, 610-641-9025;;; November 6-8, 2009Septemer 19-21, 2009 October 18-21, 2009 C: PP of Indiana, Marriott East, Indianapolis,C: PP of Nebraska, Midtown Holiday Inn, C: APPI, Decatur Conference Center, Ind.; Terry Bateman, 317-253-6245;Grand Island, Neb.; Teri Funk, 402-991-4413, Decatur, Ill.; Jill Sanders, 309-697-9015;; February 6-9, 2010September 20-22, 2009 November 1-2, 2009 C: PP of Iowa, Airport Holiday Inn, DesS: PP of Michigan, Crystal Mountain, S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126;Thompsonville, Mich.; Scott Green, Moines, Iowa; Chris Brinkopf, 563-578-1126;; www.ppiowa.com248-318-5182;;; February 18-21, 2010 C: Mid American PPA, Marriott East, Indianapolis, Ind.; Terry Bateman, 317-253-6245; Quantums Latest: February 19-23, 2009 Qflash 5d-R/FreeXwire System C: PP of Michigan, Troy Marriott, Troy, Mich.; Scott Green, 248-318-5182; Now TTL-Ratio Control For Digital Cameras!; February 26-March 2, 2010 Give yourself the ultimate location lighting advantage C: Wisconsin PPA, Radisson Hotel, Green Bay, of maximum flash power, dedicated wireless control Wis.; Donna Swiecichowski, 920-822-1200; to 500ft. and full TTL-Ratio capability. Carl Caylor, 906-779-1535; Compact, portable Qflash 5d-R provides 150 to 400 watt-seconds of studio April 10-13, 2010 quality lighting. C: Heart of America, KCI Expo Center, Kansas FreeXwire radios link wirelessly to as many remote Qflash as needed. City, Mo.; Stephen Harvey, 620-624-4102; Quantums QTTL adapters support virtually all dedicated, camera-flash; functions including Manual, TTL, Auto, Auto-fill and now, TTL-Ratio. Compatible factory upgrades also available for Qflash 4d and 5d models. PPA-Approved Continuing Education Seminars PPA members receive both merits and the best published prices. Future events February 16-18, 2009 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; February 19-20, 2009 C/E: The artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; Qflash: March 15, 2009 C/E: Advanced Outdoor Lighting Techniques with Jeff Dachowski; Alexandria, Va.; Stephanie Millner, 703-349-6269 March 15-20, 2009 C/E: Georgia Group I Mentoring Class; Paul Wingler, 800-483-6208; Call 631-656-7400, visit or your professional photo dealer for more information.108
  • TODAY NOVEMBER | 08 PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President © Rod Gleason © Ryan Brown I know the truth to the statement: my studio in 1979, I knew nothing about For almost thirty years, I have made“if we stop taking care of what either subject. It didn’t take me long it a goal to become better with both we have, we soon will lose it.” to realize that if I was going to stay my camera and my business. Like in business, I had better learn both. my stone wall, if I neglect either, I am Ten years ago, we bought 13 acres putting everything I have worked for PPA News & Notes outside Marshall, Mich., that had been PPA was founded with the goal of in jeopardy. We are blessed to have a bed and breakfast. We are still in education, and it did a great job within our PPA family so many giving the process of turning the property of teaching photographers how to individuals willing to share. Some will into what we want, and there always become even better. But I feel that help me be a better photographer, seems to be something that needs to it has only been the last ten years while others will help me navigate the be done. For instance, the property where we have put the same emphasis business climate of the next few years. is blessed with stone walls built in the on teaching members about their‘40s and maintained over the years. businesses. There are many to thank This month, Cameron and her For the !rst eight years, I paid to have for this turn of events, one being the staff are dedicating Professional the wall repaired. Then, I decided PPA Board of Directors. It was their Photographer magazine to essentials, to learn how to maintain the walls long-range vision for our industry that the how-to of photography and myself. I had someone show me the helped them make the time and business. Enjoy the industry’s !nest basics, and I practiced from there. It resource commitment needed to see magazine as we go back to basics. was very clear from the beginning this succeed. There were also members that if you don’t start with a good who, from the beginning, were willing foundation, what you build will not last. to help make business education what it has become today. One suchOur businesses are much the same as person is Ann Monteith. Her servicethat wall. We need to know the basics and inspiration for teaching soundof photography and business, so that business principles have changed the Dennis Craft, M.Photog.Cr., CPP, API, F-ASPwe have a secure foundation when businesses of many PPA members. 2008-2009 PPA Presidentwe build our businesses. When I bought FRIENDS MET ALONG THE WAY like Kirk, who give of their time and (what he sees in his mind and createsOne of the bene!ts of being effort to make photography better. with a camera/computer is genius);president is the opportunity I and Jackie Palmer, one of the nicest,have had to represent PPA…and I also attended the Michigan summer most energetic photographers in themeet people along the way. seminar before the school started, Michigan group (always willing to meeting up with Dave and Denise share what she knows with a smile).For example, I had the privilege of Boyce and Red Enos. I can’t rememberattending the Florida convention when our friendship started, but I These are some of the people I haveat the end of August and spending count it a privilege when we spend crossed paths with since I last wrote.time with Kirk Kief, president of the time together. They give many hours We spend so much time on “things”Florida group. Knowing some of the to make the Michigan group better, and very little on building relations. Thisextra activities Kirk is involved in, it is and I know it’s done for the love of month, I hope you take note of thoseamazing that he still found time to photography. Then, I got the chance around you who teach and inspire.serve on the board in Florida. PPA is to talk with friends, old and new: John We have much to be thankful for.blessed to have dedicated people Marion, who continues to inspire menews from the world’s largest professional photography association | Professional Photographers of America | P1
  • TODAY BOARD MEMBER SPOTLIGHT Tim Walden M.PHOTOG.CR, F-ASP PPA Member since: 1989 Shoots: PORTRAITS Location: LEXINGTON, KENTUCKY Photography obviously changes, yourself in photography, what else Walden’s studio, for example, they as does every industry. But don’t can you do? Education is the obvious move furniture around often and forget what PPA Board Member Tim answer, as Walden says. But he play movies and music that re!ect Walden of Walden’s Photography believes that while you should get the season. They also read a lot of says: “We sell experience as all the education you can, the key business books, which challenge much as we sell anything else.” lies in applying the knowledge. them to rethink. And they look at businesses—from car dealerships Technology expands photographers’ “You can’t teach experience,” adds to restaurants—for ideas on what tools and clients become savvier Walden. “But everything you do learn to do and not to do. “It’s the little as they have greater exposure has a strange way of overlapping things…as simple as the way we’rePPA News & Notes to it. This gives both great ability and helping. Anything you do in greeted,” Walden explains. “Was it and great challenges, according the industry "ts in like pieces of the memorable? Was the person sincere? to Walden. “We can do so many puzzle.” For instance, Walden’s "rst Did we feel a welcoming spirit?” things with the technology that job was with a printer, working in a we can lose the substance behind darkroom. He believes he is better as Yes, your photography is essential, our imagery,” he comments. a photographer because he knows but photography is much more than what it takes to make a good print, the "nal prints. “I’m less concerned “It’s easy to forget [in portraiture] thanks to that job. And Walden has with people liking my style. I just want that we’re in the ‘!attery business,’” some experience in commercial them to KNOW what I do because continues Walden. “We need photography, which he’s able to then those who like it will come,” says to keep focused on those goals apply to portraiture almost every day. Walden emphatically. “If there’s no of portraying relationships and distinction to my work, people will creating images of value.” Walden also believes that keeping only shop by price and location.” your business fresh involves more than And as you can see, that distinction So if learning the new technology is photographic techniques. Again, comes from the entire experience. not the end-all answer for bettering it’s all about the experience. In CONVERSATIONS ON OURPPA.COM If you haven’t chatted on the OurPPA you get online now? You might "nd not a PPA member, haven’t visited forums recently, you might be missing a solution to a problem waiting for OurPPA for awhile, and can’t log in to some big changes! The forums have you there. After all, you’ll be talking the new location, you might need to moved to share a home with the new to professionals like yourself! create a new account (click the red, so all photographers have Register button). Of course, you can easy access. And no worries…you PPA members will "nd that the new always join PPA as a full member, too! can still "nd great ideas, critiques, username and password they created and professional help from the for the new gives them OurPPA forums. In fact, why don’t full access to these forums. If you’re IN MEMORY MORRIS ENGER, M.PHOTOG. Master Photographer Morris Enger of Studio, a well-known portrait studio in cover of !"#$%&&#()*+!,#-#.")/,%"+ Clayton, Mo., passed away April 27, St. Louis, from the early ‘30s to the mid- magazine June 5, 1941. A collection 2008, at the age of 95. A life member ‘80s. A testament to his imagery, he of his portraits is in the archives of of PPA, Morris and his wife Clara won many awards at PPA conferences, the Missouri Historical Society. owned and operated Binder Adelier and his work was even on theP2 news from the world’s largest professional photography association | Professional Photographers of America |
  • TODAY2008 AN-NE MARKETING AWARD WINNERSThe results are in! The entries in the 2008 AN-NE Marketing Awards competition have been the cause of many a judge’sheadache…because the entries were so close in quality. This is a good thing. Listed below are those who made it to thetop on an average of the three judges’ scores (based on effectiveness, professionalism, and a host of other qualities):BEST FAMILY & CHILDREN CAMPAIGN FINALISTS: BEST USE OF MULTIMEDIAWINNER: Kimberly Wylie WINNER:David McKay Kimberly Wylie Photography Beth ForesterMcKay Photography Dallas, TX Beth Forester PhotographyEl Dorado Hills, CA Madison, WV Melissa MiroslavichFINALISTS: Miroslavich Photography FINALISTS:Debi Gomez Woodbury, MN Paul OwenLife’s Images Photography Paul Owen Photography, LLCSpring, TX New Berlin, WI BEST INDIVIDUAL MARKETING PIECESarah Petty Photography (Sarah WINNER: Kathi CorderPetty, Kari Abate, Andria Crawford) Barron & Barron Photography Kathi Corder PhotographySpring!eld, IL (David & Bonnye Barron) McArthur, CA League City, TX BEST WEB SITEBEST HIGH SCHOOL FINALISTS: WINNER: PPA News & NotesSENIOR CAMPAIGN Farrah Braniff Melissa MiroslavichWINNER: Farrah Braniff Photographs Miroslavich PhotographyBarbara Barry Houston, TX Woodbury, MNIn-Vision Studio, Inc.Pittsburgh, PA Gen Levy FINALISTS: Precious Things Photography MCG Photography, LLC (JamesFINALISTS: Chicago, IL McGavick & Corrie McGovern)Darty Hines Charleston, SCColleen & Co. BEST ONLINE MARKETING CAMPAIGNHalifax, PA WINNER: Kimberly Larson Wendy Rouleau Life is Art Photography, LLCBox Portrait Gallery Portraits by Wendy Stevens Point, WI(Gary & Pamela Box) Buford, GASapulpa, OK FINALISTS: BEST WEDDING CAMPAIGNBEST IMAGE MARKETING CAMPAIGN Sarah Petty Photography (Sarah WINNER:WINNER: Petty, Kari Abate, Andria Crawford) Christa HoffarthFarrah Braniff Spring!eld, IL [studio]Farrah Braniff Photographs South Lake Tahoe, CAHouston, TX Trista Blouin Look Who Just Blouin Photography NO FINALISTS IN THIS CATEGORY Pensacola, FLEMERGING PROThis newest AN-NE Marketing Award was the most dif!cult category to judge. Many of these entrants stood at the top oftheir speci!c AN-NE categories themselves! The panel of judges looked at all the entries from members in business !veyears or less and debated their way to the top three.WINNER: FINALIST: FINALIST:Barron & Barron Photography Melissa Miroslavich Catherine Leonard(David & Bonnye Barron) Miroslavich Photography Catherine Leonard PhotographyLeague City, TX Woodbury, MN Washingtonville, NY!"#$%&()$*)+,$)-.//%)$012//) !"#$%&()$*)+,$),&5)5,)#4//(< !"#$%&()$*)+,$)#1$>)5,)&*)342/&567)88.5&0*((7)2*%)4*&34) 6)$8),1)521=5)"21>5):+&5,)2*) "$/%):+&5,)2)A#)(&5;91(*525&$*):+&5,)2)(&"9/)91&./&(5; ?"2=)@21>5&*=).2"92&=*;news from the world’s largest professional photography association | Professional Photographers of America | P3
  • TODAY AFFILIATE SCHOOL SPOTLIGHT DELTA SCHOOL OF PROFESSIONAL Basic Studio Operations – Bob Lloyd Course Information: PHOTOGRAPHY Advanced Portraiture – Rick Trummer Fundamentals of Photography February 8 – 12, 2009 | Hot Springs, AR Children – Ernie & Loraine Johnson – Study the essentials of portrait Contact: Gary or Kathryn Meek; Weddings: Let’s Kick it up a Notch – photography to prepare for the; John Michael Hanna Certi!cation process. Topics range 501-624-3195 from controlling depth of !eld to Web site: EVERGREEN SCHOOL OF digital !le management (emphasis on Tuition: $495 (for standard classes); PROFESSIONAL PHOTOGRAPHY creating professional-quality images $695 (for Advanced Painter) February 8 – 12, 2009 Vancouver, WA with dimension and light control). The Course Information: Contact: Sam Gardner; Certi!cation exam will be offered Advanced Painter – Jim Cunningham Thursday, but this in-depth study of Photoshop – Don Emmerich Web site: photographic skills and techniques will The Essentials of Photography: A PPA Tuition: $775 for most courses prove valuable for years to come, well Certi!cation Class – Gary Meek (includes meals) beyond any test you take. WINONA COMES HOME Winona…if you’ve been in Winona Assembly, a Northern Indiana restaurants after classes to sit until photography for awhile, you chautauqua (near a lake known as midnight and talk about what they’d probably remember that name. Winona Lake), to have a weeklong learned. And that’s just part of whatPPA News & Notes For many years, it was the name summer class on photography. As McCarty himself remembers. “A of education in pro photography. those classes became more popular, week in Winona totally changed The Winona School of Professional a structure was built to house them. careers,” he says. Ask around… Photography ended up being the anyone who’s been can tell you their central location for all photography When the chautauqua movement experience like it was yesterday. education by Professional started to fade, a photography group Photographers of America. But it called the Daguerre Club of Indiana Later, Winona School was moved to didn’t get its beginning with PPA, put in $100 each to take over that Chicago, near the PPA Headquarters. and it is going back home in 2009. building and keep the education alive. When PPA moved to Atlanta, the Under the Daguerre Club, the Winona Winona School followed. Then, To understand the birth of Winona School housed face-to-face critiques about 1999, the school’s name School, you have to understand the (peer judging) and peer-to-peer was changed, and “Winona” was movement behind it, according to teaching, one of the !rst photography retired as the name of photographic Robert McCarty, Cr.Photog. In the organizations to do so. As this school education. But that’s about to late 1880s, a changing job market grew, the Daguerre Club turned to change, too! The Daguerre Club and gave people more time to learn new PPA, showing them how this school the Professional Photographers of skills and take vacations. Many in was something the entire association Indiana petitioned to have the Winona the New York area camped around needed. The leaders of PPA agreed, name back for their Af!liate School. Chautauqua Lake and heard from and PPA took over the reins. guest speakers about different This simple name has a long, illustrious subjects. These educational camps What’s so great about the Winona history. Will it live up to its name? became known as “chautauquas.” experience, you ask? The students Why don’t you go and !nd out? stayed in homes of residents, absorbed The Winona International School At the turn of the century, several the intense classes until their minds of Photography (formerly IPAS) inventions contributed to a rising were over"owing with information takes place June 14 – 17, 2009. The interest in photography. This led the and ideas, and went to bars and Winona name is back in business. ELECTRONIC IMAGING: CLEARING UP SOME CONFUSION Have you ever wondered exactly what Committee Member, wrote an article everyone wanting to enter the EI should be submitted to the Electronic called, “Clearing Up Some Confusion competition needs to read. Go to Imaging Competition portion of print about PPA’s Electronic Imaging to view the entire competitions? Well, now there’s an Competition.” And we have it online! article (visit the International article that can help clear up some Full of detailed image examples Print Competition at the of those questions! Kaye L. Frey, and explanations about what, how, Competitions page). M.Photog.M.Artist.MEI.Cr., a PEC and where to enter, this is the articleP4 news from the world’s largest professional photography association | Professional Photographers of America |
  • Golf outing at ASU Karsten Golf Course in Tempe, AZ - 8:00am Celebration at Alice Coopers Town - 8:00pm Join fellow PPA photographers and exhibitors at PPA Charities hosts a Celebration event before the first annual PPA Charities Golf Tournament. Your Imaging USA officially begins. Featuring fun, registration fee paves the way for loads of fun: fellowship, and food (including live and silent auctions to benefit the charity), the evening kicks off with a Golf fee and car fees VIP Cocktail Hour from 8:00pm-9:00pm and Practice balls and custom score card is open to all after 9:00pm. Sparky Club Crest (ASU bag tag) Official scoring by professional staff To attend the VIP event, select the PPA Charities Event option when you register online for Imaging USA. Sun Devil Patio Awards BBQ Awards Luncheon and more! Get the full scoop at for additional details. !"#$%&%(
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Color Incorporated ( .....................Cover III, 117 Photogenic Professional Lighting (www.photogenic)..................63 Corporate Color/Prolab Express ( ........116 Profoto ( ......................................Cover IV Portrait Weavers ( 1 1/2 acre River Frontage property in EAGLE, Contemporary Photography/J. Hartman ( Pro Photo (, 121COLORADO with two cabins, one a Photo gallery the Custom Color Corporation ( Dalmatian Lab ( Quantum ( a 3+ bedroom cabin with deck right over the river. Denny Manufacturing ( .....................123, 127 Ramsey Resources ( building serves as a frame shop and storage. Denny Manufacturing ( Reedy Photo ( .......................................121According to some old time locals it used to be a stagecoach Diversified Lab ( ................................120 Renaissance Albums ( .................124 Savage ( on US Route 6. Well established high-end clientele for Draper Imaging ( Simply Canvas ( .................................11815 years. Live & work right out of your home in this growing Drivesavers ( ..........................................26 Dury’s ( Sony ( .......................................................45mountain town just west of Vail. A turnkey operation in a Dymo ( ...............................................13 Sto-fen Products ( .......................................129paradise setting. Visit my website at Eclipse Backgrounds ( ...................127 Studio Dynamics ( ..........................129Listed at $775,000. Call Mike Crabtree at 970-390-9500. emotion Media Inc. ( Successware ( ESS Data Recovery ( ............................122 Tamron USA Inc. ( ........................................31 Foto Figures ( Tyndell ( PHOTOGRAPHY STUDIO chain for sale in TEXAS. Unique Photo Supplies ( Fredericks Photo Lab ( ...................1163 stores, franchiseable concept, proven profitable, mgmt in place. Fujifilm ( United Promotions Inc. ( ...............................119Will sell all or part of the corp. Next 2 studios scheduled for Group Photographers Association ( ..116 Used Camera Buyer ( Antonio. Working closely with Hallmark Imaging ( .............................120 Veach Co. ( Wacom (, 361-548-7615-Jay, Herff Jones ( ..................................................117 White House Custom Color ( ..............10-11, 32-33 Imaging Spectrum ( ......................123 White Glove ( STUDIOS WANTED International Supplies ( .............28 Xeno Software ( Kambara U.S.A. Inc. ( CAMERA GROUP, INC. buys whole studios or any The Levin Co. ( .....................................125part including cameras, film, darkroom, long roll, lighting, and misc. Lexjet ( Publisher not responsible for errors & omissionsNo quantities too small. Call 800-325-7664. Ask for Eric. November 2008 Professional Photographer 129
  • good works | Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work.©Judy Stimson Stimson feels such publicity is critical. “When somebody sees a pet in the paper, on TV or online, the picture must speak to them,” she says. “It takes a balance of making the home- less pet look adorable and vulnerable at the same time. I want people to start bonding with the pet as soon as they see the picture, so they will take action leading to adoption.” Stimson says the work is challenging, yet highly rewarding emotionally. “When I photo- graph clients’ pets for my business, the animals know their name and basic commands, and there’s somebody in the pet’s life that it’s bonded with and listens to,” she says. “With homeless pets, we rarely know their names, they don’t respond to commands, and there’s nobody they know and trust. As a result, their behavior, combined with the shelter environment, makes it a tough shoot.” By reaching out to a potential audience in the millions ( alone has more than 500,000 hits a day), Stimson has helped unite families with hundreds of dogs and cats. She realizes, too, that the problem of dog and cat overpopulation requires a solution. She Publicizing pets urges pet owners to spay or neuter their ani- mals. “Unfortunately, there’s no way to adopt our way out of the over-population prob- IMAGES SPEAK VOLUMES FOR HOMELESS DOGS AND CATS lem,” she says. “But once the animals areE here, they deserve humane treatment. There’s a saying I live by in my volunteer work: ‘The very year, 6 to 8 million dogs and these would-be pets connect with families who victims can’t speak. The pictures refuse to cats in the United States enter animal would care for them. keep quiet.’ I think that says it all.” I shelters. Three to 4 million of these Two years ago Stimson undertook volunteer See animals available for adoption at healthy but homeless animals are work at a no-kill shelter in her area. One day The Humane Society euthanized. PPA member Judy a week, she photographs the incoming dogs provides information on pet adoption and spaying and neutering: Stimson, owner of Best Image and cats, then tries to get the images published Photography in Tampa, Fla., blanched in local newspapers, displayed on television when she heard this grim statistic. Surely, and posted on Because poten- Share your good works experience with us by e-mailing Cameron Bishopp at she thought, she could find a way to help tial pet owners can be reluctant to visit shelters, 130
  • Christopher Gill& ComPactProfoto“ The Profoto ComPact line has really revolutionized the way we work. They’re easy to travel with, set up quickly and deliver an absolutely neutral white color output, accurate from shot to shot. The neutral light helps today’s digital cameras deliver files that require little to no color correction. Clients tell me my work is seemingly three-dimensional, that it pops off the page. Even more impor tant, they say I’m the first photographer they call. That means my lighting style has car ved out a niche in ” a crowded marketplace. © Christopher Gill ComPact Kits ComPact and ComPact R include a FREE custom case, two umbrellas and two light stands. F O R M O R E D E TA I L S V I S I T W W W. P R O F O T O - U S A . C O M 914-347-3300 Distributed by MAC Group