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P RO F E S S I O NA LEDITORIAL director of publications CAMERON BISHOPP Questions answered senior editor JOAN SHERWOOD firstname.lastname@example.org art director/production manager DEBBIE TODD A SPECIAL ISSUE DEVOTED TO BETTER BUSINESS email@example.com firstname.lastname@example.org 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 email@example.com firstname.lastname@example.org 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 email@example.com firstname.lastname@example.org 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 email@example.com 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; firstname.lastname@example.org 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; email@example.com 404-522-8600, x279; firstname.lastname@example.org 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: email@example.com; Web site: www.ppmag.com member services AND THE WINNER IS… PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: firstname.lastname@example.org; www.ppa.com 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: email@example.com; Web site: www.ppmag.com. 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 firstname.lastname@example.org 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 www.ppmag.com
CONTENTS PROFESSIONAL PHOTOGRAPHER NOVEMBER 2008 35 A Special Super Section 42 68 HOW TO READ A 60 HOW TO BALANCEHISTOGRAM 52 HOW TO GET CREATIVE YOUR LIFEBy Ellis Vener HOW TO By Sarah Petty WITH FLASH POSE KIDS By David Hobby By Sandy Puc’
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chairman of the board DOUG BOX SCOTT HERSH *JACK REZNICKI M.Photog.Cr., API Director of Sales & Cr.Photog., Hon.M.Photog., API email@example.com Strategic Alliances firstname.lastname@example.org email@example.com DON MACGREGORProfessional Photographers M.Photog.Cr., API J. ALEXANDER HOPPER directors firstname.lastname@example.org Director of Membership,of America DON DICKSON229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP industry advisor Copyright and GovernmentAtlanta, GA 30303-1608 email@example.com KEVIN CASEY Affairs404-522-8600; 800-786-6277 firstname.lastname@example.org email@example.comFAX: 404-614-6400 SANDY (SAM) PUC’www.ppa.com legal counsel WILDA OKEN M.Photog.Cr., CPP, ABI Howe and Hutton, Chicago Director of Administration firstname.lastname@example.org PPA board email@example.com 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, firstname.lastname@example.org email@example.com firstname.lastname@example.orgAPI, F-ASPdcraft@ppa.com CAROL ANDREWS SCOTT KURKIAN BING ZENG M.Photog.Cr., ABI Chief Financial Officer PPA China Managing Directorvice president email@example.com firstname.lastname@example.org email@example.com*RON NICHOLS CAMERON BISHOPPM.Photog.Cr., API SUSAN MICHAL Director of Publications SANDRA LANGrnichols@ppa.com M.Photog.Cr., CPP, ABI firstname.lastname@example.org Executive Assistant email@example.com firstname.lastname@example.org DANA GROVES*LOUIS TONSMEIRE TIMOTHY WALDEN Director of Marketing &Cr.Photog., API M.Photog.Cr., F-ASP Communications *Executive Committeeltonsmeire@ppa.com email@example.com firstname.lastname@example.org of the Board Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! Web Exclusives: Fresh stories, 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: http://ppmag.com/email.php12 www.ppmag.com
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 www.millerslab.com/TriCoast.
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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 Ricksteves.com 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- windsphotoart.com/gallery), 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 www.ppmag.com
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 right.gov.plug-in 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 Registration.www.imagenomic.com. proofs, one click and a simple slider cal use are endless. adjustment Price: $595; upgrade $100 at let you lucispro.com. 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,” exposure.com M.Photog.Cr, CPP PP Archive38 www.ppmag.com