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Professional photographer 2008 02

  1. 1. FEBRUARY 2008 | WWW.PPMAG.COM | $4.95©Louise Botticelli
  2. 2. g p a l b u m s i nt r o d u c e s ou r n e wOPTIMUS SELF-MOUNT ALBUM& FOLIO COLLECTIONOPTIMUS SELF-MOUNT ALBUM FEATURES:• High-end style• Repositionable adhesive (creates permanent bond within 2-3 days)• Thick mounting pages A Division of General Products, L.L.C.• 40 different cover material options• 10 album sizes & 7 folio sizes• Inset cover designs available on most sizes 800.888.1934 e-mail: inquiry@gpalbums.comYour Photos. Your Life.™
  3. 3. CONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008Features74 DOUBLE VISION Louise Botticelli’s booming bicameral business model by Jeff Kent82 SHOT THROUGH THE HEART Marcus Bell throws heart and soul into his photography, whether documenting a wedding or creating fine art by Stephanie Boozer90 9TH ANNUAL HOT ONE AWARDS Technology that works for you by Jeff Kent68 COMMERCIAL: FLIP SIDE Jason Lindsey forges a commercial career with a dual perspective by Jeff Kent IMAGE BY MARCUS BELL
  4. 4. 14 FOLIOCONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008 | WWW.PPMAG.COM 112 119 138 CALENDAR PPA TODAY GOOD WORKS©Jason Lindsey Departments C O N TA C T S H E E T 20 Inspiration Sundance style 22 Irving Penn exhibition 24 Dutchess of Carnegie Hall: Editta Sherman 28 Public lands and permits PROFIT CENTER 33 What I think: Louise Botticelli 36 The joy of marketing by Sarah Petty 40 Buying into books by Kalen Henderson 42 Do more in less time and prosper by Charles J. Lewis THE GOODS 45 What I like: Kerry Brett Hurley 46 Pro review: Nikon D300 by Ellis Vener 54 Pro review: Canon EOS-1Ds Mark III by Ron Eggers 60 Lighting: In the studio by Ed Pierce 64 Lighting: The Zeus System by Ellis Vener68 Commercial photographer Jason Lindsey of Champaign, Ill., is living proof of the value of having a dual perspective. His experience as an art director and designer enhance every shoot, and his clients appreciate the difference. ON THE COVER: Louise Botticelli photographed Cameron, age 3, at her Setauket studio. The image was captured using a Kodak DCS Pro Back 645 on a Contax body with a 140mm Zeiss lens, exposed for 1/125 second at f/8. The image was retouched in Photoshop, finished with Corel Painter, and titled “Sailing the Seas of Imagination.” 6 •
  5. 5. P ROF E S S I ONA LEDITORIAL director of publications CAMERON BISHOPP senior editor art director/production manager To market, two markets JOAN SHERWOOD DEBBIE TODD manager, publications and CATERING TO DISPARATE CUSTOMERS THE SMART WAY features editor sales/strategic alliances LESLIE HUNT KARISA GILMER Thanks to the hospitality of family friends who own a beach home there, for the last 10 years I’ve been fortunate enough to vacation on editor-at-large sales and marketing assistant a very lovely and luxurious little island near Charleston. The JEFF KENT CHERYL PEARSON exclusive summer enclave is brimming with million-dollar houses technical editors and the wealthy vacationers who enjoy them. ANDREW RODNEY, ELLIS VENER For years, the only place to buy groceries in the area was a mid- director of sales and strategic alliances range, practical sort of chain store right off the island, where both SCOTT HERSH, 610-966-2466, western region ad manager year-round residents and wealthy summer vacationers bought their BART ENGELS, 847-854-8182, milk—the kind of place where I normally shop, with a discount aisle eastern region ad manager SHELLIE JOHNSON, 404-522-8600, x279, and half-price specials. circulation consultant One summer we returned to find that a gourmet grocery had MOLLIE O’SHEA, editorial offices been built right on the island. It’s the kind of “shoppe” that sells $45 Professional Photographer imported olive oil. I couldn’t help but notice how the disposable 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 income went flying when we visited the store for our freshly ground Professional Photographer (ISSN 1528-5286) is published monthly dark-roast coffee. subscriptions Professional Photographer After check out, I glanced at my receipt. At the very bottom in P.O. Box 2035, Skokie, IL 60076; 800-742-7468; tiny print was the name of none other than the mid-range grocery FAX 404-614-6406; email:; Web site: member services store down the road. How clever. The owners had opened a luxury PPA - Professional Photographer store directly targeting those monied vacationers, wisely choosing to 800-786-6277; FAX 301-953-2838; e-mail:; Send all advertising materials to: Debbie Todd, Professional Photographer, keep the two brands separate. 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Louise Botticelli, whom we feature this issue, has also embraced Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. this separate but equal concept. After years at the helm of an International: $39.95, one year digital subscription. upscale portrait business catering to customers happy to fork over Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. big dollars for art, Botticelli opened a second, more accessible studio Subscription orders/changes: Send to Professional Photographer, Attn: Circulation that targets customers looking for more affordable portraits and Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:; Web site: other photographic services as well. She gave it a moniker of its own. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. The way she and her team executed the expansion reinforces a Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 fundamental concept in professional photography: Your brand is Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. sacred. Botticelli’s savvy in opening a wholly separate storefront Article reprints: Contact Professional Photographer reprint coordinator at Wrights’s Reprints; 1-877-652-5295. protects the desires and comfort of both clientele. Turn to her story Microfilm copies: University Microfilms International, on p. 74 to learn more. I 300 North Zeeb Road, Ann Arbor, MI 48106 Cameron Bishopp Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, Director of publications 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 Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide 10 •
  6. 6. 7 Gallery Wraps 8 9 Thank you for helping us win our ninth Hot1 award!How did win Professional Photographer’s Hot1 Award nine times? By listening to you, our customers, forthe past eight years. You told us how we could help increase your business and simplify your workflow, and we have listened.Now over 10,000 professional photographers are using and reporting revenue boosts from our high-quality collagesColorTM + collagesDesktopTM products and time-saving workflow. 9 Build Your Brand Are your products hot? Sign up free at and learn how your studio can start benefiting from the hottest products and services in the industry.Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online PresentationCheck out’s comprehensive product line at©2008 Inc. All rights reserved. Photos ©2008 Brett Chisholm Photography and TriCoast Photography.
  7. 7. chairman of the board CAROL ANDREWS *MICHAEL GLEN TAYLOR M.Photog.Cr., ABI CAMERON BISHOPP M.Photog.Cr.Hon.M.Photog., Director of Publications API, F-ASP SUSAN MICHALProfessional Photographers M.Photog.Cr., CPP, ABI DANA GROVESof America Director of Marketing & directors229 Peachtree St., NE, Suite 2200 Communications RONNIE NORTONAtlanta, GA 30303-1608 TIMOTHY WALDEN dgroves@ppa.com404-522-8600; 800-786-6277 ABI, Qualified European Photographer, M.Photog.Cr., F-ASPFAX: 404-614-6400 SCOTT Associate of the Irish PPA Director of Sales & Strategic Alliances2007-2008 PPA board industry advisor LOUIS TONSMEIRE MICHAEL GREENpresident Cr.Photog., API J. ALEXANDER HOPPER*JACK REZNICKI Director of Membership,Cr.Photog., API Copyright and legal counsel DON DICKSON Howe and Hutton, Affairs M.Photog.Cr., CPP Chicago ahopper@ppa.compresident-elect*DENNIS CRAFT WILDA OKENM.Photog.Cr., CPP, PPA staff Director of AdministrationAPI, F-ASP SANDY PUC’ DAVID TRUST M.Photog.Cr., CPP, ABI Chief Executive Officer LENORE TAFFELvice-president/treasurer Director of Events/Education*RONALD NICHOLS RALPH ROMAGUERA, SR. SCOTT KURKIAN ltaffel@ppa.comM.Photog.Cr., API M.Photog.Cr., CPP, API, F-ASP Chief Financial *Executive Committee12 •
  8. 8. Expect More Beautiful Color At Miller’s, consistent, beautiful color is just as important to us as itis to you. That’s why we offer color correction on our photographic prints and press products. Every step of our process guarantees the color of your printed images. We don’t simply press “print” . When you look good we look good. Don’t settle for less.
  9. 9. 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.©Tim Ostermeyer TIM OSTERMEYER “The entertainment value of this image is that there are four long telephoto lenses with minimum focal length of more than 10 feet to photograph polar bears in the distance, but this bear was less than 3 feet away,” says Tim Ostermeyer, M.Photog.Cr., CPP, of Ostermeyer Photography in Allen, Texas. With a Canon EOS A2E 35mm camera and 100-400mm Canon f/4.5-5.6L IS USM EF lens, Ostermeyer exposed “Polar Paparazzi” for 1/125 second at f/8, ISO 400, on Fujicolor NPH 400 Professional film. Though the image didn’t originally merit, “The late, great photographer and wonderful person Buddy Stewart asked the judges to reconsider,” says Ostermeyer. “He saw the humor and challenges of getting this photograph.” 14 •
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  11. 11. ©Mollie Isaacs MOLLIE ISAACS Hired by an architect to photograph a series of model homes in the Outer Banks of North Carolina, Mollie Isaacs, M.Photog.MEI.Cr., of F2 Photographic Design in Kill Devil Hills, N.C., created “Simple Sophistication” for the client’s Web site. Shooting with a Canon EOS 20D digital SLR and 20-35mm Canon f/3.5 USM EF lens, Isaacs exposed the frame for about 1 second at f/22, ISO 400. Isaacs performed minor retouching, tinting the back window soft pink and removing distortion caused by the wide-angle lens.©Don Monteaux DON MONTEAUX “Contrary to popular belief, this image was not a composite made in Photoshop,” says Don Monteaux, M.Photog., CPP, of Virginia Beach, Va. While driving toward Hatteras, N.C., Monteaux saw this gaggle of geese walking single file along the dunes. He captured “Grounded” with a Canon EOS-1D Mark II digital SLR and 24-105mm Canon f/3.5 II USM EF lens, exposing the frame for 1/250 second at f/8. The only digital retouching Monteaux performed was minor enhancement of the sky in Adobe Photoshop. 16 •
  12. 12. 8,762 miles to the South China Sea. 179 feet up a limestone cliff. 4 NIKKOR lenses. ® 0 chances to re-shoot.©2007 Nikon Inc.
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  14. 14. CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.Inspiration Five-star accommodations meet top flight talent at the 2008 Sundance Photographic Workshops Sundance style©Eddie Soloway
  15. 15. ©Brenda TharpThe popular Sundance Photographic Workshopkicks off the year with a series of travel,landscape, nature and portrait photographyclasses in three seasonal sessions. Set amidthe breathtaking scenery of Utah’s SundanceResort, the Workshops are headlined byaward-winning photographers NevadaWier, Eddie Soloway, Bobbi Lane, TonySweet, Brenda Tharp and Tom Bol. Founded by actor and environmentalistRobert Redford in 1969, the Sundance Resortlies in a canyon in the shadow of scenic Mt.Timpanogos, about an hour’s drive south ofSalt Lake City. With classes sizes capped at 15 students,there’s plenty of opportunity for one-on-oneinstruction. Between sessions, students arefree to roam the grounds of the five-starresort, one of Forbes magazine’s Top 10Coolest Resorts. The spring Workshops, May 7-11, emphasizetravel and landscape photography. The coursesare: “Photographing on the Move” with NevadaWier, and “A Natural Eye” with Eddie Soloway.The summer Workshops, August 25-29, offer ©Eddie Solowaytutorial-style training in nature and portraitphotography. The Workshops are: “ExploringYour Personal Vision” with jazz performerturned nature photographer Tony Sweet, and“Portraits on Location” with commercialphotographer Bobbi Lane. The fall Workshops,November 5-9, focus on travel and adven-ture sports photography. Outdoor and travelphotographer Brenda Tharp presents “TheArt of Travel Photography: Capturing theEssence,” and Tom Bol shares his sports andenvironmental portrait skills in “People inthe Landscape.” Evenings include a reception and dinnerwith presentations by the instructors. Tuitionis $1,100 with one scholarship available perworkshop. Meals and lodging are not included.For more information, February 2008 • Professional Photographer • 21
  16. 16. CONTACT SHEET Close encounters to the world, then Penn has succeeded admirably. He enters into hard negotiation Six decades of Irving Penn’s work at the Morgan Library & Museum with every personality that stops in front of his camera and, very often, he wins.” New York City’s Morgan Library & Museum His compositions not only helped define the More than one-third of the exhibition com- presents an exhibition of modern photography, look of the magazine, but established a ground- prises works from the 1940s, images that por- showcasing its first major acquisitions in this breaking aesthetic for modernist photography. tray the evolution and maturation of Penn’s field, through April 13. “Close Encounters: “Irving Penn’s incisive portraits illustrate style. In 1947, he began photographing subjects Irving Penn Portraits of Artists and Writers” a rich and defining period in this city’s seated on or before a draped rug, subjects such features 67 portraits of influential artists, cultural history,” says Charles E. Pierce Jr., as Salvador Dalí, whose persona generally authors, and performers of the 20th century. director of The Morgan Library & Museum. dominated whatever milieu he appeared in. Acquired in 2007, this rare collection of gela- “Many of Penn’s subjects are artistic and Yet on Penn’s rug, Dalí, if still stylish and tin silver prints is an extraordinary visual record literary icons whose own drawings, musical defiant, looks caught. of some of the greatest creative minds of the scores, manuscripts, and books are In 1948, Penn defined a corner of his studio period, including T.S. Eliot, Truman Capote, represented in the Morgan’s growing with movable walls, and directed sitters to Arthur Miller, Tennessee Williams, Aaron twentieth-century collections.” inhabit the restricted space. Among these Copland, Richard Rodgers, and Oscar “Each of these works is a vivid record of portraits is one of Marcel Duchamp, svelte Hammerstein II. the encounter between Penn and his subject,” and elegantly posed, who becomes a tall line A resident of New York City for more than says guest curator Peter Barberie. “If a funda- that echoes the lines of the corner itself; and 50 years, Penn (b. 1917) began his career as a mental task of portraiture is to capture sub- Georgia O’Keeffe, who as Alfred Stieglitz’s photographer in the 1940s at Vogue magazine. jects differently than they present themselves wife and model was acclimated to being photographed, looking wary standing unposed.© Irving Penn, gelatin silver print from an edition of 14, 1984 In the 1950s, Penn begin to capture subjects up close, sometimes cropping their forms to accentuate the two-dimensional design of the composition or filling a large frame solely with a bust or head. In Penn’s iconic 1957 image of Picasso, the artist’s face is cloaked in the shadow of his wide-brimmed hat, his body by a dark overcoat, leaving only the piercing stare of a single illuminated eye to glare from the center of the photograph. Penn is also known for his celebrated group portraits, such as the 1967 photograph “Rock Groups,” picturing Janis Joplin and Big Brother and the Holding Company alongside the Grateful Dead in San Francisco, both groups on the brink of frenzied stardom. If you go to just one exhibition this year, make it “Close Encounters” at the Morgan. For more information, go to Arthur Miller, New York, 1983 22 •
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  18. 18. CONTACT SHEET The Duchess of Carnegie Hall Photographer Editta Sherman is legendary Recently, 95-year-old portrait photographer Editta Sherman had little time to talk with a reporter on the phone. She was busy sav- ing Carnegie Hall of New York, her home of 61 years. At an up- coming gathering, she plans to auction some of her famous photo- graphs and sell copies of the book “Facades,” a 1978 collaboration of Sherman and New York Times photographer Bill Cunningham, Photo of Editta Sherman by Roberta Ciacci and donate the proceeds to the hall’s legal defense team.©Editta Sherman This isn’t a struggle to save Carnegie Hall Today the youthful faces of Golden Age from demolition, which she helped fight in celebrities gaze from frames covering the the 1960s when the city bought the 117-year- walls of Sherman’s studio, where the decades- old property. This time it’s Carnegie Hall vs. old sign, “Celebrity Camera Portraits,” still Carnegie Hall. The venue’s management hangs on the door. “Most of the people I intends to evict tenants who live above the photographed are dead now,” she laments. concert hall, many of whom, like Sherman, The dramatic lighting in those portraits is have been there for decades. They refuse to due in part to the graceful north light flooding go quietly. Tenants in some 50 studios have in through a skylight 40 feet overhead. “I filed a lawsuit. used to rent out my studio to Vogue magazine,” Carnegie Hall studio apartments have been she says. “It was in demand at that time, home to such arts luminaries as Isadora thanks to the skylight. It was annoying, Duncan, Marlon Brando, Leonard Bernstein because I had to stop my photography, but it and Martha Graham. In 1947 Sherman moved paid well and I had these five children to in with her ailing husband (who died in 1954) raise so I needed the income.” Some of the five children and an already antique 8x10 photographers turned the camera on her camera, with which she made portraits. (above), as evidenced in numerous pictures Back then the studios were advertised as displayed in the studio, often wearing places where artists could live and work for vintage clothes once worn by Gloria a philanthropically motivated low rent. In Vanderbilt’s mother. Andy Warhol both her five decades above the rapping of tap photographed her and made a short film of shoes and the discord of orchestral tuning, her at work in her studio. Sherman photographed inventors, poets and Sherman had learned photography from writers, including Carl Sandberg and Pearl her father, Italian-born portraitist Nunzio S. Buck, and Broadway and Hollywood Rinalo, who had immigrated to New stars, among them Yul Brynner (left), Tyrone Jersey. By age 10 in 1922, Sherman was Power, Boris Karloff and Henry Fonda. working with her father in the darkroom, 24 •
  19. 19. In her five decades above the rapping of tap shoesand the discord of orchestra tuning, Shermanphotographed inventors, poets and writers.and by 16 was helping him photograph moved in, he dubbed her the “Duchess ofweddings. “I didn’t have much of a Carnegie Hall.” The nickname is so aptchildhood because I was so involved in his that it,” she says. Sherman still does portraits occasionally, Photography remained a hobby until these days mostly of non-celebrities. “Backher husband’s illness made her the family’s in the day I was pretty well known, butsole breadwinner. She set up a studio in now the young ones are coming up and theMartha’s Vineyard to attract the wealthy older ones are dying off.” Nevertheless, shecrowd who vacationed there. She earned continues to get calls. “You know, there’s noenough referrals to relocate to the Carnegie difference between a celebrity and non-Hall studio, where she converted the celebrity as long as they pay the price!”kitchen into a darkroom. Many years laterwhen photographer Bill Cunningham Lorna Gentry is a freelance writer in Atlanta. ©Editta Sherman World’s first full-frame ultrawide angle medium format lens for film and digital backs 28mm AF Digital lens Aspherical lens element and low dispersion glass produce unsurpassed sharpness and color accuracy on today’s high resolution digital backs. • Rectilinear design produces ultrawide images with virtually no distortion. • All Mamiya Sekor Digital lenses are designed with large image circles and can be used with film and digital backs. • Ideal for architecture, landscapes, interiors, group shots, etc. Mamiya Sekor AF 28mm f4.5 D Aspherical T: 914.347.3300 WWW.MAMIYA.COM for Mamiya 645AFD/AFD II
  20. 20. CONTACT SHEET ments for the second time. MOTFB wants Public places to include Chapter 9, an ordinance requiring photographers, filmmakers and others to Photography permit rules need monitoring obtain a permit on a first-come, first-served basis before photographing, filming or How many photographers have made terms that remain in the proposed change. otherwise broadcasting on city property. photographs at a national park or anywhere For instance, photographers pay a location MOTFB released a revised draft on that requires a Special Use or Filming fee of $50 to $250, plus a varying cost recovery October 29 that’s more favorable to the Permit from the government? With high a fee for application processing and operating photographers. The ordinance now applies price tag, unclear definitions, and narrow expenses associated with the photo session. to causing “obstruction of daily activities”©Rita A. Bales application windows, seeking a permit can Having to pay the cost recovery component— rather than the number of people and kind be stressful. Several photographic associations whether or not a permit is granted—is likely to of equipment that will be used. are collaborating to redress the process. be a financial burden to many photographers. MOTFB also intends to offer an optional Professional Photographers of America PPA maintains that professional photogra- permit that would allow photographers to (PPA), Commercial Photographers Interna- phers covering a school class or family portrait, apply for a permit, even if the project doesn’t tional, the Society of Sport & Event Photogra- working with only a tripod and a reflector, warrant what’s now termed a “required phers, the Student Photographic Society and make less impact on a site than moviemakers permit.” The optional permit should enable Evidence Photographers International Council or commercial shooters, and should not have photographers to complete outdoor assign- are speaking with two entities, the Department to pay as much. PPA asked for clarification of ments on city property. of Interior and the New York City Mayor’s Office the department’s definition of “commercial While no final rule decisions have been of Film, Theatre and Broadcasting (MOTFB). photography,” “model,” “sets” and “props,” to issued by either the Department of Interior The Department of the Interior proposed stem confusion over how photographers are to or the MOTFB, PPA and its allied organiza- streamlining the permits that apply to land classify the work they plan to do, which influ- tions are vigilantly monitoring these and managed by the National Park Service, Bureau ences their decision to apply for a costly permit. other issues related to film and still pho- of Land Management and Fish and Wildlife In regard to the MOTFB proposal to tography permits. service. Laudable, yes, although the associations amend Title 43 of the Rules of the City of also want to address the high fees and loose New York, the associations submitted com- For more information, visit 28 •
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  24. 24. Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies What I think Louise Botticelli stays ahead of the game What’s the biggest business risk you’ve ever taken? About three years ago, I decided to expand the busi- ness to accommodate the clientele who were look- ing for more of a modestly priced, less elaborate pho- tography experience. It was risky, setting up my own competition within the same area. What’s the secret to running a successful photography business? Continuously evaluate and reevaluate what the market is looking for and figure out how to make it work for your business. Choose a lab that cares about the success of your business and gives you the support you need to grow. What’s your deal breaker? A long time ago, I had a client who kept negotiating and bargaining with me about the price of his portrait, and I felt uncomfortable. After the portrait was delivered, the client apologized, and said he and his family loved it so much that I couldn’t buy it back from him for any amount. Now I tell people, if you do not love your portrait, I will buy them back from you. Well, I don’t have a gallery of other people’s portraits in my house! What’s your motto? Look for the good in people, and it will show in your portraits and in your business. IMAGE BY LOUISE BOTTICELLI WWW.BOTTICELLIPORTRAITS.COM February 2008 • Professional Photographer • 33
  25. 25. Photography by Gregory Heisler.
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  27. 27. TMTHE JOY OF MARKETING S A R A H P E T T Y, C P P With a strong visual identity, you give your business a face. Repetition and consistency turn your logo and branding into a familiar face that your clients will grow to love. Identity crisis CREATING A LOGO AND BRAND Before you can think about generating your business forms, even your photography. desire for your brand, you have to create a Think of your logo as your face. A logo consistent identity. There must be a con- can be letters, symbols, graphic elements, sistent look to everything about your pictures or a combination of any and all of business that the public sees, including them. The key is to create a unique logo and your logo, the colors you use, your signage, stick with it. My best advice is to hire a pro- fessional graphic designer to help you create an identity package you can use for years. It is an investment in the future of your brand. Last February, after years of working in the family’s photography studio in Indiana, Jeff and Michelle Richardson decided to branch out and open a studio of their own in another Hoosier town, Bloomington. They agreed to spare no cost in creating a new identity for Richardson Studio Ltd., including engaging just the right graphic artist and brand manager. The Richardsons understand that the power of a brand depends on having a strong identity from the beginning, and braced themselves for the process to take as long as necessary. Building a brand identity takes consistency, not just in the usage of your logo, but in colors, style and the message of your marketing material. All photos ©Richardson Studio 36 •
  28. 28. Partnering with a local graphic designer, been consistently used from the start. If must exist early on to get people emotionallythey started with nothing more than a few you choose to use a symbol or your initials attached to your brand.words they liked and some sketches, and the in a shorthand version of your identity, it When you meet with your graphicidentity began to evolve. In addition to a must be done the same way each time. To designer, the more information you can passlogo and color palette, the Richardsons tie the two versions together, look for along about your vision, the better job thewanted to include sketches of people in their opportunities to use both versions in places designer will do. Show examples of yourbrand identity, but not in the logo itself. like your blog. photographic style and the style you wantThey’ll use the sketches in their marketing, Your logo must withstand the test of for your studio. If your photography styleand eventually people will automatically time. Coca-Cola has retained its logo for and your studio are both traditional, thenassociate any arty renderings of people with more than 100 years—I’m sure that over the your logo and identity should have athe studio. When creating wallets for high years graphic designers were clamoring for a traditional flavor. If you want to repositionschool seniors, they might print a sketch of a crack at creating a new logo for this high- your business as more contemporary, thengirl in the corner. For a promotional piece profile company. The company’s executives display contemporary images and style yourabout family photography, they could use had enough faith in the brand to resist. I’ve studio accordingly. Contrasting elements insketches of an entire family. heard small business owners say they’re your identity will only cause confusion. Another part of their identity includes a bored with their logo, but it isn’t until you’re Never let anyone who is reproducingshortened, initials-only version of the about sick of it that others actually start to something for you try to recreate your’s name, RS, which is imprinted notice it. Repetition and consistency are the Always give the printer a vector file of youron all of their images. It works because it’s keys to creating a successful identity. They logo, even if it’s in a standard font. It will The Future of Radio Slave Technology is Here. Skyport Other Radio Slave Skyport Mini Wireless Triggering System To locate a Elinchrom Premier dealer with products on display and in stock go2 Studio & Portable Lighting Systems. World renowned for superb quality of light. Swiss made. Elinchrom distributed by: Bogen Imaging Inc. 201 818 9500 February 2008 • Professional Photographer • 37
  29. 29. TM THE JOY OF MARKETING Richardson Studio imprints an abbreviated version of its company name, the initials RS, and a sketched figure on all of its images. guarantee the scale and the spacing between the letters is accurate. It makes me wince to see the names of prominent businesses set in a style other than their logo. Once you have your logo and detailed specifications figured out, put a copy of them in a folder on your desktop so they’re always readily available. To stay fresh in your business, you can use trendy fonts, colors and designs in your marketing and promotional materials. The key is to stay true to the face of your busi- ness, your logo. If you feel your logo is dated or needs to be changed to reposition your business, make a 100-percent commit- ment—including financial—and follow through with everything you use. If it’s handled well, it can create buzz that yourTIPS FOR FINDING A GRAPHIC DESIGNER business is growing and evolving. Replace • As with selecting a photographer, price • Ask if he met deadlines, and if he the old logo on everything, from signage, toisn’t necessarily a primary factor in choosing missed the mark, how he handle the business cards, to mailing labels. Even if youa graphic designer. Because it’s such a situation. have a huge pile of letterhead remaining, bemajor part of your business plan, the goal • Offer to trade professional services strong and take it to the recycling finding a designer who gets you. in-kind. Having your old logo anyplace will weaken • When interviewing candidates, ask • Start a design file for your designer. your brand in the mind of the consumer.tons of questions about their portfolios, The more direction you give regarding your Once you have a new identity, defineabout the kind of direction the clients gave likes and dislikes, the more efficiently the the usage parameters so you know how itthem, about problems they might have designer can pick up on your style. will look in color, black and white, onencountered and how they resolved them. • Stress that your logo needs to be your prints, in ads, everywhere it will be • Ask to see the first round of logos that strong in black and white as well as color. used. Finally, protect your identity as if it’shave been presented to a past client so you Ask your designer to show you both ways. your child. Iknow what to expect when it is your turn. • Discuss font choices. Because youAre they rough pencil sketches or are they should plan on keeping the logo for at leastdetailed computer-generated files? 10 years, don’t choose a highly stylized, • Ask how many proposed logos they’ll trendy you and what happens if you don’t • There must be some chemistry betweenfeel the designs represent you. you and the graphic designer. You need to • Ask for references and call them to see be able to bounce ideas off each other and Sarah Petty Photography is in Springfield,how they liked working with the designer. come up with better ideas together. Ill. ( 38 •
  30. 30. PROFIT CENTER K A L E N H E N D E R S O N , M . P H O T O G . M E I .C R . , C P P, A P I One photographer offers a “Baby’s Life: Labs now offer gorgeous book lines hot off the digital offset Volume 1” book as part of a package clients press. How do you decide if this product is right for you? purchase before the birth of the child. The Buying into books package includes sittings at 1, 3 and 9 months old, and age 1, and the book can include sonogram images. Clients can also Labs throughout the industry are offering flattened JPEG files, and some require page opt to have photographs made on the day of high-quality, reasonably priced book lines, numbers and elaborate layout specifications. the birth at the hospital. The finished book printed on digital offset presses, with a If the lab has a ROES software ordering will feature images from every session. Of menu of binding and cover options. Would system for books, you don’t have to hassle course, this arrangement provides ample offering such books be profitable for your with tracking page numbers, and you can opportunities to make additional sales of studio? Considers these factors: adjust the layout without remaking the entire portraits and add-ons from each session. TIME. In a one-person studio, you can’t book. Once the images or pages are loaded The delivery of the Volume 1 includes a afford to invest countless hours designing a into the ROES software, you can check the coupon toward a Volume 2 package, a book book that may never sell. You can design the layout, and even render a printed image for with images from two sessions over the next individual pages in Adobe Photoshop and client approval. When the layout and design year, in addition to other images the parents many other programs, some of which provide are approved, uploading the book is easy. want to include. templates. You don’t have to compromise WILL IT SELL? Consumers know they High school seniors can be tempted into your creativity. Some of the applications have can have photographs printed on pillows, having a personal yearbook made with images stylish, attractive templates with ample choices mugs, cards, practically anything. Professional from the senior session and others they’d like for each page. You could do a complete book photographers should select only the to include. Printed just before graduation, design in as little as 30 minutes. products that will reflect the value of your the book can include pages for friends and Whether you use templates or custom work. You can develop and market high- family to write in personal messages. Photoshop layouts, the image file preparation quality books in many ways, from children’s Wedding albums produced as coffee is crucial to the finished look. Most labs want portraiture to seniors to weddings. table books are already popular. In most cases, clients can order a large-format book©Kalen Henderson with a designer cover, as well as smaller, less richly bound versions with the same layout. MARKETING VALUE. Though often considered an add-on, a press-printed book can have value for your studio beyond a one- time sale. Parents and newlyweds proudly show these books to everyone, giving you word-of- mouth endorsements from happy customers. A 20-page soft-cover book generally costs the studio less than $25, and a survey of studios shows it retailing for $49 to $69. There are volumes of stories out there just waiting for your creative touch to tell them. I Kalen Henderson is a photographer, studio con- sultant, and teacher ( and Her lab is American Color Imaging, a provider of press-printed books and free software to create and upload your own design ( 40 •
  31. 31. PROFIT CENTER C H A R L E S J . L E W I S , M . P H O T O G .C R . Time is more valuable than money. Everyone has the home and work on your things-to-do list. same amount of time in a day, it’s a question of how Devote about 20 minutes to it every you organize, prioritize and invest it in growing. morning, and you’ll save yourself hours of wasted time. It keeps you focused on what’s Do more in less time and prosper most important, and helps organize your day, week and month to keep you on the path to success. To be begin, on a sheet of paper, draw a French novelist Victor Hugo wisely said, “He last 30-some years, and it’s truly one of my line drawn down the middle. On the left who every morning plans the transactions of secrets for success. More than a list, it’s a side, write everything that needs to be the day and follows out that plan carries a plan, and that’s why it is so effective. done; the order of the items doesn’t matter. thread that will guide him through the labyrinth If you use this tool every day, you will Keep the list with you throughout the day of the most busy life. …But where no plan is accomplish more than you dreamed and add tasks as they arise. The following laid, where the disposal of time is surrendered possible, and you’ll do it in less time and morning, review the list, then copy it onto a merely to the chance of incident, chaos will with less effort. You’ll also earn more new piece of paper, updating it and soon reign.” money with your photography. First thing reorganizing it, writing what you consider I’ve been using a things-to-do list for the in the morning, sit in a quiet place in your the most important things at the top of the 42 •
  32. 32. new list. Delete tasks accomplished the daybefore and add new items that have arisen. “I’ve been using a things-to-do list for the As you review the list, write an “A” next last 30-some years, and it’s truly one ofto items that are important to the accom- my secrets for success. More than a list,plishment of your long-term goals, a “B”next to items moderately important to your it’s a plan, and that’s why it is so effective.”long-term goals, and a “C” next to tasks thathave little to do with achieving your long-term goals. You know how important it is towrite down key goals for your life and yourbusiness, and prioritizing daily tasks thisway keeps you aware of what you’reworking so hard for. Look at the A items on the list, andconsider if there’s anyone you could delegatethese tasks to. Look at the remaining Aitems and prioritize them from 1 to 6.That’s all you’re going to worry about today.Just the top six. Now copy those top sixitems onto the right side of the paper, inorder of priority. When you get to work, begin with thetop item on the list. If the phone rings, andif you’re the one responsible for answeringthe phone, answer it. When you’ve takencare of the caller, go right back to workingon the task. If you have an appointment,keep it, then return to working on the task.When you finish it, proudly scratch it offthe list, and begin work on the second mostimportant task. Perhaps this sounds too easy, but if youadopt and use this simple system, you’ll beamazed at how organized and focused youbecome. The first few days or weeks will feelstrange, but you’ll soon see exciting improve-ment in your productivity and profits. IFor more information from Charles J. Lewis,visit February 2008 • Professional Photographer • 43
  33. 33. Professional Photographer P R E S E N T S Products, Technology and ServicesWhat I likeKerry Brett Hurleyfell hard for digitalWhat makes your workflow flow?Adobe Lightroom. When working withtight deadlines for my magazine I feelthat I can edit super fast.Whats the best equipment investmentyouve ever made? My first digital camera.I bought the Canon EOS-1DS Mark II andwas blown away with what I could do.What hot new product are you going togo out of your way to use? Larsons half-and-half reflector and BellaGraficasmarketing materials.Has a piece of equipment ever changedthe way you approach your photography?I love the Canon EOS-1D Mark III.I can do back to back beach sessions atnight and I dont have to worry aboutthe light falling because I can push theISO and basically shoot in the dark.Whats the one piece of gear theyd haveto pry from your cold, dead fingers? My70-200mm lens.IMAGE BY KERRY BRETT HURLEYWWW.BRETTPHOTOGRAPHY.COM February 2008 • Professional Photographer • 45
  34. 34. THE GOODS: PRO REVIEW Nikon incorporates the design and function improvements working photographers have been asking for in its new ASP-C class DSLRs. BY ELLIS VENER Amazing NIKON D300 Front view, Nikon D300All images ©Ellis Vener Rear view, Nikon D300 This image and the detail above show the impressive amount of detail and low noise level even in a long exposure in low light. Exposure: .4 seconds at f/8, ISO 200, -1 EV.
  35. 35. Smart Transceiver NEW PocketWizard PLUS II Triggers your flash, camera or both wirelessly from up to 1,600 feet away. Auto-Sensing Transceiver Technology Automatically Transmits or Receives for faster, easier, carefree wireless triggering. Auto-Relay mode Wirelessly triggers a remote camera and a remote flash at the same time. Fast Triggering Speed Triggers cameras and/or flash units up to 12 frames per second. Digital Wireless Radio Technology Four 16-bit digitally coded channels provide the world’s best triggering performance.The Plus II joins Profoto, Dyna-Lite, Profoto, Norman, PocketWizard Sekonic Norman Packs and and Photogenic Plus II L-758DRthe growing system Battery Packs Monoblocs MultiMax L-358of photographic A built-in radio A built-in radio Trigger your flash, Choose whichproducts with built-in receiver provides receiver provides cameras or both flash unit to trigger wireless triggering wireless triggering without wires from the and measurePocketWizard simultaneously and from a PocketWizard from a PocketWizard palm of your hand.Wireless Freedom. Transmitter and Transmitter and even fire your camera.Ask for these brands. wireless metering. wireless metering. Wireless Radio Triggering 9 1 4 - 3 4 7 - 3 3 0 0