Professional Photographer June 2009

©Martin Wonnacott

JUNE 2009 | WWW.PPMAG.COM | $4.95

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P ROF E S S I ONA L

EDITORIAL

director of publications

A measure of light YOU ASKED FOR IT, YOU GOT IT We’ve been working harder than ever to fulfill your wishes for

CAMERON BISHOPP [email protected] senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

content. And your No. 1 request has come through with resounding

LESLIE HUNT [email protected]

clarity—more on lighting.

editor-at-large

In just the past 18 months, we’ve increased our coverage of this topic that still can vex even the most accomplished pros. From Ed Pierce’s lighting instruction to Don Chick’s series on lighting fundamentals, character and accent lighting tutorials; from David

KARISA GILMER [email protected] sales/strategic alliances assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

Hobby’s creative flash setups to John Russo’s take on Hollywood

director of sales and strategic alliances

glamour spot lights for brides; from photographer interviews to

SCOTT HERSH 610-966-2466; [email protected]

gear reviews, we’ve focused more acutely on light. This month we’ve gone all out to bring you a feast of lighting features, topped-off by words of wisdom from four lighting aficionados. Our cover photographer, Martin Wonnacott, solidified his image in the beverage industry, where he mixes evocative messages with the beauty of liquid, glass and light. He reveals how his techniques, along with his knowledge of the market have brought him success, even in a turbulent economy (p. 82). Jack Reznicki beautifully illustrates how the photographer can affect award-winning drama in an image by simply altering the position of the camera in relation to the light source and the subject. It’s an easy-to-apply principle that opens vast potential (p. 46). Renowned Speedlight master Joe McNally shares a lesson from his new book, “The Hot Shoe Diaries” (p. 62). He shows how easy it is to make a scene glow with the romance of magic-hour light, even when the sun will not cooperate. If the light’s not pretty, make your own, he says. Zack Arias knew he’d never realize his aspirations without mastering lighting. He gained valuable insights on his quest for learning, and he passes on some pointers to readers who fear the light (p. 72). In the Goods section, you’ll find a sampling of moderately priced light modifiers that can transform your flash from adversary to ally (p. 48), plus a look at Profoto 8A Air, a top-notch flash generator that brings studio flash performance to a new level (p. 56). Even if your manipulation of light never gets complex, you won’t become as good as you could be if you don’t at least understand how light works. Let this issue inspire you to explore. If you’re curious about an aspect of light we haven’t covered, tell me in an e-mail. � Joan Sherwood Senior Editor [email protected]

4 • www.ppmag.com

western region ad manager

northeast region ad manager

BART ENGELS 847-854-8182; [email protected]

SHELLIE JOHNSON 404-522-8600, x279; [email protected]

southeast region ad manager

BILL KELLY 404-522-8600, x248; [email protected] editorial offices

Professional Photographer 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly subscriptions

Professional Photographer P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com member services

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2009, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. 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.

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CONTENTS PROFESSIONAL PHOTOGRAPHER JUNE 2009

Features 82

SPLASH

Drink up—Next round’s on Martin Wonnacott By Jeff Kent

62

LIGHTING: TURN OUT THE LIGHT

Make the available light unavailable By Joe McNally

66

PORTRAITS: THE TOUGH GET GOING

Arising Images gets aggressive in the face of the downturn By Jeff Kent

72

LIGHTING: AFRAID OF THE LIGHT?

Straightforward techniques to help you conquer your fear By Zack Arias IMAGE BY ZACK ARIAS

CONTENTS PROFESSIONAL PHOTOGRAPHER | JUNE 2009 | WWW.PPMAG.COM

14

FOLIO

92

CALENDAR

97

PPA TODAY

114

GOOD WORKS

©Becka Knight & Nathan Robinson

Departments C O N TA C T S H E E T 20 Brian Lanker: Shall we dance 22 Trash the prom dress 24 Calling all kids 24 Legal in-studio music 25 Professional Photographer wins the

prestigious Grand GAMMA Award 25 PPA briefs President Obama on copyright laws

PROFIT CENTER 27 What I think: Prem Mukherjee 28 Ask the SMS experts 30 How we did it:

Jeff and Carolle Dachowski by Jeff Kent 34 5 elements of a successful promo by Holly Howe 36 Brand it green by Dawn Tacker

THE GOODS 41 What I like: Jack Reznicki 42 Product photography:

46 48 54 56

22

Becka Knight and Nathan Robinson saw the parallels between a senior girl’s

prom night and her wedding day. It’s a special time when a young woman feels gorgeous in a special dress, and she’s probably only going to wear it once. Thus they retooled a bridal favorite, trash the dress, for the high school market.

8 • www.ppmag.com

A catalog of success by Jim DiVitale Lighting: Light placement by Jack Reznicki Lighting: Light modifiers by Ron Eggers Pro review: Wacom Intuos4 by Jack Reznicki Pro review: Profoto Pro-8a Flash Generator by Stan Sholik

ON THE COVER: Absolut Vodka was the client behind this image by commercial photographer Martin Wonnacott, a specialist in shooting drinks. “It was part of a two-day shoot in New York,” says Wonnacott. “We flew in my mixologist from London to create various classic drinks for the brand. We always use the real product, and occasionally sample the creation for research purposes.” Equipment: Sinar p3 camera, 90mm lens, Sinar digital back, two Profoto heads running off a D4 pack through grid sets. Cast and crew: two assistants, three cocktails.

Standard Edition: $159.95 Professional Edition: $259.95

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chairman of the board *DENNIS CRAFT M.Photog.Cr.Hon.M.Photog., CPP, API, F-ASP [email protected]

Professional Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400 www.ppa.com

2009-2010 PPA board president *RON NICHOLS M.Photog.Cr., API [email protected] vice president *LOUIS TONSMEIRE Cr.Photog., API [email protected] treasurer *DON DICKSON M.Photog.Cr., CPP [email protected]

12 • www.ppmag.com

directors SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI [email protected] RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected] CAROL ANDREWS M.Photog.Cr., ABI [email protected] SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

DON MACGREGOR M.Photog.Cr., API [email protected] MICHAEL GAN M.Photog.Cr., CPP [email protected]

SCOTT HERSH Director of Sales & Strategic Alliances [email protected] WILDA OKEN Director of Administration [email protected]

industry advisor KEVIN CASEY [email protected]

BETSY REID Director of Education [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected]

COREY B. SHELTON Director, Web Strategy & Development [email protected]

SCOTT KURKIAN Chief Financial Officer [email protected]

TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected]

CHRISTEL APRIGLIANO Director of Membership, Copyright and Government Affairs [email protected]

DOUG BOX M.Photog.Cr., CPP, API [email protected]

CAMERON BISHOPP Director of Publications [email protected]

LENORE TAFFEL Director of Events [email protected] BING ZENG PPA China Managing Director [email protected] SANDRA LANG Executive Assistant [email protected] *Executive Committee

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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.

MICHAEL BARTON Michael Barton, Cr.Photog., CPP, of Indigo Photographic, Inc. in Batavia, Ill., captured this portrait of a fellow churchgoer. “I was certain he had many stories worth listening to, and I was not disappointed,” says Barton. He captured “Bluesman” with a Nikon D200 and Nikkor, 28-70mm f/2.8 ED-IF AF-S lens. A 600WS Profoto ComPact 600 flash with a 4x6-foot Photoflex soft box provided the main lighting (A), bounced by a 48x48-inch Westcott Silver reflector. A second ComPact 600 with a 4x6-foot soft box (B) with two bare Novatron strobe heads (C) served as fill light in a setup Barton describes as “X light.” He used a snoot (D) for accent light on the brim of the hat. “It’s not so much the use of the light as how we used the light to get out of the way of an amazing human being,” he says. www.indigophotographic.com C D

C

A

B ©Michael Barton

What the judge thought:

“‘Bluesman’ is a strong portrait. The wonderful

character, beautiful light and strong composition pull you in. The technical qualities, such as the print quality in capturing the texture in the skin, mustache and clothing, carry you around the print and then back to the expression that tells the story.”—Dave Huntsman, M.Photog.Cr., and PEC Committee member. 14 • www.ppmag.com

©Jorge Caballero

JORGE CABALLERO While walking with his son Will the day after a large hurricane, Jorge Caballero, of Jorge Caballero Photography in Miami, noticed a sudden pick-up of the wind as it lofted the green life preserver, which his son instinctively chased. He captured “Will Chaser” with a Nikon D70s and Nikkor 18-200mm f/3.5-5.6 G ED-IF AF-S VR DX Zoom lens set to 1/250 second at f/8. “I had only a single opportunity to capture this image in one shot, since everything happened so quickly,” says Caballero.

CATHERINE HALL Catherine Hall, of Catherine Hall Studios in Lafayette, Calif., captured “Parents’ First Look” as a mother and father first saw their daughter as a bride. Using a Canon EOS 5D and Canon 28-70mm f/2.8 L USM EF lens, Hall exposed the image for 1/250 second at f/2.8, using only natural light. www.catherinehall.net

©Catherine Hall

June 2009 • Professional Photographer • 15

©David Koster

DAVID KOSTER During a Bike Week stunt show in Ocean City, Md., David Koster, CPP, of Portraits in the Sand in Rehoboth Beach, Del., captured “Super Man” with a Canon EOS-1Ds Mark II and Canon 28300mm f/3.5-5.6 L IS USM EF lens, exposing the image for 1/1,000 second at f/14, ISO 800. Using Adobe Photoshop, Koster did minor retouching, removed a cloud in the background, then sharpened the motorcycle and biker and slightly blurred the sky. www.portraitsinthesand.com

TERRY BLAIN Terry Blain, of Terry Blain Photography in Carlisle, Pa., captured “The Homecoming” for a couple who met during a Civil War reenactment in Gettysburg, site of the gentleman’s subsequent marriage proposal. This vintage-style photograph commemorates the event. Blain captured the image with a Canon EOS 5D and Canon 24-105mm f/4 L IS USM EF lens at 1/60 second, f/8, ISO 200. A Quantum Qflash T5d-R balanced the bright sunlight. After converting the file to black and white in Adobe Photoshop, Blain burned and blurred the corners before adding the sepia tone. For the final image, she scanned an antique glass plate negative for its texture, to add to the vintage feel. www.terryblainphotography.com

16 • www.ppmag.com

©Terry Blain

Damon Tucci | Damon Tucci Studios Author of Step-by-Step Wedding Photography and Damo Style Educational Products

)AM$AMON4UCCI )AMASURFER Some people have hobbies, I have passions. I am passionate about my daughter Tyler, fishing, playing guitar, teaching, and surfing. That’s one of the reasons I love Miller’s – they make things easy and give me more time to surf.



)AMASTUDENT I went to Florida State University and studied cinematography, then worked as an underwater cinematographer filming largemouth bass. I continue to study different filmmaking styles and other art of all kinds. I like modernists like Kandinsky. Fashion magazines can be a great source of inspiration as well. )AMFORTUNATE. The market we want is luxury weddings. Rosy, my beautiful partner and the creative director of Damon Tucci Photography, is a marketing guru. She aligns us with the gate-keeping wedding vendors that service that market. We are very fortunate. We are interviewing potential clients as much as they are interviewing us. Our clients tend to be hip, young couples who are passionate about what we do.



)AMDEDICATEDTOMYSTYLE We call our approach stylized fashion/documentary, always working to see things differently than everyone else. I immerse myself in each event, mindfully anticipating and reacting, capturing my subjects in a manner that makes them look the way they want to look. )AM-ILLER´S My lab is Miller’s Professional Imaging because I Expect More.

%XPECT-ORE

To see how Damon uses Miller’s to grow his studio, please visit www.millerslab.com/Tucci.

CONTACT SHEET What’s New, Cool Events, Interesting People, Great Ideas, Etc.

Shall we All images ©Brian Lanker

Tango, waltz, square dance, ballet, hip-hop, swing, jazz, chorus line, Afro-Cuban— the dances of every culture have streamed into America, the crossroads of the world. In the new book “Shall We Dance?” (Chronicle Books, $50), Pulitzer-Prizewinning photojournalist Brian Lanker presents images of the numerous manifestations of dance in this country, the fruition of a year-long project. With a foreword by the international best-selling writer Maya Angelou, who once danced with the Alvin Ailey troupe, the book includes interviews with such well-known dancers as Judith Jamison, artistic director of the Alvin Ailey American Dance Theater, and Maxim Beloserkovsky and Irina Dvorovenko, principal dancers of the American Ballet Theater. The distinctive voices of lesser-known dancers and dance enthusiasts around the country also weigh in on the importance of dance in their lives. Comments Angelou about the book, “Brian Lanker, with his swift shutters and respectful eye, has captured the art of dance. We have been beautifully, wonderfully served by the great award-winning photographer, who can place on film those fleeting images.”

20 • www.ppmag.com

Pulitzer-Prize-winning photojournalist Brian Lanker captures images of dance in America

dance June 2009 • Professional Photographer • 21

©Bill Bachmann

CONTACT SHEET We wanted to break into senior portraits but

and word of mouth. After each trashing

in a whole new way. We’d been talking about

session, we post the watermarked images on

trash-the-wedding-dress sessions, and bingo!—

our Facebook business page with tags for

portrait sessions. We include a disk of images

why not offer trash-the-prom-dress sessions for

the girls pictured. The girls usually make

with a license for use on Facebook and

senior girls? The parallels are undeniable: an

their own gallery as well, and their entire

MySpace, and our usual proofing options for

important event, a woman who feels gorgeous

network instantly sees our images. (If the

the parents. Clients can add a 5x5 portrait

in a special dress, a dress she’ll wear only once.

girl is younger than 18, we do get parental

album if they like. It fits in a purse, yet it’s

permission to display her images.)

professional enough to display in the home.

We launched the sessions last summer and loved shooting them. This prom season

Feedback from seniors and their families

something different from all their friends. The fee is the same as for our two-hour

We’ve since seen other photographers doing

we were busy with the launch of our redesigned

has been extremely positive. These sessions

trash-the-prom-dress under different names,

website, but we plan to resume trash-the-

are special to the girls. We treat them just as

including rock-the-frock. We’re confident

dress sessions next year. Still new in the seniors

we do our brides, coming up with an artistic

that these sessions will become ever more

market, we’re fine-tuning our marketing.

concept for the session ahead of time. We try

popular in the realm of senior photography.

We give out custom-printed postcards

our best to make the girls feel like supermodels

advertising the sessions in area boutiques,

—grown up, beautiful, and glamorous.

talk about them on our blog, and most

Because we’re not primarily a senior portrait

effective, spread the word through Facebook

studio, the girls feel they’re getting

Becka Knight and Nathan Robinson own Studio222 Photography in Orlando. (www.thestudioishere.com, www.the222blog.blogspot.com).

Trash the prom dress A bridal favorite is recreated for senior girls

BY BECKA KNIGHT AND NATHAN ROBINSON

22 • www.ppmag.com

©Becka Knight & Nathan Robinson

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CONTACT SHEET

Calling all kids Photo casting call yields invaluable visibility

For Cynthia Higgons, M.Photog., owner

addition, Inspirations Photography and ID

of Inspirations Photography, strategic

& Company awards gift certificates and

partnerships and online promotion pro-

prints from the mini-sessions.

vide a welcome remedy to economic

In 2008, the promotion’s first year, 60

skepticism. A child and family portrait

contestants participated in the mini-

specialist, Higgons works from her home

sessions, and generated nearly 1,500 votes.

studio in Caledonia, Mich. She’s had a

As a bonus, Higgons collected $1,500 in

long-time marketing collaboration with

print sales from the mini-sessions.

ID & Company, a personalized products boutique in her area. One of their most successful joint

After a year of word-of-mouth advertising, the 2009 Casting Call drew more than 80 contestants and some 23,000

promotions is called “Casting Call,” a

online votes. Higgons pulled in $1,900 in

contest to select child portraits to decorate

mini-session print sales, and widespread

the walls of the boutique. The contest,

viral marketing through the parents’ use of

publicized on both websites, by e-mail, on

such vehicles as Facebook and e-mail to

Higgons’s blog and at some area schools, is

encourage friends and family to vote. The

a casting call for kids age 1 to 15 (1 to 13

images of the 14 winners and their images

years in the contest’s second year). Higgons

are posted at www.idandcompany.com/

does a complimentary 10-minute session

castingcallwinners.html.

with each entrant at the boutique, then

“The contest has been great for both of

posts her pick from each session online.

our businesses,” says Higgons. “It’s given me

Parents, friends and the general public are

valuable exposure through ID & Company’s

invited to vote for their faves in each year’s

store, which my home studio can’t provide.

age category on the studio’s website,

ID & Company got an extra surge of foot

inspirationsphoto.com.

traffic during the sessions, and the visits to

The category winners get a full photo

both websites have been overwhelming. I

session with Higgons and a print, and

posted additional galleries from the mini-

products from ID & Company—created

sessions to show off some other styles, and

especially for them—featured in the photo-

those have generated additional sales. It’s

graphs. The portraits on the boutiques

been a great success all around!”

walls come from these sessions. In

—Jeff Kent

©Cynthia Higgons

PPA PARTNERS WITH XM FOR LEGAL IN-STUDIO MUSIC Let XM for Business take care of the licensing Rock your customers, crank up your brand, and turn on your business with PPA’s newest member benefit, XM for Business. It’s an affordable way to play popular music in the studio without the hassle of buying individual performance licenses from ASCAP, BMI, and SESAC. “We are excited to team up with XM for Business to provide members an easy and, more important, legal way to play

24 • www.ppmag.com

music in their studios,” says Maria Matthews, PPA Copyright & Government Affairs manager. “Photographers want to make sure they respect the copyright laws that also protect their livelihood. That’s what XM service does.” Photographers who already have an XM radio system need only to upgrade their existing contract to the PPA XM for Business plan. PPA’s benefit program

even includes discounted system packages and the user’s choice of monthly or annual service fees. XM for Business can help set the tone of your studio with over 170 satellite radio channels. For more information about this program and other music licensing options, visit www.ppa.com/benefits/detailsnonmembers.php#MusicLicensingNM.

Professional Photographer named best magazine in the Southeast

PPA urges President Obama to uphold IP laws

Professional Photographer won the Magazine

2008,

In a letter dated April 20, Professional

Association of the Southeast’s highest award, the

Michael

Photographers of America (PPA) joined the

Grand GAMMA, along with 14 other GAMMA

Spengler;

Copyright Alliance and other industry groups

awards on April 30, 2009. Among those awards

Best Pho-

to urge President Barak Obama to consider

are top-spot Gold GAMMAs for General

tography:

the important role played by intellectual

Excellence, Best Single Issue, Best Magazine

January

property (IP) laws in creating jobs as he

Website, Best Cover and Best Photography.

2008,

appoints the new IP coordinator, as

“Professional Photographer … creates a

Howard

established in last year’s PRO-IP Act. This

stunning visual impact of print. Add to that

Schatz;

individual will oversee and bring together a

the service factor, and you have a magazine

Best

cross section of agencies that deal with

that starts and directs a conversation with its

Magazine

intellectual property matters such as

intended audience and does that extremely well,”

Website.

photographic copyrights and trademarks.

said Samir Husni, Ph.D, one of the GAMMA

SILVER—Best Profile: January 2008,

The letter was a response to one sent

Awards judges. “All things considered, Pro-

Howard Schatz, by Stephanie Boozer; Best

earlier to the president criticizing his Cabinet

fessional Photographer—through its editorial

Service Journalism: November 2008, “How to

picks. Signed by the Consumer Electronic

content, photography and design—rises to

Do Everything Better;” Best Photography:

Association, Electronic Frontier Foundation,

the top of the pot as the cream of the crop.”

September 2008, Elizabeth Messina.

and Public Knowledge, the letter says the

Professional Photographer’s Awards from

BRONZE—Best Design: Overall; Best

president’s appointments should reflect all

the Magazine Association of the Southeast’s

Single Cover: March 2008, Parker Pfister;

sides of copyright issues, including the

2009 GAMMA Awards:

Best Photography: April 2008, Allison &

loosening of copyright laws.

GRAND GAMMA: Magazine Association of the Southeast’s highest award.

GOLD—General Excellence: Best overall packaging, content selection, writing, reporting, design and illustration; Best

Jeff Rodgers; Best Profile: April 2008,

So far, the president’s appointments have

Allison & Jeff Rodgers, by Jeff Kent; Best

reflected an understanding of the importance

Service Journalism: February 2008, “2008

of copyright protection. But, says PPA CEO

Hot One Awards,” edited by Jeff Kent.

David Trust, “If, under pressure, President

HONORABLE MENTION—Best

Obama appeases the groups clamoring for

Single Issue: November 2008, “How to Do

Feature: August 2008, “3 Photographers

‘free expression,’ it might mean appointing an

Everything Better;” Best Single Cover: May

and a Baby,” by Jeff Kent.

IP enforcement coordinator who would

©Michael Spengler

©Howard Schatz

weaken the copyright law. Ultimately, that would hinder photographers’ ability to protect the work they create. To prevent that, we must prove the importance of strong intellectual property laws at every turn.” The parties agree that the president and his appointees should promote innovation and the advance of progress in the sciences and useful arts. They widely disagree, however, on how the task should be accomplished. PPA and the other members of the Copyright Alliance will continue to strongly advocate for upholding the copyright

Michael Spengler's portrait of U.S. Paralympic athlete Roy Perkins graced the May 2008 cover awarded a gold; January's feature on Howard Schatz by Stephanie Boozer won gold for best photography and silver for best profile. Top: November 2008’s “How to Do Everything Better” garnered a gold spot for best single issue.

protection on behalf of professional photographers and other creators.

June 2009 • Professional Photographer • 25

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Ahead, says Prem Mukherjee What has been your greatest tool for pro photography success? Education. I’ve learned a lot about weddings, portraits and networking through the Digital Wedding Forum and a great deal about business through PPA Studio Management Services workshops and Imaging USA business classes. What’s the biggest mistake photographers are making in their businesses? Not having a sufficient understanding of their numbers, what’s coming in and what’s going out. People make impulse decisions related to marketing or equipment without thinking through the return on investment. As the economy improves, I predict the industry will … See a large influx of new photographers; people who have lost their jobs and are looking for anything to make money. What’s the secret to business success in tough economic times? Continue to diversify and expand into new markets. And work your butt off! IMAGE BY PREM MUKHERJEE WWW.ARISINGIMAGES.COM

June 2009 • Professional Photographer • 27

PROFIT CENTER

ST U D I O M A N AG E M E N T S E RV I C E S

From left to right: Julia Woods, M.Photog.Cr.; Bridget Jackson, manager of PPA Studio Management Services (SMS); Scott Kurkian, PPA chief financial officer and founder of SMS; Ann K. Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI; Carol Andrews, M.Photog.Cr., ABI.

GURUS FROM PPA'S STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS, MARKETING AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM

Ask the experts Sales plans, how to declare rent and signing contracts Q: Instead of having clients review and select their images at my studio, I post their images online. I book the client, I’m pre-paid for the session and prints, they love the images, but then it all stops. I know why photographers who do ordering sessions in-studio have better sales—because it’s hard to sell and close a deal online. But nothing frustrates me more than setting up the appointment and then having the client cancel or not show up. I can’t afford to waste time on no-shows, but what I’m doing isn’t working either. A: Take a minute and breathe! This is easily solved. In SMS, we refer to it as a sales plan and process, and it begins and ends with client education. Write out, step by step, what you need from your clients to complete a smooth sales process. Learn the process and communicate it consistently with each and every client … keep it very simple. Scheduling a planning session with every client before the camera comes out of the bag should help. From the first time the phone rings, throughout the portrait consultation, we handhold our clients. We describe the first step that they, and we, will take in making their portrait, then the next step, and so on, walking them through the flow of the experience. You’re right—get these proof images offline! You can better serve your clients’ desires in person, advising them on appropriate print sizes, frame styles and whatever they need. Teach them to refer to this part of the portrait experience as the purchasing appointment. Be sure to accommodate dad’s schedule, too, when setting this appointment. Make an extremely tight edit before the purchasing session and make sure you project your images. Do not reveal any of the photos before-

28 • www.ppmag.com

hand. Send an e-mail reminder of the session and confirm by phone the day ahead. Gather a list of qualified babysitters in your area to refer your clients to if childcare issues conflict with the session, and your clients will hug you, big time. If you slow down and invest more time in advance of the session, your sales will be so much higher. You might find you can cut your volume and maintain your sales goals. It’s a major key to having a successful business and a full private life as well. These days, it’s all about making our lives simpler! —Carol Andrews (andrewsphoto.com) Q: At an SMS workshop last year, the instructor talked about paying yourself ”rent“ if you have a home studio. We’re an S-corp. Would these payments be declared on our personal taxes as rental property income? Any disadvantages to paying rent and paying less wages? A: For tax purposes, if you operate a business out of your home, you are entitled to a home office deduction. The deduction is based on the percentage of square footage of your home that the home office occupies. Home office expenses include mortgage interest, property taxes, utilities and maintenance. You do not declare the amount as rental income on your personal tax return. The expenses are included on the Sub-S tax return, reducing taxable income and the amount of “reasonable wages” paid to the owner. (A reasonable owner/shareholder salary should be 40 to 50 percent of the studio’s net income before deducting the owner’s compensation.) For managerial accounting in a home studio, office expenses don’t count unless

they are directly related to the business and measurable. For example, if there’s a separate utility line for the home office, the cost should be included as an office expense. Managerial accounting is used to help manage your business based on benchmarks established through PPA’s Benchmark Survey, which is posted in the member’s section of the PPA website. —Bridget Jackson Q: My client hired another photographer and let me go. Should I have had her sign something? A: I’m assuming you’re referring to a client whose wedding you were to going to photograph, so you’ll have to chalk this one up to hard lessons learned. Because such situations can arise, it’s standard business practice in wedding photography to get the couple to sign a contract when they book the date. A typical contract spells out the obligations that are important to the bride and groom and those that are important to the photographer, so there can be no misunderstanding that you are the photographer whom the couple has engaged to cover the wedding. PPA members can download a sample wedding contract from the members-only Resources section at ppa.com. You’ll find the helpful article, “The Wedding Contract Cancellation Blues,” at www.ppa.com/ppa-today-blog/ppa-membership/ the-wedding-contract-cancellat.php. Wedding contracts vary from studio to studio. Other photographers may be willing to send you a sample of theirs if you post a request on PPA’s forum, ourppa.com. � —Ann K. Monteith (annmonteith.com) Got a business, sales or marketing concern? The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

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PROFIT CENTER

BY JEFF KENT

Jeff and Carolle Dachowski had plenty of business but never enough time. After revising their accounting and operating methods, they were able to hire two new employees, delegate work, and simplify their lives.

Business seemed to be going well for Dachowski Photography, the portrait and wedding studio in Manchester, N.H., that Jeff and Carolle Dachowski launched in 2003. Strong marketing at the outset quickly built their clientele, and the business continued to grow steadily. Then there’s the story behind the story. With their studio open for business from 9 a.m. to 9 p.m., six days a week, the Dachowskis were working all the time. Growth brought even more responsibilities and less time off. The couple felt they were constantly playing catch-up. Early in 2007, the Dachowskis began working with PPA Studio Management Services (SMS). Scott Kurkian, who heads SMS, helped them identify the problem. “Our first analysis showed that Dachowski Photography had made good money in 2006—in fact, doubled the 2005 profits,” says Kurkian. But there was a fatal flaw in the system. The Dachowskis used QuickBooks for accounting, but their profit and loss statement was useless. “I nicknamed it ‘The Never-Ending Story,’” says Kurkian. Four pages long, it told them nothing about how to improve their business. The SMS analysis was the first true picture of how the business was doing financially. For one thing, the analysis showed the Dachowskis the numbers they’d been tracking for the last three years were misleading. In order to generate their profits, Jeff worked 80 hours a week. Because his labor was not factored into the studio’s cost of sales, those robust profits weren’t so impressive. Jeff’s long hours had come at a personal cost as well, leaving him only one night a

READY TO BE THE NEXT STUDIO SUCCESS STORY? PPA’s Studio Management Services focuses on educating and mentoring studios in business, finance and marketing. Go to www.ppa.com to learn more about SMS consultations, workshops and other support services, or email [email protected].

30 • www.ppmag.com

week to be at home with his children. Yet putting in more hours seemed to be the only way to increase revenues. “Our goal with Jeff and Carolle wasn’t an easy one,” says Kurkian. “We needed to reduce their workload substantially while maintaining profits close to those they achieved in 2006. We asked them what they needed to decrease their workload.” They decided they’d need two employees to take over some administrative and editing work. They realized adding two employees without increasing sales would dramatically cut into their profits. To get the help they needed, they’d have to increase sales revenue. Stepping up marketing and adding clients wasn’t the answer. There was no guarantee they could do that, and besides, the goal was to lighten the Dachowskis’ workload. So Kurkian and the Dachowskis focused on the studio’s sales averages, which the SMS analysis clearly showed were far too low for the amount of time they put into their images. Part of the problem was the pricing. “We figured our prices should be based on the cost of outputting a print on our printer, multiplied by some magic number,” says Jeff. “We knew we should factor in expenses, but we thought that magic number should cover everything.” Kurkian advised the Dachowskis to reevaluate their pricing based on all the actual costs of producing the work, including the cost of their labor. “This increased their prices significantly, which of course made them nervous,” says Kurkian. The next step they took was examining the studio’s operating expenses to find areas that could be better managed, and thus help pay for the additional employees. They found they could lower their administrative costs by 3 percent, halve the percentage of marketing costs per average sale, and reduce equipment costs by two-thirds from 2006. The SMS analysis also revealed that the

Jeff & Carolle Dachowski

Dachowskis’ studio overhead costs were exceptionally low, about one-third the maximum amount SMS recommends. This showed they could better afford the new employees without sacrificing profits. Another problem behind the Dachowskis’ low sales averages was their ineffective sales techniques. The solution: They invested in sales training for their one sales associate, and added some new sales tools. The effect was almost immediate. The Dachowskis’ 2007 sales increased by $60,000. “When we did the 2007 projection, we budgeted for a slight increase in profits for the year, with the goal of helping the Dachowskis work less and make the same amount of money,” says Kurkian. “But with all the changes they made, not only does Jeff get to spend evenings with the kids, but they also managed to increase the studio’s profits by more than $50,000! They achieved a net profit plus owner’s compensation rate of 50 percent, which is unheard of for a photography business operating out of a retail space.” Now the Dachowskis’ work week is Tuesday through Friday, plus one Saturday a month. The schedule is much more forgiving, allowing time for the couple to recharge, get away from the studio, and focus on their personal lives. “It’s never easy when someone tells you to change,” says Jeff. “But our big goal was to have more balance in our life, and we have that now. SMS helped us turn our focus to our young family, and create a better work atmosphere with better systems in place.” � Visit Jeff and Carolle Dachowski at www.dachowskiphotography.com.

©Keith & Holly Howe

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PROFIT CENTER

B Y H O L LY H O W E , M . P H O T O G .C R .

Tried-and-true marketing lessons learned in the trenches

5 elements of a successful promo

esteem and gaining the respect of others by offering them something created especially for them, something exclusive that’s available by special invitation only. We

All images ©Holly & Keith Howe

respond to our clients’ need for selfactualization and moral fulfillment through special promotion tied into a charity—they get something wonderful for themselves, and the warm knowledge they’ve helped someone else. So think about what the people around you need and how you can create a product or situation to fulfill it. 3. APPEAL TO THE EMOTIONS. Remember “Choosy mothers choose Jiff ”? Instead of saying this peanut butter is nutritious and it tastes good, two actual selling points, the advertiser says this product is for mothers who love their children, who want others to think they’re good moms. Unlike peanut butter, our products have built-in emotional appeal—how hard could it be to illustrate

Through the years we’ve offered many

things they need. Way back in Psychology

promotions in our studio. Some were

101, we learned about Maslow’s hierarchy of

designed to increase cash flow, a few for

needs, which begins with the need to

opening new markets, and others to benefit

breathe—until that need is met, nothing else

the local charities we support. A couple of

matters. Our priorities continue to change

our promotions were enormous successes,

as our basic needs are met, and we begin to

but mostly they’ve bombed.

look for less tangible needs such as love and

Finally I got smart enough to compare

a sense of belonging (think of sports fans

the elements of the promotions that failed

wearing team colors), and then self-esteem

with the ones that succeeded. It didn’t take

and the respect of others. Finally we’re ready

long to discover what the deciding factors were.

to reach for self-actualization and a moral

1. KEEP IT SIMPLE. The main idea must

sense. Maslow posited that the hierarchy is

be easy to grasp in an instant. People won’t

pretty much universal. I posit that we can

make an effort to understand the message. If

tap it for our promotions.

you make them wade through copy, they’ll revert

One way for people to express their

to thinking about their job, their kids, or what’s

feeling of belonging to their family is to have

for dinner. Clearly state what the offer is.

a family portrait made for display in their

2. CREATE A NEED. People will buy the

34 • www.ppmag.com

home. We can fulfill clients’ need for self-

that fact? For example, appeal to dad appreciation with a nicely illustrated Father’s Day promotion, and appeal to the warm and generous feelings of the winter holiday season with a tie-in to a charity for underprivileged children. Choose a charity

“A couple of our promotions were enormous successes, but mostly they’ve bombed. Finally I got smart enough to compare the elements of the promotions that failed with the ones that succeeded. It didn’t take long to discover what the deciding factors were.”

that’s dear to your own heart. Those feelings will come across in the tone of your voice and the design of your artwork. 4. CALL TO ACTION. Every marketing piece needs a call to action, a motive for clients to call you right away. It can be simply a line that says “call now.”

In the Movies the hero never runs out of ammo!

Other motivators include a cut-off date, limited availability or the reward of something extra for calling immediately. 5. ADVERTISE ENOUGH. Generally, an advertising budget should be 5 to 10 percent of your business’s gross sales. The amount will help you decide what media to use for your promotion, and also help you evaluate the advertising offers you’re given. For example, we were solicited to buy ad space in a booklet produced for a reception venue. The rate was $500. We said no, but then I thought about it a little more: A $500 ad would have to generate at least $5,000 in gross sales to fall within our budget. Considering the sales average on weddings in our area, that was a reasonable investment, and we said yes. Nowadays we have many opportunities for free or low-cost advertising through various online networking media like blogs and Facebook. In your ad budgeting, factor in the time you spend on online promotions. Since I’ve figured out the elements that are necessary for a successful promotion, I’ve saved thousands of dollars simply by not launching campaigns that were doomed from the start. � Holly and Keith Howe operate Photographic Images in North Platte, Neb., www.photographicimages1.com.

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June 2009 • Professional Photographer • 35

PROFIT CENTER

B Y DAW N TA C K E R

Marketing yourself as an eco-friendly photographer

checked regularly to increase its longevity.

Brand it green

of being mindful and taking a series of small

Being a greener photographer is a matter steps. Photographers who are making greener choices for their business should

Consumer demand and corporate respon-

desirable clients—eco-conscious consumers

take the next step by branding themselves as

sibility are giving rise to the popularity of

who are generally well-educated, value quality,

such. The following suggestions for doing

environmentally conscious services and

and are discerning about what and from

that take more time than money:

products. Photography business owners have

whom they purchase. They’re willing to

a great opportunity to harness these trends

spend a little more for products and services

you’re doing to protect the environment,

within their own businesses, and to establish

that support their social and environmental

and display it prominently on your website,

an eco-conscious client base. Marketing yourself

responsibility and they want to feel good about

e-newsletter and promotions. Let clients

as an eco-friendly photographer makes good

minimizing their environmental impact.

know what you are doing to protect the

business sense on more than one level. The basic rule of branding is to portray

Implementing eco-friendly practices begins with thinking through the choices

1. Compose a statement about what

environment. 2. Join a local green business association

yourself as who you are. Your values have

you make every day. Every business purchase

or start one. Many cities have a program

value. Bringing your environmentalism into

you make and each stage in your workflow

that certifies green businesses. If your town

your business can differentiate you and attract

presents an opportunity to make greener

does not, consider networking with like-

choices. If you outsource your printing to a

minded business owners to found one. You

lab, for example, make sure the lab adheres

can also consider joining Green America

to federal and state environmental regula-

(greenamericatoday.org).

“Your values have value.”

tions. Choose ground shipping versus air

attention to that aspect. Stress preservation

order. Shipping via air uses almost seven

and investment in heirloom works.

times more energy than ground delivery,

other local green businesses. Advertise in

to travel.

local green guides and look for oppor-

only what your client orders. Consider alternatives to traditional prints, such as giclee and

tunities to partner with businesses like ecohome consultants. 5. Design an overall look for your brand

canvas prints. Traditional photographic

to reflect your green values, and use it con-

prints, made from resin-coated (RC) paper,

sistently in everything associated with your

don’t decompose. Fiber-based paper, such as

business, from signage to packaging. Make it

cotton rag and cotton canvas, is one alternative.

easy for potential clients to see your green. �

We all purchase gear throughout our career. Think about the use of energy and raw materials that go into producing that gear. Buy only what you truly need, and consider buying used equipment when you can. Likewise, sell your idle gear. Research your options for safe and responsible disposal of unusable or outdated electronic

36 • www.ppmag.com

4. Establish marketing relationships with

no matter what distance the package has Minimize your use of proof prints; print

©Dawn Tacker

3. Offer greener product options and call

to reduce the carbon footprint of each

equipment. Have your gear cleaned and

Visit greenerphotography.org for more ideas on running a greener business, and actively participate in promoting greener practices in photography. Members get additional privileges and materials for greener photography branding and promotion. Dawn Tacker, co-founder of Greener Photography, is a fine-art portrait photographer in San Diego, specializing in babies, children and families.

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Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like For Jack Reznicki, gear’s great, vision’s better What’s the best equipment investment you’ve ever made? The “penny-a-frame” bulk film loader I bought in the ’60s in junior high school. That started this wonderful ride. Little thing, big difference … Photoshop plug-ins from Nik, onOne and PixelGenius. They make playing with images so much fun. Even with the current economy, what hot new product is tempting you to splurge? I’d like a second Wacom Intuos4 Tablet for traveling. The one I use in my studio makes my workflow much faster. Has a piece of equipment ever changed the way you approach photography? Digital cameras and instant feedback on the LCD screen have changed how much more I explore into a subject. Best tip for saving money on equipment in a tough economy? Develop a network of friends to share and borrow specialized equipment. In previous recessions, that’s been a huge help. And learn the difference between “want” and “need.” I’d have to close up shop if they took away my … Eyes. Everything else is just a tool. IMAGE BY JACK REZNICKI WWW.REZNICKI.COM

June 2009 • Professional Photographer • 41

THE GOODS: PRODUCT PHOTOGRAPHY

Whether it’s a four-page gift brochure or 1,000-page dealer book, catalog photography requires consistent quality control. B Y J I M D I V I TA L E , M . P H O T O G . M E I .C R . , A P I , F - A S P

A catalog of success CONTINUITY IS THE KEY

Shooting for rich detail is critical in catalog photography. Check the numbers. In a 256-tone, 8-bit RGB file slated for the press, the whitewith-detail point should fall between 240 and 245, shadow-with-detail between 20 and 25.

everyone’s working toward the same goal. I always start by asking what color space the client is working in, and whether they have a set color management policy. If it’s a local client, I’ll take my colorimeter to their

Ask commercial photographers what they like shooting the most, and they’ll say it’s

page to page that makes a successful catalog. Catalog production is a team project. The

office and offer to color calibrate the monitors that will be used in the project. Then every-

high-end magazine ads and exotic travel

photographer’s specialty is the composition,

body will be on the same page for judging the

assignments. Ask what keeps their doors

lighting and quality control of the digital image

exposure and color in the digital image files.

open year-round and they’ll say, “My catalog

files; it’s also the photographer’s respon-

account.” Whether it’s a four-page gift brochure

sibility to work with the entire production

shoot used solely for that purpose. For

or 1,000-page dealer book, catalog photog-

team to ensure a streamlined workflow. It

example, low-res versions of the files might

raphy requires consistent quality control. It’s

starts with the discussion of every detail,

be used on a website, high-res versions

the continuity from image to image and

from color management to deadlines, so that

printed large for a tradeshow exhibit.

Rarely are the images from a catalog

The more consistent the photographs, All images ©Jim DiVitale

the easier it is to get a consistent appearance from the press. When preparing files for prepress conversion to CMYK, the settings good for one file will be good for the several hundred just like it—shoot by the numbers to get the best detail. In the Adobe Photoshop image info palette for a 256-tone, 8-bit RGB final file, the white-with-detail point should fall between 240 and 245, the shadow-withdetail between 20 and 25. Anything outside those parameters will result in loss of detail going into the final printing. If you have to choose between detail in the white or shadow, try to shoot for the correct highlight

Consistency is key in catalog product photography. Set a custom white balance and record the details of your first lighting setup, and use them throughout the assignment’s subsequent shoots.

42 • www.ppmag.com

THE GOODS: PRODUCT PHOTOGRAPHY

simple and appropriate for the subject matter. Photographing high-tech electronics on a white lace tablecloth, for example, just won’t work. Choose colors that complement rather than clash with the product. Learn the full range of the product’s sizes so you can make the background large enough to display them all. Avoid patterns that will change with larger and smaller products, and if you use a reflective background, make sure it doesn’t reflect the light source and distract from the product; remember that you are selling the product, not the background. Products need to look three-dimensional. The catalog page has height and width; Good asset management is essential. The client will always need a particular image file resent long after the job is done. Having the ability to locate it quickly makes you indispensable.

it’s up to the photographer to supply the depth with the lighting. There’s a lighting formula for every product type. With metallic and reflective products, you need

value in the exposure, and make the needed shadow adjustments in Photoshop. Whether you use a high-end digital back

Continuity among the images is a big

to light what’s reflecting into the product.

concern in catalogs. Some items are going to

If the product has parts that light up,

be pick-ups—shots from an earlier shoot. If

drag the exposure—use a several-second

or digital SLR, always do a custom white

you always do a custom color balance, then

exposure—to allow the illumination to

balance on the first shot of the day to lock in

the colors in today’s product shots should match

correctly burn in, mixing with the set

the color. Get the color right in the camera

the ones in the earlier images, so the products

lights. Be aware of specular highlights

so you won’t have to tweak it later. Pretend

can sit side by side on the same page.

(reflections of the light source) on the

there’s no such thing as Photoshop, et al., and save time in post-production.

Backgrounds and lighting are the photographer’s palette. Backgrounds should be

THE CATALOG WORKFLOW: 1. Interview the client about the job requirements. Discuss the budget and deadlines for the photography. 2. Get all estimates and purchase orders signed off and filed. 3. Review the products and layouts, noting sizes and color variations that will influence the lighting and set design. 4. Conceptualize a light and set design, then make test shots. 5. Review the test images with the client.

44 • www.ppmag.com

product. Some situations call for harsh direct light, others for soft diffused light.

17 steps to follow every time

6. Finalize the lighting and set design. Review any changes in products or prototypes. 7. Record the light and set design details so you can recreate if need be. 8. Record and set the custom white balance. 9. Capture the image files. 10. Import and record the image metadata and apply custom file naming. 11. Back up the raw files.

12. Edit the shoot. 13. Touch up and create clipping paths in Photoshop if necessary. 14. Create an online gallery for client review. 15. Deliver the job. 16. Archive all retouched final files on two sets of DVDs. Store one off site. 17. Bill the client, being sure to include the client’s purchase order numbers and/or job IDs.

Knowing when to use which lighting formula is the art of digital catalog photography. There will be a time when the client will call and say, “The printer can’t find some of the product files from last year and we need them now. Do you still have a set?” If you can say without missing a beat, “I‘ll have them on the printer’s FTP site within the hour,” you’ve become absolutely indispensable to your client. Asset management software like Extensis Portfolio or ACDSee Pro Photo will keep track of every file of every job in your archives and allow you to find them quickly. Performing like an MVP on the production team keeps your client coming back again and again. When business is solid, you can spend more time being creative rather than perpetually scrambling

Analyze test shots carefully to get every detail correct at capture. You don’t want to spend time making adjustments in Photoshop that you could have made in-camera. Double-check the white and black with detail areas, luminosity information, and contrast and sharpening settings to assure consistency between shots. Settings can be saved as a preset and added to the entire group at once.

for new clients. �

June 2009 • Professional Photographer • 45

THE GOODS: LIGHTING

The position of the camera in relation to the light source and your subject makes the difference between average and awesome images.

your photography. Good lighting is like having the lighting gods kiss your photos with the magic to win you awards and new clients. When you use sunlight alone, you have to

BY JAC K R E Z N I C K I , C R . , P H OTO G . H O N . M . P H OTO G . , A P I

Make it magic LIGHT PLACEMENT

know just how you want it to illuminate the subject, how the position of the sun in relation to your camera and the subject will affect that look. You can’t move the sun, so you’ll have to move your feet to get it right. In Figure 1, detail on a building in San Francisco, I took the image straight-on, with

We’ve all heard that the meaning of the word

well, no photos. The position of the light, be

the sun obviously on my left. In Figure 2,

photography is writing with light. Good light,

it the sun, reflectors, strobes, or any assorted

I had moved my feet to the left, putting the

good photos. Bad light, bad photos. No light,

combination can make a huge difference in

sun at my back, and the detail is front lit. Moving to the right for Figure 3 changed

All images ©Jack Reznicki

Figure 1

the position of the sun relative to me, and the detail was now backlit. The third photo has a much more dramatic look than the others, and all without troubling to move anything but my feet. The principle is the same in the studio. Just moving your camera position in relationship to the light and your model can make a huge, dramatic difference. In Figure 4, a front-lit portrait, the model in the mid-

Figure 2

ground is lit with a 3 x 4-foot soft box. The background is a backdrop, lit with another light, but that’s irrelevant to the positioning of the front light. I think of lighting a scene in terms of foreground, mid-ground, and background. In Figure 5, I haven’t changed any of the lights, but now I’ve used an unlit black background; you can see a dramatic difference. The model and the lights are in

Figure 3

the same spots in both photos. Only me and my camera have moved. �

Figure 1 (top): You can’t move the sun, but you can move your feet. Here, the detail of the building was shot straight on, with the sunlight coming from camera left. Figure 2 (center): In moving the cameraman (that would be me) to the left, the detail is now front lit. Figure 3 (bottom): Moving the camera to the right positioned the sunlight behind the detail to make it backlit.

46 • www.ppmag.com

Figure 4

Figure 5

Figure 4 (far left):The light was placed in front of the model, and the backdrop was lit separately. Figure 5 (left): The only difference in the setup from Figure 4 is the camera position. An unlit black backdrop works well for this dramatic effect. Figures 6, 7 and 8 (below, from left to right): Photographers Jay Maisel, Jeff Schewe and Rick Sammon were all shot the same way. I took the photographs on a tradeshow floor, using only a 4 x 6-foot soft box. I placed the light behind the subjects to backlight them, just as I did with the building detail in Figure 3. Give it a try and see if the lighting gods smile on you.

Jack Reznicki’s commercial studio is in New York. Order “Lighting Essentials,” a full course in Reznicki’s lighting techniques on DVD, as well as his “Copyrights and Copywrongs” DVD at www.softwarecinema.com/trainers/7/jack-reznicki. PP readers, mention promo code JRCC509 for a special 15-percent discount.

Figure 6

Figure 7

Figure 8

June 2009 • Professional Photographer • 47

THE GOODS: LIGHTING

On-camera flash has come a long way, and so have flash modifiers. Take a look at how innovative design brings out better light from flash.

The cloth snoot focuses light like a spotlight. Shooting straight-on puts a circle of light on the background. Angling the shot creates an elliptical light pattern. The downside of

BY RON EGGERS

Mighty mod LIGHT MODIFIERS

snoots is that they’re direct light from the flash, so shadow patterns are still strong. You can soften the light by partially opening the snoot so that the light is reflected onto the subject. Honl Photo Speed Grids are honeycombpatterned modifiers, available in 1/8- and 1/4-inch grids. They tend to soften the light

There was a day when on and off were the only

control over the quality, temperature, direction

somewhat, producing a circle of light with

on-camera flash unit settings. Photographers

and shape of light. Many of them can be

falloff, without bouncing or diffusing it.

would build light modifying contraptions

used to simulate studio lighting techniques.

(expoimaging.net)

from plastic cups, milk jugs, colored tissue

Some modify light subtly, others dramatically.

paper, cardboard and Velcro, trying to coax

EXPOIMAGING’s Honl Photo Speed

out better quality from harsh flash light. Innovative commercial light modifiers

LUMIQUEST’s versatile ProMax System is a six-piece combination of bounce and

System line of on-camera flash modifiers

diffuser components. Used alone, the 80/20

includes two snoot/reflectors and two speed

frame directs 80 percent of the light to bounce

and huge technological advances have vastly

grids. Studio lighting has included snoots

off the ceiling, and the rest onto the subject.

improved on-camera flash. Ranging from

since the days of Hollywood glamour photog-

simple reflectors to light channeling devices

raphy. The Speed Snoot/Reflector, available

on the frame directs all the diffused light

to sophisticated diffusers and mini soft

in 5- and 8-inch lengths, is a flexible modifier

onto the subject. The white insert yields

boxes, these modifiers give you considerable

that allows you to shape the light as needed.

natural looking light, the silver a slightly

Positioning a white, silver or gold back

©Ron Eggers; Model: Emily Delgado

All images ©TriCoast Photography

The Honl Snoot Reflector can be used to simulate studio spotlighting or configured as a flexible bounce reflector, as shown above. Slightly opening the snoot produces softer edges for the spotlight effect (left).

48 • www.ppmag.com

50% OFF

your first order visit SimplyCanvas.com/TheBest for more details

Any Image. Any Size. On Canvas.

THE GOODS: LIGHTING

©Ron Eggers; Model: Emily Delgado

Above: LumiQuest's ProMax System is a versatile combination of reflectors and diffusers. Right: this image shows the effect of the 80/20 attachment, which bounces 80 percent of the light off the ceiling and directs 20 percent onto the subject.

brighter light, and the gold a warmer light.

the subject. One of its big advantages is its

The system includes a translucent diffuser

size, just 3 x 2 x 1.5 inches. Weighing only 1

that can be placed in front of the frame to soften

ounce, it’s constructed of ridged plastic and

the light. Another LumiQuest modifier, the

is quite sturdy. There are no Velcro connectors.

Mini SoftBox, does a good job of simulating

The small cube fits snugly over the flash

studio light, particularly when used on an

head. Unlike most diffusers, the Omni-

elevated, synced off-camera flash.

Bounce is manufacturer- and model-specific.

(lumiquest.com)

(www.stofen.com)

STO-FEN’s Omni Bounce with its soft,

Presslite VerteX

The PRESSLITE VerteX has an

even light is designed to increase the light in

interesting design with two rotating panels

a given area rather than focusing light onto

that position over the light source to reflect

dislodge the small stays that hold the panels.

or direct the light. The panels’ tilt-and-rotate

(www.presslite.com)

Sto-fen’s Omni Bounce

design provides more control than simple

users among wedding and event photogra-

up, you can tilt the panels to bounce just the

phers. It’s larger, bulkier and more cumber-

right amount of light onto the subject. One side

some than most other portable light modifiers,

of each panel has a white insert, the other a

but it generates a pleasing soft light that fills

mirror insert. The white insert softens the light.

a room. The newest version, the Universal,

The VerteX system is extremely light, just

50 • www.ppmag.com

GARY FONG’s Lightsphere has devoted

reflective devices. With the flash head pointed

is available in pro, basic and starter kits.

1.5 ounces, and everything folds down to

The basic kit used for this review includes a

roughly the size of the Omni Bounce. But it’s

cloud diffuser with a translucent dome, as

not particularly sturdy; even a slight knock can

well as amber and chrome domes.

THE GOODS: LIGHTING

©Ron Eggers; Model: Emily Delgado

The Gary Fong Lightsphere, above, is popular with wedding and portrait photographers because of the relatively natural looking light it generates. Left: the amber dome warms the image without making it look unnatural.

Many wedding photographers choose

The new Lightsphere model has virtually

• Light modifiers not only modify the

the Lightsphere for its natural looking light.

none of the previous version’s problem of the

light, they reduce it as well. In general, the

The amber dome warms the light subtly

sphere’s detaching too easily. As the maker

more a given light is bounced or modified,

without overdoing it. The chrome dome

suggests, I put it to the test by picking up

the weaker it becomes. Snoots and other

intensifies the flash power—doubles it,

the camera by the dome; the sphere remained

light-focusing modifiers do not reduce the

according to the company. It has a center

attached, even when I shook it a little.

intensity of the light, but most other types

hole to bounce non-modified light off the

(garyfonginc.com)

do, by one-half to three full stops.

ceiling and a kicker that sends additional

This is only a small selection of the light

• The effect of light modification is often

light forward. You can also use its power

modifiers on the market. To help narrow

subtle. Sometimes it’s a matter of merely

boost to speed your recycle time.

your own selection, consider these facts:

softening the shadow edges or adding directional fill light.

POP-UP FLASH MODIFIER There are light modifiers available for pop-up flash units, most of them too flimsy for serious work. One of the most substantial models is Professor Kobre’s LightScoop, a small device that attaches to the camera’s hot shoe. Instead of firing at the subject, the pop-up flash fires into a mirror, which bounces the light back into the room to increase the light overall. While increasing the light in a confined space does work, the setup would be much more functional if the mirror were detachable and if you could insert different types of diffusers in front of the flash. Placing color filters in front of the light source would turn the pop-up model into a more versatile light modifier. (www.lightscoop.com)

52 • www.ppmag.com

• The degree of modification isn’t necessarily proportional to the quality of the results. Sometimes minimal modification gives the best results. • And finally, it really pays to experiment. It’s easy to creatively modify a modifier with translucent fabric or tissue paper or other old-fashioned materials to highlight your own personal style. � See more results of light modification with the products mentioned here at www.ppmag.com/web-exclusives.

THE GOODS: PRO REVIEW

You may think graphics tablets are made for the painterly set, but the new Intuos4 can boost the efficiency of any photographer’s workflow. BY JACK REZNICKI, CR.PHOTOG.HON.M.PHOTOG., API

Customized control WACOM INTUOS4

ening action in Photoshop, you could also program it to do a different function when you switch to Lightroom, such as open the print module or set the screen to Lightbox mode. For Lightroom, I programmed four ExpressKeys to go forward, back, flag as a pick, and remove a flag, making the editing of a recent 1,000image shoot go much faster than usual. One truly cool feature is the organic light-emitting diode (OLED) readout of each key’s programmed functions, which changes automatically when you open another application—genius for those of us

Like many photographers, I’ve got a bad

system feel more natural, which is especially

who could never remember the assigned

case of upgrade-itis. You may recognize the

important when you’re using artistic soft-

functions for each application with Intuos 3

symptoms: rapid heartbeat, clammy hands,

ware like Corel Painter. But the real deal-

(so long, sticky notes). You can give the key

pounding headache. You’re cold one minute,

maker for a drawing-challenged photog-

functions obvious IDs such as Save, Next or

hot under the collar the next, while you

rapher like me is the new design of the

Copyright Action, or simply call them Joe.

decide whether or not to adopt the latest

ExpressKeys, Touch Ring, and Radial Menu.

The on-tablet readouts might be a small

iteration of technology you’re already using. I cringed when I heard about Wacom’s

The tablet’s eight ExpressKeys can be programmed to do a function, such as run a

change, but they hugely improve productivity and greatly shorten the learning curve.

release of the Intuos4 graphics tablet system. A

Photoshop action, keystroke or series of key-

tablet and a pen—what’s to upgrade? A heck of

strokes. Application specific, the ExpressKeys

my left hand on the ExpressKeys, all now

a lot, as it turns out, all sensible improvements

can be programmed to do different functions

located on the left side of the tablet. If you’re

that speed up workflow and productivity.

in each program you use. For example, if you

left-handed, you simply flip the tablet over

program a key to open curves or run a sharp-

and use the second USB socket. Voila! The

The pen’s increased sensitivity makes the

I hold the pen in my right hand and use

keys and readouts are properly situated for lefties. Another simple design change that makes a big difference. Oh, there’s lots more. The new tablet has a user-defined Touch Ring (think iPod ring). As your finger rotates the ring clockwise or counterclockwise, it increases or decreases the assigned function of that position, such as brush size or hardness, up or down scrolling or in or out zooming. Use the button in the center to advance through the four programmable positions.

Eight ExpressKeys and a four-position touch ring are application specific, giving you hundreds of onetouch commands, keystrokes or actions. The OLED displays your own custom labels for the active program.

54 • www.ppmag.com

An even more powerful feature is the onscreen Radial menu. Assign the Radial menu to an ExpressKey (default), or better yet, one of the two toggle switches on the pen (thanks to Katrin Eismann for that idea), and you’ll get an onscreen “pie” with assignable selections. You can assign the

able to adapt the tablet to the way I like to work, rather having to adapt the way I work to the tablet’s program. I love being

sections to open programs or run common functions and actions. It puts the fun into functions, and makes you more efficient.

And with the info onscreen, no more

thing I’ll acquire. The small tablet is barely

Each radial section can have sub-layers—up

hunting and pecking to locate a function.

smaller than the medium, but it has only six

to 17 in all. For Photoshop, for example, you

I have a large tablet that handles my 30-

keys and lacks OLED readouts. A five-

could sub-menu to a retouch selection with

inch Cinema display and my 22-inch Eizo

some plug-ins and the tools you’ll need, or

display. With an ExpressKey assigned to access

use an edit sub-menu with your metadata

my display options, I can quickly change the

to work on files, give the Intuos 4 a spin and

panels and assigned stars and flags if you

tablet to map itself to my entire two-screen

see for yourself how much quicker your

like. I love being able to adapt the tablet to

desktop, or alternate to either screen, and all

workflow flows. �

the way I like to work, rather having to

with one key click. The medium-size tablet

adapt the way I work to the tablet’s program.

looks right for traveling; that’s the next

Jack Reznicki’s commercial studio is in New York City (www.reznicki.com).

button mouse comes with every tablet. If you’ve resisted using a tablet and pen

June 2009 • Professional Photographer • 55

THE GOODS: PRO REVIEW

It’s a pleasure to find equipment that truly performs to standards that bring your work to new heights. B Y S TA N S H O L I K

Inspirational power PROFOTO PRO-8A AIR FLASH GENERATOR All images ©Stan Sholik

Sometimes a piece of photographic hardware is a source of inspiration for an image. Such was the case with the new Profoto Pro8a Air flash generator I used in photographing a promotional image for a fundraiser, a major wine tasting competition, followed by an open tasting for all attendees. The client, a non-profit organization, had no production budget, yet the image needed to be interesting and descriptive to attract supporters. I’d seen photos of liquids pouring into a glass and surging up the side like a tsunami. Such shots are often done with acrylic models of splashes—but not without a budget! My own flash equipment doesn’t have short enough flash duration or fast enough recycling to even attempt capturing a liquid pour. The Pro-8a seemed to be just what I needed. At maximum power, 1,200 wattseconds (WS) with the unit I tested, the flash duration is 1/2,200 second, the recycle speed 0.5 second. At minimum power on my pack, 5WS, the flash duration is 1/12,000 second, with a recycle speed of 0.05 second. I felt confident that as long as the pack could produce sufficient power at some intermediate power setting, I’d be able to get the shot I wanted. I had other potential problems to consider. With the power pack recycling so quickly,

Freezing the motion of pouring liquid is a test of a flash generator’s flash duration and recycle speed to the test. The Pro-8a easily passed.

THE GOODS: PRO REVIEW

would the color temperature change from

get the pack to blow a fuse, but the pack

Pro-8a on a location shoot. My assistant

shot to shot, even with digital capture?

didn’t even get warm enough to flip the two-

loved the pack for several reasons. With all

Using a color temperature meter, I flashed

stage cooling fan to high. The Pro-8a never

of its capabilities, the Pro-8a only weighs

the pack as quickly as I could at several

broke into a sweat. The wine shot had a

about 25 pounds. Its two large rubber

power settings. The color temperature never

good chance of succeeding.

handles make it easy to pick up and move

varied by more than 50 Kelvin from flash to

My assistant and I put together the set.

around, and the controls are so easy to

flash. No problem there. Then I measured

We mounted the wine glass at an angle in

figure out that he didn’t have to read the

the color temperature variation over the full

front of a 4x8 sheet of white Plexiglas, with

manual (he’s not one for reading manuals).

8-stop power range: within 500 Kelvin, so

one Profoto head behind it. We mounted the

When I asked him for a little more power,

no matter what power level I chose, color

second head to a small Chimera Pro II strip

he could give it to me in 1/10-stop

variance wouldn’t be a problem.

light to create a window-like highlight on

increments. And he discovered that by

the glass, and illuminate the name etched

holding down the power control for a head,

the pour shot was whether or not the pack

on the side. I left the power setting at 5

he could quickly adjust the power up or

could keep up with the Nikon D2X and stop

(37.5WS), which now gave an exposure

down in full stops. We checked this, too—

action at the same time. I set up a golf flag

reading of f/11 with the head in the strip

the adjustments are exactly a full stop, not

in front of blue seamless background and a

light. I raised the power to the first head to

1/10 more or less.

high-power fan. I directed one of the Pro-

6 (75WS) to blow out the background. With

8a’s two Profoto heads at the seamless and

my assistant pouring the wine, we got the

this shoot—art director, client representa-

the other at the flag. Both had normal

shot and lots of others in less than one hour,

tives, models and onlookers. To minimize

reflectors. The head aimed at the flag gave

thanks to the Pro-8a.

the danger of someone’s tripping over a

The only thing left to test before attempting

an exposure reading of f/16, ISO 100, at a

For an assignment a couple of days

We had a crowd of people to deal with on

cord, we took advantage of the Pro-8a’s Air

power setting of 37.5WS. The Pro-8a

later—shooting medical equipment in a

Remote feature, the radio receiver built into

displays power settings in arbitrary numbers

mock operating room—I decided to test the

the pack. It’s controlled with a transmitter

from 2 to 10 in 1/10-stop increments, and 37.5WS corresponded to the number 5. The background light produced a nice gradation at a setting of 5. Since the two outlets on the Pro-8a are independent, I could have set any power output for the second head, as long as the combined output didn’t exceed 1,200WS. I started the fan and the flag began wildly whipping around as I held down the release on the D2X and filled the buffer with captures. As the images downloaded to the computer, I looked at each one in the Hot Folder mode of Phase One Capture One 4.7 software. The images were consistently exposed and without a hint of motion. I shot a lot of bursts to see if I could

To test the feasibility of freezing the action of a liquid pour, I tested the flash duration and recycle time with a flag whipping in the wind of a high-speed fan. At my D2X’s capture rate of 5 fps, every image was sharp.

58 • www.ppmag.com

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THE GOODS: PRO REVIEW

specs: Profoto Pro-8a 1200 Air ENERGY: 1,200WS RECYCLING TIME: 0.05-0.5 second WIRELESS RADIO RANGE: Up to 1,000 feet. ENERGY CONTROL RANGE: 5- to 1,200WS FLASH RATE: Power setting in relation to flash repetition rate per second at maximum recharging speed is 1.0/20, 4.0/17, 6.0/11, 8.0/7 and 10.0/2 FASTEST CAMERA SHUTTER SPEED: 1/500 with cable, IR or Profoto Air fast mode MODELING LAMPS TOTAL WATTS: 1,000WS ENERGY CONTROL INCREMENTS: 1/10 stops and full stops Free optional software is supposed to allow you to control up to 127 Pro-8A packs directly from a Windows or Mac computer. Unfortunately, I could not get the software to control even one pack on either platform.

mounted on the camera hot shoe or

2400 Air pack for $10,999. The Profoto Air

attached to the camera’s PC outlet.

Remote transceiver costs another $321. All

ENERGY STABILITY FLASH TO FLASH: ± 1/50 stop COLOR STABILITY FLASH TO FLASH: ± 40 degrees Kelvin COLOR STABILITY OVER ENERGY RANGE 2.0 TO 10.0: 160 degrees Kelvin

The Profoto Air Remote transmitter/

that technology comes at a price. Available

receiver can control a near infinite number

without cost is downloadable software that

of packs and heads. You have a choice of eight

enables you to control 127 Pro-8a packs

transmitting frequencies, and you can place

from your Windows or Mac computer through

DIMENSIONS: 13.6 x 7.3 x 9.8 inches

the packs and heads into six different groups.

USB cables. Unfortunately, I couldn’t get

WEIGHT: 25.2 pounds

Air Remote allows you to control the power

the software to control even one pack on

settings and modeling light of each group or

either platform.

all of the attached equipment at once. We had just one pack and two heads to

I can’t think of any assignment that Profoto Pro-8a power packs couldn’t handle.

deal with, but even so, I liked being able to

They can even operate on location when

control them from the camera; my assistant

powered by a generator. The action-stopping

did have to run around to every other pack

ability and the ability to keep up with the

in use to adjust the power level. He suggested

fastest digital camera capture rate make

I sell my present equipment on eBay and

them ideal for editorial, advertising, fashion

buy a few Pro-8a packs, either the 1,200WS

and sports photography. And then combine

models like we were using, or the 2,400WS

them with the enormous range of the Profoto

packs for large-format shooting in the studio.

light-modifying accessories, and wow! �

Here’s the proverbial rub: The Profoto Pro-8a 1200 Air lists for $9,699 and the Pro-8a

60 • www.ppmag.com

More info at www.profoto-usa.com.

INPUT POWER SUPPLY: 100-127V / 200-240V, 50/60 Hz. (self-sensing)

Attached to the camera hot shoe, the Air Remote transceiver allows you to control as many as six groupings of Profoto packs or monoblocs, by either individual groups or altogether.

HOW DOES

DETERMINATION COME INTO THE WORLD?

THROUGH YOU. With the new Intuos 4 pen in your hand, nothing separates you from your creative vision. Intuos4 captures every nuance of pressure, giving you a level of control and precision you can’t achieve any other way. ®

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When the sun turns its back on you and loses its expression just when it’s about to get good, take control. A little exposure finesse combined with flash and gel puts glorious light at your command. LIGHTING

By Joe McNally

Turn out the light

J

Make the available light unavailable

it is available to everybody. You can make a picture that will look kind of the same as the guy next to you, and kind of the same as the guy next to him. Then all of you submit those pictures to the same

oe McNally is a photographer who is at

Why would you do that? Why would you

magazine, or agent, or stock house, and

one with his Speedlights. His new book,

go from the safe haven of light you can see,

the reaction is, “Hey, wait a minute, these

“The Hot Shoe Diaries,” reveals great

touch, and feel into the mysterious,

all look … the same.” It’s like Angelina

flash techniques, spiced with McNally’s

uncertain, and quite possibly dangerous

Jolie and Reese Witherspoon showing

energetic voice. The following is excerpted

land of flash? That’s like sailing across eel-

up on Oscar night wearing the same dress.

from “The Hot Shoe Diaries: Big Light

infested waters and then climbing the cliffs

Quel embarrassment!

from Small Flashes” by Joe McNally.

of insanity! Inconceivable!

Copyright ©2009. Used with permission of Pearson Education and New Riders.

In a world of sameness, where there’s a

Think of it this way. That available light

Starbucks, a Gap, and a Pizza Hut on every

is available to you, for sure, but then again,

other block of every other town you’ve ever

All images ©Joe McNally

been to, there is vibrance and joy in difference. In an era of pictures-by-thepound, fast-food photography—royalty free, rights free—it just might pay to step back and try to make your pictures the equivalent of a mom-and-pop shop, the old curio store, or the place where the locals really eat. One path to difference is to use light in creative and unexpected ways. Out here on the road, in the middle of No Place, Nevada, the sun had gone down. There was still plenty of light, but it was cool, subdued, and expressionless. It was, you know,

Figure 1

available but unexciting. I put Chris, our actor/cowboy, up against an old barn side that had lots of cool stuff stuck on it, and made a picture (Figure 1, right). A very average picture. (That’s being kind.) It was a record of the scene, not an interpretation. It was shot at 1/80 second at f/2.8. But what lingered in my head was the sun going down over the distant hills on camera left. It had disappeared behind those hills just when it was about to get colorful and interesting. (Available light will do that to you.) So I put up a Nikon SB-900 Speedlight with a full cut of CTO [warming gel] on it, and placed it on a stand at about the angle the sun had been.

Figure 2

The CTO turned the clean, neutral white light of the SB-900 into the color of sunset. The SB-900 was especially advantageous here because of its capacity to zoom to 200mm. When you zoom the flash head to 200, you concentrate the light. It gets punchy and direct, kind of like, oh, the light of a late afternoon sunset. I aimed it at a pretty steep angle to the wall, triggering it with another SB-900 I hot shoed to the camera, and made another frame at 1/80 second at f/2.8 (Figure 2, right). You can see the scene

Figure 3

LIGHTING ©Joe McNally

HOW HE DID IT Editor’s note: We asked McNally to sketch out a lighting diagram for a recent shot in which some creative lighting had delivered exciting results. The objective here was to overpower blazing, strong, tropical light. Difficult to do with small flashes. Luckily, Nikon Speedlights pack a pretty good punch of light, so by maneuvering them close to our subject and working with the SD-9 external battery packs (makes the flash more efficient, very handy when you are pulling lots of f/stop) we were able to light her effectively, even at 1/250 second at f/16, which is the limit of standard flash sync, shutter speed wise, on the Nikon D3. You could blast away with straight flash, but it is not going to look good. Moreover,

64 • www.ppmag.com

when you light the foreground powerfully, the helicopter will get dark gray, and lack detail. So we put two flashes camera left, lighting the model, and then put two on the ground, camera right, lighting the underside of the chopper. Then, sort of on a whim, we put a flash directly behind the model’s head, thinking we could simulate the intense sunlight already backlighting the entire scene. It got a bit interesting when I shifted the camera, with her hair blowing, and we got a burst of light. Happy accident that seemed to work well for the photo. The undercarriage lights are doing their job, lifting the chopper out of being in register with the dark ground. And the over-under combo of foreground lighting gives her a flattering, glamour kind of a look. All in all, it was a tough scene for small flash to manage, but careful

placement, external battery packs and maxing out the power levels of the SB-900 worked very well. —Joe McNally

warm just a touch. The camera is doing its job. It is blending the flash and the available light in a reasonable way. Remember, it’s a machine. It does what it does. Like a food processor, it chops, slices, dices, and blends, all with the aim of uniformity and in worship of what it perceives to be the happy place—the land of the

“In an era of pictures-by-the-pound, fast-food photography—royalty free, rights free—it just might pay to make your pictures the equivalent of a mom-and-pop shop, the old curio store, or the place where the locals really eat.”

histogram, right in the middle of things. Safe, in a word. Safe, as in … blah. A smooth exposure. Publishable. But nothing with edge or difference or color. So, I got rid of it. All of

But here, in this dark place, is where I wanted to be. Now I have control. What happens when you open a camera

I made another exposure, this one with the Speedlight firing and hitting the actor and the wall in a hard, intense way, creating

it. I took over the controls and put the

shutter in a black room? Nothing, until

lots of highlight and shadow areas. The SB-

camera into manual mode. I dialed in

you light it. I had turned this roadside

900, zoomed at 200mm and gelled warm,

1/125 second at f/5.6, underexposing the

scene into a black room via the use of

gave the scene life, dimension, and color.

scene by about three stops. Predictably, I

shutter speed and f-stop. The camera sees

got this (Figure 3, p. 63). Ordinarily, you’d

almost nothing now. It is waiting for input.

stand by the side of the road. You can make

say, “Whoops!” and check your settings.

It is waiting for light.

the sun come back. �

You can do a lot with one flash and a

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June 2009 • Professional Photographer • 65

To stay competitive amidst fewer bookings and competitors’ undercutting prices, the Mukherjees rolled up their sleeves, restructured some of their packages and priced for profitability. PORTRAITS

G

By Jeff Kent

rowing up in Michigan, Prem Mukherjee assumed he’d attend the University of Michigan, become an engineer and get a job at General Motors. Somewhere along the line, there

was a hiccup in Mukherjee’s

aspirations. Yes, he did graduate from UM with a degree in engineering and go to work at GM. But before all that happened, he spent a semester in Australia. Captivated with Australia’s natural beauty, he felt compelled to photograph what he saw to share with others. He came to value photography as a creative outlet, and took classes to improve his technique. Mukherjee married in 2001, and he and his new wife, Cheridy, traveled extensively in their first year of marriage. Photography was a big part of the journey. With Cheridy’s encouragement, Mukherjee began photographing people, and came to see real potential in pursuing photography as a career. Shooting portraits and weddings outside his GM office hours, Mukherjee was pleased with the growth of his clientele. Cheridy got involved as well, working as a second photographer. It took about three years for the venture to grow into a viable full-time business, which they named Arising Images. The Mukherjees’ Detroit studio now draws about 50 percent of its revenue from weddings, 30 from portraits, 10 percent from teaching

All images ©Prem Mukherjee

The tough get going Arising Images gets aggressive in the face of the downturn 66 • www.ppmag.com

photography, and another 10 from commercial assignments. After tripling their wedding rates within the first couple of years, Arising Images catapulted to the upper tiers of the photography market in

greater Detroit. In 2007, Prem Mukherjee was named Metro Detroit’s Best Wedding Photographer by the local NBC affiliate, WDIV. With his background in engineering, Mukherjee is all about efficiency and constantly trying to do things better, faster, cheaper. “I’ve spent a lot of time perfecting my workflow so I can get jobs done quickly,” he says. “Typically, we have a wedding edited within a day or two, and can invite our clients to a slideshow viewing—and sometimes album design viewing—just a few days after the wedding.” With portraits, the session and the presentation of the Photoshop-retouched images to the client take place the same day. “The quick turnaround makes life easier for me, because I can complete each job before moving on to the next one,” says Mukherjee. “Our clients love it, too! In a world of instant gratification, high quality and quick delivery really set us apart.” Business is good at Arising Images, but the studio has felt the impact of the shaky economy. To stay competitive amidst fewer bookings and competitors’ undercutting prices, the Mukherjees restructured some package offers to include additional products and services that increase the perceived value to clients, yet actually cost the studio very little. Arising Images has continued to promote itself aggressively. “To keep the business moving forward in a slow economy, you have to market, market, market,” says Prem. “We’re doing everything we can to open up as many new markets as possible. When the phone doesn’t ring, I work even harder to get it to ring next week. Some photographers use the winter off-season to rest. I spent this winter working 10 to 12 hours a day creating new products and promotions, building networks and thinking up new marketing initiatives.” In addition to the emphasis on marketing,

“When the phone doesn’t ring, I work even harder to get it to ring next week.” —PREM MUKHERJEE

PORTRAITS the Mukherjees have been keenly focused on successful business practices. In 2007, Prem Mukherjee attended a PPA Studio Management Services workshop that “opened my eyes to many different concepts in accounting, bookkeeping and business in general,” he says. “I was able to completely understand my business costs and use that information to create a better pricing structure. That was critical in making our company even more profitable.” A frugal person by nature, Mukherjee had to grapple somewhat with implementing a higher price scale, though he knew it was an accurate measure of the work and artistry that go into the studio’s

68 • www.ppmag.com

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PORTRAITS

“You can be the best photographer in the world, but if you don’t know how to appropriately sell yourself and your product, you could go penniless.” products. He knows now that it’s helped the studio weather the economic downturn better than many. “You can be the best photographer in the world, but if you don’t know how to appropriately sell yourself and your product, you could go penniless,” he says. With the constant barrage of new trends, new marketing avenues and new technology, it’s easy for photographers to feel overwhelmed, but it’s crucial not only to persevere, but to stay a step ahead of the crowd, says Mukherjee. “Those who are content with their business and not putting in the effort to stay current will be left behind,” he says. “That’s why we work so hard to stay up to date. Even if we don’t ultimately implement some new technology, we investigate it and learn it to some extent, to see if it makes business sense. That’s important. Many people look at technologies like blogs, Facebook and Twitter as free advertising—nothing is free. You have to consider your return on investment, and the investment with those tools is time. Is it more valuable to spend an hour on Facebook or to have lunch with your favorite wedding coordinator? The answer won’t be the same for everyone, but whatever it is will make all the difference in the success of your studio.” � To see more from Arising Images, visit www.arisingimages.com.

70 • www.ppmag.com

Zach Arias set a goal, then took the first steps to reach higher with his photography and learn to use flash. Now confident in his skills, he shares the lessons he learned on his quest for illumination. LIGHTING

By Zack Arias

L

ight. It was far from easy to learn how to control something that I could not hold in my hands, something that would flash into existence and out again in the span of 1/1,000 second. No wonder some photographers—

including some of the best photographers in the world—leave the flash unit in the camera bag in favor of the light available. Five years ago, after leaving my day job at Kinko’s, I decided I wanted to shoot a cover for Rolling Stone. I had a Nikon D100 with some borrowed glass and compact flash cards. For light I had the sun and an old Vivitar 285 flash. Not only was I lacking the gear to shoot for an international magazine, I was also missing a portfolio to get me through the door. I needed to reach higher with my photography, and I knew that a light rig was essential to getting me there. Buying gear for my first run at being a photographer rather than a mere gear-hauling assistant left me holding tons of debt. This time, everything had to be cash and carry. I would have to make due with very little equipment. My last paycheck went for a light stand, a 60-inch convertible umbrella, and an infrared remote and slave for the outmoded Vivitar. My first editorial location lighting rig came to about $130. It would have to do. Next, I had to get over

All images ©Zack Arias

Afraid of the light? Straightforward techniques to help you conquer your fear 72 • www.ppmag.com

my fear of lighting. I knew this much: The shutter speed controls the ambient light; the aperture controls the flash exposure; the larger the light modifier, the softer the light.

LIGHTING

“Light. It was far from easy to learn how to control something that I could not hold in my hands, something that would flash into existence and out again in the span of 1/1,000 second. No wonder some photographers—including some of the best photographers in the world—leave the flash unit in the camera bag in favor of the available light.” I took that spare light rig and sparser knowledge and started shooting local

full-time professional photographer. If you’re trying to get past the fear,

bands. My off-camera lighting separated

maybe I can help you. After all, it’s only a

me from the pack. I was able to create

bit of plastic and some batteries.

images that would have been impossible in

Set your flash to manual mode. TTL

only available light. Conquering my fear of

metering is great and all, but far from

lighting was necessary to my becoming a

consistent. If you let the flash and camera

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LIGHTING

do the thinking for you, you won’t really understand what the light is doing and learn how to troubleshoot exposure problems. Use one 60-inch convertible umbrella for six months before even thinking about buying another modifier. I’ve shot bands, individuals, headshots, wedding formals, kids, families, and products with a single 60–inch umbrella. They’re quite versatile, and you won’t find a better light modifier for the price, about $40 for a basic model. Do yourself a favor and start simple. Start working with auxiliary lights indoors and in late afternoon shade outdoors. Hot-shoe flashes are amazing, but they do have their limitations. Asking four AA batteries to overpower the sun at 2 p.m. is asking a lot. Get comfortable with using flash before tackling the more complicated situations. Power settings are in full stops. Once you’ve got that flash in manual mode, you’ll see that each setting is one full stop. Most flashes today have these settings: 1/1 (full power), 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, and 1/128. A decent starting point is f/4 for 1/125 second, ISO 100, flash at 1/4 power, add umbrella, and take the shot. If the flash overexposes the subject, stop down your aperture. If the subject is underexposed, open your aperture. Don’t touch the shutter speed yet. Once your flash exposure is set, you can evaluate the ambient light in your photo. If you want to mix in more of the ambient light, slow your shutter speed. If you want less, speed up your shutter to the sync speed. The sync is the fastest shutter speed you can use with flash. If you don’t know the sync speed, check the manual. Exposure properly

76 • www.ppmag.com

LIGHTING

LIGHT TOUCH How OneLight Workshop creator Zack Arias found his calling

set, you can then increase or decrease the flash power to get the aperture you desire. For instance, if you find the proper exposure is f/5.6 at 1/4 power, you can make the same exposure at f/2.8 at 1/16 power. Now that your aperture has changed, you might want to evaluate your shutter speed again to change the exposure of the ambient light. If you can build this lighting skill set into your work, you’ll feel confident to take on any job that comes your way. �

For more information on the gear needed to build your own off-camera lighting rig, checkout the resources pages at www.OneLightWorkshop.com. For more from Zack Arias, visit www.usedfilm.com and www.zackarias.com.

78 • www.ppmag.com

For Zack Arias, finding success is an exercise in self-discovery. Like so many college freshmen, the native Atlantan had only vague career plans when he entered college some years ago. In danger of failing out of the University of Georgia, Arias enrolled in Photography 101—surely he could boost his GPA with this rudimentary course. Then something clicked. His professor said he was talented, and had he considered a career in photography? Arias wasn’t ready to decide. For the next few years, he bounced in and out of school, worked various jobs, and explored the countryside in a VW bus. When it was time to get serious, he finished his education at a technical college, graduating with a 3.8 GPA with a major in commercial photography. Moreover, his was deemed best portfolio of his class, and the Vocational Industrial Clubs of America named him a national photographer of the year. It takes more than “open sesame” to enter the field of professional photography, and for the next couple of years, Arias took various supplemental jobs. In 2001, he left photography altogether to deal with some personal issues. Equipment all sold, he began working full time at a Kinko’s. Friends intervened. In October 2003, Marc Climie, a friend and a successful wedding photographer, cajoled Arias into shooting alongside him. Meanwhile, some musician friends asked him to photograph their band’s concert. Another musician asked Arias to make portraits for her press kit. The gates were opening. Arias launched full-time into photographing musicians and weddings.

A mix of photojournalism and commercial techniques, the work suited his style perfectly. Research into the music scene in Atlanta led him to a profitable niche in promotional photos and head shots for up-and-coming musicians, and Climie continued to fill his weekends as a second shooter. As his reputation grew, Arias was asked to speak at industry events. Three years ago, a Tampa group requested he present a seminar on location shooting. Arriving with one beat-up old Vivitar light, Arias would present the first of his successful OneLight Workshops. Last year, Arias presented 24 workshops in eight cities. These typically 14-hour classes sell out within minutes. In response to the demand, Arias produced the OneLight DVD, and the first run sold out in a month. Arias still feels a bit awed by all the attention, not to mention his jampacked schedule doing commercial shoots, headshots, music events, teaching, hosting events at his new studio, and 15 weddings a year with Climie. He says the key is securing a group of talented people to handle the work that’s beyond his core expertise— the scheduling, the logistics, the postproduction, the travel arrangements. “Three years ago, I was doing it all myself. I was finding great success but was not able to manage it. Having a reliable crew allows me to … appreciate what I enjoy most about my work: the people I work with”—creative people with whom he enjoys a mutual admiration. “That’s the most rewarding part of it all.” —Jeff Kent

Photography by Scott Kelby©2009

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Store & Mail Order Hours: Sunday 10-6 Mon.-Thurs. 9-7 Friday 9-2 Saturday Closed

Most orders shipped within 24 hours Overnight service available All items are complete with all accessories as supplied by manufacturer. Used equipment bought, sold and traded Equipment leasing available

64 EOS Flash System (USA) &9
$125.95 &9
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64

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bhphotovideo.com

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Background Stands &DPOPNZ ............................................$64.95 Port-A-Stand .................................$112.95 .VMUJ




1PMFWBVMU.....................$219.95

We will be closed on: May 29th, 2009

Paper Backgrounds Available in 48 Colors w
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#LOTLK..............................................$358.95 w/o case #LOTLKQ ...................$312.95

*.'-.#,............................$204.95

The Professional’s Source




Quick Dial

64

Flash System FL-36R Flash..........................................................................................$206.95 FL-50R Flash..........................................................................................$449.95 Zuiko 4/3 System Digital Lenses 35/3.5 Macro ED (52ø) ...................................................................$206.95 50/2.0 Macro ED (77ø) ...................................................................$449.95 7-14/4.0 ED (72ø) ......................................................................... $1,749.95 11-22/2.8-3.5 ED (72ø) ...................................................................$749.95 12-60/2.8-4 ED SWD (72ø)...........................................................$949.95 14-42/3.5-5.6 ED (58ø) ...................................................................$224.95 18-180/3.5-6.3 ED (62ø) ................................................................$449.95 EC-14 1.4x Teleconverter ..............................................................$395.95

40

AF Flash System AF-360FGZ ............................................................................................$209.95 AF-540FGZ ............................................................................................$339.95 SMCP-DA Digital AF Lenses 21/3.2 AL Limited “Pancake” (49ø) ..........................................$439.95 40/2.8 Limited “Pancake” (49ø)..................................................$279.95 70/2.4 Limited “Pancake” (49ø)..................................................$474.95 10-17/3.5-4.5 ED IF (77ø) ..............................................................$439.95 16-50/2.8 ED AL IF SDM (77ø) ...................................................$669.95 18-55/3.5-5.6 AL II (52ø) ................................................................$149.95 50-135/2.8 ED IF SDM (67ø) .......................................................$749.95 50-200/4-5.6 ED (52ø) ....................................................................$219.95

Flash System HVL-F42AM ...........................................................................................$299.99 HVL-F58AM ...........................................................................................$499.99 Digital Lenses 50/1.4 (55ø) ..........................................................................................$369.99 100/2.8 Macro (55ø) ........................................................................$679.99 500/8 Reflex .........................................................................................$749.99 16-80/3.5-4.5 DT Carl Zeiss (62ø).............................................$749.99 11-18/4.5-5.6 DT (77ø) ...................................................................$699.99 18-200/3.5-6.3 DT (62ø) ................................................................$529.99 70-200/2.8 G APO (77ø) ........................................................... $1,799.99 75-300/4.5-5.6 (55ø) ........................................................................$249.99

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All images ©Martin Wonnacott

Drink up— Next round’s on Martin Wonnacott BY JEFF KENT

hen he was growing up in England, Martin Wonnacott used to experiment with lighting and shooting techniques in his parents’ garage. Fascinated by glass and shiny objects, he’d photograph bottles backlit with candles or flashlights and try out ways to refract the light. Years later as a professional photographer, Wonnacott would call on these experiences as his focus turned to shooting for the beverage industry. Over the last dozen years, Wonnacott has become perhaps the foremost drinks photographer in the world. His portfolio reads like a fancy cocktail menu, featuring international brands such as Tanqueray, Jameson, Bombay, Baileys, Absolut, Guinness, Miller, Beck’s, Coors, Budweiser, Molson Canadian, Jose Cuervo, Smirnoff and Johnnie Walker. Wonnacott has developed a distinctive one-light approach to illuminating his subjects in a way that makes look them lusciously animated. He’s also distinguished by his enviable business savvy. Splitting his time between studios in London and New York, Wonnacott has become an authority on his clients’ markets as well as his own. Rounding out his CV, Wonnacott is also the founder of cake-factory in London and New York, an agency that represents photographers. It all adds up to valuable insights on succeeding in contemporary commercial photography. “If you’re trying to break into a particular market, you need to understand it,” says Wonnacott. “How does the

84 • www.ppmag.com

‘‘

If I use two or three lights in a shoot, my assistants put down their mugs of tea and ask what’s going on.

GEAR BOX Working entirely in the studio, Martin Wonnacott relies on simple setups and inspired techniques. CAMERA: Sinar p3 DIGITAL BACK: Sinarback eVolution 75H LENSES: Primarily Sinaron Digital 55mm f/4.5 CMV, 90mm f/5.6 CMV, 120mm f/5.6 CMV and 150mm f/5.6 CMV lenses LIGHTS: Profoto studio lighting LIGHT MODIFIERS: Grid sets and diffusers of various brands

[client’s] industry work? Who are the

in that field and then raise yourself higher. I

a sense of what you’re about. Distinction is

people you’ll deal with? What is your client’s

wanted to be the best in the commercial

key. Without it, you’re just one of the crowd.”

competition doing? Clients are always

drink photography arena, and I strive to

impressed if you know about their product

always shoot better than my last job. I’ll

THE METHOD

and their market. It shows that you care,

never kick back and think, Now I’m known.”

“In product photography, it’s important to

that you’re more than just showing up to take pictures.” As for the photography, he says, “Be very aware of your competition. Find the marker

Your work’s got to constantly evolve, he

clearly show the product, but you don’t want the

adds, so you’ll always have something new

subject to look flat or unreal,” says Wonnacott.

and innovative to offer. “There’s a need to

“My work is all about keeping things true to

distinctly brand yourself. People need to get

life. Whatever I’m shooting needs to come to

life. It needs to have personality. I want the viewer to want to touch it, grab it, drink it.” The subject he’s shooting has to be the

“Don’t kill everything that looks slightly odd; those elements bring personality to the image.”

real McCoy. “If I’m shooting Baileys Irish Cream, I use Baileys. I don’t thicken, thin or change the consistency. If there are little imperfections, I work with them. Don’t kill everything that looks slightly odd, because those elements bring personality to the image.” And don’t over think it, Wonnacott says. “I see over-lit images all the time; the photographer thinks that because it’s a tricky subject, he needs more lights to get it right. The problem with over-lit images is that they lack any kind of feeling, personality, dimension, life. Most often it’s about having the confidence to work with only one light. If I use two or three lights in a shoot, my assistants put down their mugs of tea and ask what’s going on.” As in portraiture, he says, maybe you don’t want to light all the way around the subject, perhaps incorporate some shadows to create a mood or emphasize certain features. “Yes, you need to see the product and the label, but don’t be afraid of shadows.” Wonnacott adds a word of caution: “Clients these days are often overly involved in the process, especially with retouching. I’ve seen otherwise good photographs get annihilated by retouching. People get obsessed with taking out all the imperfections. Often, the imperfections are the perfection!” There’s a definite method to Wonnacott’s marketing, too. “These days, you might be shooting a global campaign for an American product, but it’s being handled by an agency out of Eastern Europe. So the problem is getting in front of the right people, who might be halfway around the world. Effective online promotion goes a long way, and a good agent is also helpful in positioning you in the market. The ultimate goal is to stand out from everyone else,” he says. “I shoot drink. That’s my specialty market.

88 • www.ppmag.com

“You have to be

I proclaim that I’m damn good at it. If you

manage the future of your fees. Know what

want to shoot a specialty, exude confidence.”

others are charging in your field and price

bold enough

In this economy, clients are scared, agencies

appropriately. Sell the quality of your work,

are scared. They can’t risk hiring the wrong

don’t fight over price.”

to say, ‘This is

photographer. “You have to be bold enough

what I do, and

In that future, old-fashioned principles

to say, ‘This is what I do, and I do it better

like trust and relationship building will be

than anyone else.’”

more important than ever, Wonnacott

When giving an estimate, summon that

predicts. “In uncertain times, trust is a huge

confidence, says Wonnacott. Someone is

thing. If your clients believe in you, you’ll

I do it better

always going to be cheaper, but never undersell

always have work.” �

than anyone else.’”

walk away.” Easier said than done, especially

yourself. “If that means walking away, then when things are tight. “But it’s important to

To see more from Martin Wonnacott, visit www.martinwonnacott.com and www.cake-factory.com.

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Submit your organization’s convention, workshop, seminar or exhibition dates to Professional Photographer at least six months in advance. Editors reserve the right to select events to be announced on these pages, and to determine when announcements will appear. Editors are not responsible for conflicting or incorrect dates. For readers’ convenience, each event is identified by a code preceding its name: C=Convention, W=Workshop, S=Seminar, C/E=Approved PPA Continuing Education Seminar, E=Exhibit. Send all Calendar of Events to: Marisa Pitts, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected].

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92 • www.ppmag.com

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2009 PPA-AFFILIATED SCHOOLS PPA members receive merits and the bestpublished prices. June 28-July 2 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla., Glenn Cope, 580-628-6438; [email protected]; www.pposchool.com July 12-16 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604-731-7225; [email protected]; www.imageexplorations.ca July 13-16 Lamarr Williamson School of South Carolina, Columbia, S.C.; John Wrightenberry, 803-7812130; [email protected]; www.lamarrschool.com July 19-24 PPSNYS Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-6563; [email protected]; www.ppsnysworkshop.com August 2-6 East Coast School Photographic Workshops, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected]; www.eastcoastschool.com August 3-6 Long Island Photo Workshop; Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com August 16-20 Evergreen School of Professional Photography, Vancouver, Wash.; Sam Gardner, 360-961-2887; [email protected]; www.ppw.org Send additions or corrections to: Marisa Pitts, PPA, 229 Peachtree Street, N.E., Ste. 2200, Atlanta, GA 30303; [email protected].

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© Danny Clark, Danny Clark Photography

To be successful photographing people, you have to watch, study, interpret, and love them. Turning the lens on my own child opened my eyes to what it is all about: capturing the spirit, the sparkle. When opening my business, I came to the table with the passion, ideas, and creativity from my fine art photography background. But I didn’t know how to do it and make a living. That’s what PPA and their Studio Management Services (SMS) did for me. They brought the answers to my business questions and helped me evolve.

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PPA today JUNE 2009 President’s Message P e Ron Nichols, M.Photog.Cr., API :: 2009-2010 R 9 201 010 0 PPA P A President PP P

Seeing Light…

Light is the essential tool of our trade. We need to see it, understand it, and be able to create it. I’m not sure when I finally saw light, but I imagine it was sometime in college. I still remember a series of outdoor photographs I took of my high school sweetheart, using a new strobe on my Canon AE-1. At the time, the images seemed great. Maybe it was just puppy love. Looking back, I know that I couldn’t see light then. Yes, the images were properly exposed, and the illumination was flat and even. The images were good, but not what we expect as professional photographers. But I wasn’t really a professional photographer yet. I was working for a studio on weekends, shooting photographs of homes for the local real-estate MLS guide. For that job, I used a 4x5 Speed Graphic with black-and-white auto-screen film. I didn’t need to see light; I just needed lots of it (the exposure was f/16 at 1 second in bright sun). At some point in those college years, though, the light thing must have clicked on. I could see it, and I could create it. I still remember being amazed whenever I came across dramatic light. Whomever I was with, I’d say, “Wait, step back. Now turn your head to the right…Wow.” Seeing light became a natural thing—I really didn’t have to think about it. Once I got involved in professional circles, I assumed everyone could see light. But when I started teaching, I realized that wasn’t so. I’d show a lighting pattern in a class, getting blank looks from the students in return. Why is light so important? As I said, it’s an essential tool. We need to use it to “paint,” accent, shape, and trim. With the sophistication of today’s digital cameras, exposure is easy and focus is automated. What the cameras can’t do, however, is create light. In our competitive world where the lines are blurred between amateur and professional, understanding light can set you apart.

You need to make a conscious effort to understand, learn, and see light. When my daughter Taylor was in her early teen years, I started to teach her to see and reproduce lighting patterns. I’d have her go through magazines and find photos using different lighting that she liked. With a mannequin head and studio lights, she would then recreate the light patterns used in the photo. Taylor can now see light and has a better understanding of what it can do. She’s not pursuing photography as a career; but as a college sophomore in a technical theatre lighting design program, I’m sure this gave her a head start! Classes, workshops, and personal projects (like Taylor experienced) are good ways to both discover how to see and refresh your view of light. Sometimes, though, finding a class focused on lighting can be tough. To me, Frank Cricchio and the late Leon Kennamer are still the light masters. Michael Taylor and Don MacGregor are also ones I think of in the light teaching arena now. Kennamer used to have a t-shirt that said, “Get it on the Negative.” Now I suppose the saying, “Capture it Right,” would be the theme. The point is that the right light and a good capture will go a long way in setting us apart from the competition. Follow Ron’s travels this year… visit http://blog.ronnichols.com.

Ron Nichols, M.Photog.Cr., API :: 2009-2010 PPA President

© Eric Hinders

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PPAtoday | June 2009 | news from Professional Photographers of America

MELISSA MIR

OSLAVICH

by Angie Wijesinghe Wijesinghe, Wi PPA Marketing Specialist The familiarity online ilii i between b li and d physical h i l spaces is i a subtle marketing ploy—it makes clients feel more at home. But establishing that connection with a website is easier to say than do! A website brings with it a host of additional considerations, as Melissa Miroslavich of Miroslavich Photography discovered. On top of moving to a new location, Miroslavich decided it was time to redefine and update her company’s identity. That prompted what turned into a yearlong redesign, including a new website that earned the 2008 AN-NE Marketing Award for Best Website (plus two finalist spots for her overall image marketing campaign). Although the new style (marrying upscale sophistication with a touch of nature and whimsy) was already being created, Miroslavich had many strategic decisions to make. And these are decisions that you may not realize are important—until you’re faced with them yourself. Luckily, Miroslavich gathered a great team to breathe life to her vision. A graphic designer came up with options for formatting Miroslavich’s ideas and helps keep her from straying from the overall look. That designer recommended a programmer, who added in his own creative juices (the moving field grasses and butterfly were his ideas). Above all, Miroslavich knew that her website needed to articulate her vision to the clients’ hearts…succinctly. Therein was the problem. She tended to be more verbose, which doesn’t work well online. Because

she skill), she h recognized i d her h own weakness k ((an essential i l business b i was able to outsource smartly and add a copywriter to her team. “The first thing a client reads needs to make them gasp, and I wondered if the male copywriter I hired would be able to speak to my predominantly female clientele. Worries ceased when he replied, ‘I’ll write it and read it to my wife. If she doesn’t cry, it’s not good enough.’ That’s the kind of person I want on my team,” laughs Miroslavich as she remembers. During the yearlong process, the team stretched their grey matter to the max...and all decisions ultimately fell on Miroslavich’s

The website’s an extension of the studio. It’s the face of our business, the part that says,

‘HOW DO YOU DO? NICE TO MEET YOU.’

Board Member Spotlight Doug Box, M.Photog.Cr., CPP, API :: PPA Member since 1979 :: Location: Caldwell, TX Many photographers once thought (and some still do) that if their images were better, people would come. While great images are essential, they aren’t the end-all part of the selection process anymore, according to Doug Box, a PPA board member from Caldwell, Texas. “If all we sell are Photoshopped images, potential clients will walk away, thinking that they could do that,” Box explains. “We HAVE to sell the experience and the service.”

He doesn’t have anything against Photoshop. That tool enables photographers to be more creative than ever before, allows fairly inexpensive and quick retouching, and gives the ability to create even more products. Box is, however, worried about photographers’ use of Photoshop. For one thing, he sees many becoming too reliant on Photoshop to fix their images. But one of the biggest problems is those who don’t charge for their editing time. Box gives the

example of a photographer who says she’s not going to charge for a retouch because she can fix the problem in five minutes. But after she fixes that small problem, she keeps tweaking the image until she’s spent an hour or so doing “free” work. “Because it’s fun, photographers spend way too much time behind the computer. And they put networking to the side because they don’t have time anymore (and it’s not as fun),” adds Box.

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© Miroslavich Photography

shoulders. Take the decision between Flash and HTML. There’s good and bad to both types of sites, and all options were weighed. The scales tipped in favor of Flash when the programmer said he could make the butterfly and grass move. Yes, Flash lowered the ability to track viewers, but Miroslavich decided the impact it brought the site was more important for her clients. Plus, the programmer was able to add search engine optimization, which would be lost otherwise. Moving on to navigation, Miroslavich pondered what a client would want to see first. Images, of course! The home page opens directly into the Portfolios, with the categories grouped vertically on the left. The rest of the navigation (at the top) provides the viewer with just the essential information needed during that initial view. The Portfolio section seems simple enough: a gallery of the different types of sessions. But there’s more than meets the eye here. Miroslavich needed to decide exactly how many images to provide (26 in each category), which order to show the images, when to load the

BLOG STRATEGY

images for viewing for the least amount of wait (each category loads when it’s clicked), options for how the images could be viewed, etc. Consider the thought given to the image selection. “The order is so important,” Miroslavich explains. “What if the client only looks at one? It has to be strong enough to make them want more. Giving a taste is way better than giving the whole cake—it’s more enticing.” “Enticing” is just what she ended up with on her site. Miroslavich knows her target market and her brand…and how to connect the two even online. The site shows you just enough to make you want more. And if you do want to see more, you can come into the studio or visit the blog. It’s the perfect introduction. Melissa Miroslavich, CPP Miroslavich Photography – St. Paul, MN www.miroslavichphotography.com

The blog…

Miroslavich Photography’s website is fairly constant (except for images), as she wants to sweep new customers off their feet. To speak to current and past clients, she created a blog, which provides a quick, responsive way to keep clients coming back.

» Is not a personal journal, more an invitation

To better sell the experience and service that he believes are most important, Box focuses on his entire process from beginning to end. Key to this method is going a step above in everything. He uses clients’ names on the phone and touts the use of phone scripts. He not only uses humor to relax clients during the sessions, he also supplies kits for outdoor shoots, full of hairspray, bugspray, combs, water, etc. And he stays in contact with his clients—through newsletters,

Box says. “A commercial photographer knows his time is worth x dollars an hour, but a portrait photographer tends to do a lot more for free, hoping for that order.” » Start marketing again—and this includes networking! “People need to see your face and know that you’re there to satisfy their needs.” » Remember Box’s favorite acronym: GOYA, Get Off Your A**. “To refer you, a person has to trust you and

displays, open houses, etc.— which also serve as educational reminders of the kind of service and skill he can offer. Here are more of Box’s ideas for focusing on what is important in business: » Go back to letting labs do what they do best (print, color management, etc.), so you can concentrate on rebuilding personal relationships. » Make sure you charge for the editing work that you do! “Value your time,”

to enjoy the soul of the business.

» Provides glimpses of events and happenings at the studio. » Allows views into favorite sessions (only after the client

has made an order and agrees to possible postings).

» Can be linked to for easy sharing by the proud parent. » Reflects the sophisticated, whimsical feel of the studio.

believe that you’ll go above and beyond…but they have to remember you first.” In fact, concentrating on GOYA might just give you the needed drive to point your business onwards and upwards. Don’t wait for new opportunities to come along and grab you from behind the computer—get up and actively look for them.

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PPAtoday | June 2009 | news from Professional Photographers of America

Showcase Your Marketing Brilliance “Every time I enter the AN-NE Marketing Awards (or photographic competitions), I grow and I learn,” explains Beth Forester, winner of the 2008 AN-NE Marketing Award for Best Use of Multimedia. “It’s a way to push myself further and do something different.” When you have an additional goal to shoot for (like enticing customers AND winning a competition), you often end up with a stronger drive to succeed. You start looking even more critically at your marketing pieces, trying to see them from another’s view. It can only help improve your marketing in the future, just like print competitions can push you to improve your photography!

The AN-NE Marketing Awards are also offering free critiques for all entries—so even if you don’t place, you receive something useful. These suggestions and comments can offer an idea that you may not have considered. Ready to think like a winner and showcase your marketing brilliance? This is your LAST MONTH to enter this year. Get those entries postmarked by June 26, 2009…and good luck! www.ppa.com/competitions/ANNE.php

Affiliate School Spotlight IMAGE EXPLORATIONS July 12 – 16, 2009 Shawnigan Lake, BC, Canada Shawnigan Lake School CONTACT: Don MacGregor; 604-731-7225; [email protected] WEBSITE: www.imageexplorations.ca TUITION: $645 Canadian (view website) COURSE INFORMATION: Business of Photography – Andre Amyot The Five Ateliers: Creative Photography – Arthur Rainville Complete Studio – Doug Box Mastering the Upscale Gallery: Portrait & Fine Art – Greg & Lisa Daniel Advanced Photoshop – Jack Davis Photoshop Fundamentals: Retouching & More – Jane Conner-Ziser Beyond Your Own Brain: Creative Photography – Joe Glyda & Carol Andrews Digital Workflow & Boot Camp (with Lightroom) – Kevin Kubota Children/Babies/Maternity – Lori Nordstrom The Art of Becoming an Elite Wedding Photographer – Scott Robert Lim Contemporary Portraits/ Marketing – Vicki & Jed Taufer

LAMARR WILLIAMSON SCHOOL OF PHOTOGRAPHY July 13 - 16, 2009 Columbia, SC University of South Carolina CONTACT: John Wrightenberry 803-781-2130; [email protected] WEBSITE: www.lamarrschool.com TUITION: $450 COURSE INFORMATION: Introduction to Professional Photography – Louis Tonsmeire, Jr. Learn the fundamentals, including camera settings, lenses, proper exposure, basic posing and lighting, marketing, promotions, and much, much more. Photoshop: The Next Level – Al Audleman Learn to manage your images quickly and be more creative with Photoshop tools (will discuss creative uses of layers, blending modes, color and tonal corrections, marketing materials, price lists, and more). Creativity, Fashion, & Success – Bry Cox Learn his entire system, including his secrets for getting the emotion in a portrait, post production, business and sales techniques (like creating great DVDs for sales and advertising).

PPSNYS PHOTO WORKSHOP July 19 – 24, 2009 Geneva, NY Hobart & William Smith Colleges CONTACT: Linda Hutchings; 607-733-6563; [email protected] WEBSITE: www.ppsnysworkshop.com TUITION: Varies by class (view website) COURSE INFORMATION: Photo Painting: Impressions of Art – Fay Sirkis Photoshop: Focus on Fun & Productivity – Suzette Allen All I Know: Mastering the Light – John Woodward Intro to Photoshop & Photography Basics – Craig Hutchings Wide-Angle Vision – Ken Sklute Photography: A Comprehensive Study – Gary & Kathryn Meek

LONG ISLAND PHOTO WORKSHOP, INC. August 3 – 6, 2009 Smithtown, NY Sheraton Long Island Hotel CONTACT: Jerry Small 516-221-4058 [email protected] WEBSITE: www.liphotoworkshop.com TUITION: Varies by class (view website). Includes welcome breakfast, t-shirt, daily gourmet buffet lunch, catered graduation banquet, class photo, weeklong tradeshow, student-only raffle, and 4 days with top talent! COURSE INFORMATION: Mastering the Techniques: How to be a Complete Photographer – Hanson Fong Corel Painter 11: Paint Like a Master – Fay Sirkis Professional Photoshop CS4: From the Beginning! – Gary Small Light is the Greatest Influence – Dave Black Return to Oz: Seeing is Believing, a Cinematic Approach to Digital Still Photography – Vincent A. Versace II Professional Polish – Janice Wendt from Nik Software (creators of all the popular Nik special effects filters and Nikon Capture NX2)

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LabTab

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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

June 2009 • Professional Photographer • 103

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab ad specs: • AD SIZE: 31⁄2 X 21⁄2 • 12X RATE: $425.00 • 6X RATE: $525 PER MONTH Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge.

For more information, contact your advertising representative: BART ENGELS, Western Region Manager, 847-854-8182; [email protected] SHELLIE JOHNSON, Northeast Region Manager, 404-522-8600, x279; [email protected] BILL KELLY, Southeast Region Manager, 404-522-8600, x248; [email protected]

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SAVE THE DATE FOR MUSIC CITY Gaylord Resort & Convention Center January 10-12, 2010 • Nashville, TN

Register and book your rooms now www.IMAGINGUSA.org

June 2009 • Professional Photographer • 105

LabTab

106 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

June 2009 • Professional Photographer • 107

Buyer’s Gallery THIS SECTION IS THE MONTHLY RESOURCE PHOTOGRAPHERS USE TO FIND THE PRODUCTS THEY NEED. PUT YOUR MESSAGE PROMINENTLY IN FRONT OF INDUSTRY PROS AND START TURNING BROWSERS INTO BUYERS.

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June 2009 • Professional Photographer • 109

Buyer’s Gallery Ad size: 2 ⁄ ” x 4 ⁄ 12x rate: $575.00 gross per month 6x rate: $625.00 gross per month 1

4

3

4

For more information, contact your advertising representative: BART ENGELS, Western Region Manager, 847-854-8182; [email protected] SHELLIE JOHNSON, Northeast Region Manager, 404-522-8600, x279; [email protected] BILL KELLY, Southeast Region Manager, 404-522-8600, x248; [email protected]

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PROFE SSIONAL

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Nikon (www.nikonusa.com/D3X) . . . . . . . . . . . . . . . .5 North American Photo (www.naphoto.com) . . . . . .106 Novatron/OmegaSatter (www.omegasatter.com) . . .55 Onlinephotofix.com (www.onlinephotofix.com/magpp) . . . . . . . . . .113 OnOne Software (www.ononesoftware.com/pp) . . . .9 Pacific Mount (www.pacificmount.com) . . . . . . . . .110 Perceptive Graphics (www.perceptivegraphics.com) .113 Photogenic (www.photogenic.com) . . . . . . . . . . . . .45 PickPic (www.pickpic.com) . . . . . . . . . . . . . . . . . . . .13 Pictobooks (www.pictobooks.com) . . . . . . . . .109, 110 Portrait City Lab (www.customcolor.com) . . . . . . .102 Post Prints & Design (www.poshprintsonline.com) 108 Profoto (www.profoto-usa.com) . . . . . . . . . . .Cover IV Pro Photo (www.prophotoimaging.com) . . . . . . . .102 Quantum Instruments Inc. (www.qtm.com/pro) . . . .35 Reedy Photo (www.reedyphoto.com) . . . . . . . . . . .107 Renaissance Albums (www.renaissancealbums.com) . . . . . . . . . . . .109 Simply Canvas (www.simplycanvas.com/TheBest) .49 Smith Studio Color Lab (www.smithphotographers.com) . . . . . . . . . . . .111 Speedotron (www.speedotron.com) . . . . . . . . . . . .94 Studio Logic (www.studiologic.com) . . . . . . . . . . .3, 71 Successware (www.successware.net) . . . . . . . . . . . .69 Tyndell (www.tyndellphotographic.com) . . . . . . . .108 United Promotions Inc. (www.upilab.com) . . . . . . .106 Wacom (www.wacom.com/i4) . . . . . . . . . . . . . . . . .61 White House Custom Color (www.whcc.com) .10-11, 32-33 White Glove (www.wgbooks.com) . . . . . . . . . . . . .109

Publisher not responsible for errors & omissions

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ClassifiedAdvertising CLASSIFIED ADVERTISING RATES Classified rates: • $1.50 per word; • $2.00 per word/ words with all caps or bold face. • $10.00 per issue—Confidential Reply Box Ads (Optional)—$30 minimum per ad. Closing date is 20th of the second month proceeding issue date. Remittance must be received with order. NO ADS ACCEPTED BY PHONE. Remittance to: Professional Photographer Classified Ads, 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303; 800-339-5451, ext. 221; FAX 404-614-6405.

ACCOUNTING CPAs FOR PHOTOGRAPHERS. Business set-up, tax planning and preparation, business valuations and consulting. Decades of experience. Darryl Bodnar, CPA, 410-453-5500, [email protected]. Visit our website at www.nlgroup.com.

ARTISTIC ENHANCEMENT A WORK OF ART - DIGITAL PORTRAIT PAINTING. Offer your clients the look of hand-painted oils on canvas and watch your print sales soar. Fast turnaround, work guaranteed. We have 5 years’ experience in Corel Painter, working exclusively with professional studios. Featured in PPA Magazine, August 2007. Starting at $125. 724-5189069; www.bobnolin.com

BACKGROUNDS THE DENNY MFG. CO., INC. is the World’s Largest Manufacture of Hand Painted Backgrounds, Computer Painted Backgrounds, Muslin Backgrounds, Studio Sets, Props, Lift Systems, and related Studio Accessories. Contact us today to receive our FREE 180 page color catalog filled with exquisite products and ideas to help you succeed in Photography. Write P.O. Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit our Web site at www.dennymfg.com. STUDIO DYNAMICS’ muslin and canvas backdrops offer quality and value at outlet prices! Call 1-800-595-4273 for a catalog or visit www.studiodynamics.com CHICAGO CANVAS & SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track & Hardware for Moveable Curtains and Backdrops—Easily installed. Quick turn around time. Our prices can’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.com; [email protected] BACKDROP OUTLET, We are the Largest supplier of Backgrounds, Props and Studio Accessories. We have it all…. Canvas from $99.00 Muslin Backgrounds from $69.00 Scenics, Flex outs, Faux tex. Your options are endless. We also offer roller systems and Light Rail systems. Lights, Soft boxes, Stands and equipment. We have a huge selection of props and set systems. REQUEST OUR FREE 164 PAGE CATALOG 1-800-466-1755 or you can order online at WWW.BACKDROPOUTLET.COM 3540 Seagate Way, Oceanside, CA 92056.

BUSINESS OPPORTUNITIES A UNIQUE SYSTEM of five interchangeable revolving sets. The carousel measures 11’ in diameter, operated with hand held transmitter. These 3D sets are child favorites; create your own sets as needed. $5500. + truck from thousand oaks CA. Finished work can be seen at www.carouselportraiture.com/setso

CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 33 years experience servicing the Hasselblad system exclusively. Previously with Hasselblad USA. Free estimates, prompt service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main Street, #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.

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CANVAS MOUNTING CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509248-6700. WWW.CANVASMOUNT.COM

COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800593-3767 or visit our Web site www.SuccessWare.net.

DIGITAL DIGITAL PHOTOGRAPHERS—Kessler Color produces STUNNING images from digital files. Try our rapid FTP site and get a FREE 16 x 20. New Service—E-Vents from Kessler Color. Get 8x10 units for $.90. [email protected]. 800-KES-LABS. SCHOOL PHOTOGRAPHERS—Kessler Color’s digital units start at $.90 each. Beautiful color and great value! Call 800-KES-LABS.

EDUCATION/WORKSHOPS *BOOK* DAVE NEWMAN’S “PROFESSIONAL PORTRAIT LIGHTING.” New 2nd Edition $45. “. . . simply the Best. . .” R. Day. Now shipping: www.portrait-world.com “The Art of Digital Photo Painting: Using Popular Software to Create Masterpieces” book is now available on Amazon. Join Corel Painter Master Marilyn Sholin in Asheville, NC and other locations at a workshop. Free tutorials and registration at the Digital Paint Shop. www.digitalpaintingforum.com/shop

EQUIPMENT FOR SALE DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW & USED, FACTORY AUTHORIZED. INSTALLATION AND TRAINING. FINANCING—$600 UP. DELIVERY—INSURED. WWW.DIRECT-RESOURCES.COM; 877-318-3015. HASSELBLAD H2 SYSTEM: Excellent condition used 18 months, images available. 888-821-0505; www.imagehousephotography.com/info

FRAMES Frames, Hardwood Frames…custom sizes; Oak, Walnut, Cherry, Primitive & Painted www.giftsforhome.com or call 800-841-5511.

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at [email protected]. PHOTOGRAPHER FOR WEDDINGS in Northern NJ. Weekends only. Must have digital equipment, work with second light, and have minimum 5 yrs. experience, and excellent references. Please call 201-428-1342.

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June 2009 • Professional Photographer • 113

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.

FinePix S8100 to each woman in Stoyer’s program. The support from Fuji helped Stoyer extend her work another five months to pursue her second objective: teaching the women to express themselves through photography. “We focused on finding their voices again after years of being silenced in their abusive domestic situations,” says Stoyer. “I told them these aren’t just pretty pictures; I want you to photograph your tough days as well. It’s part of your experience. The process was very therapeutic.” At the end of their 10-month program Stoyer and the women compiled a set of images for a gallery exhibition. Sponsored by Fuji, the exhibition took place this past ©Paige Stoyer

March at The New School Aronson Galleries

The long journey

in New York. Proceeds from image sales went

HELPING DOMESTIC VIOLENCE VICTIMS FIND A ROAD TO RECOVERY

Sanctuary for additional image sales through

S

directly to Sanctuary. Stoyer also donated all of her first-edition prints from the project to their website. She is selling ensuing editions of the prints through her website with a por-

anctuary for Families is the largest non-

Sanctuary agreed to set up Stoyer with a group

profit organization in New York state

of women who had escaped their abusive rela-

To other photographers interested in shar-

dedicated to helping victims of domestic

tionships but still faced ongoing issues related

ing their talents with a worthy cause, Stoyer

violence. Every year, Sanctuary helps

to those situations. For the next five months,

recommends formulating a plan, and then

thousands of victims and their children

Stoyer met with the women once a week. Her

not letting anything stand in your way. “I cer-

through clinical, legal and shelter serv-

first objective was to tell the women’s stories and

tainly had challenges along the way with this

ices, education and outreach, economic

tion of the proceeds going to Sanctuary.

put a face on domestic violence. “It’s impor-

project, but you just have to push forward,”

development programs and a children’s pro-

tant for people to understand how complicated

she says. “Once people saw this project and

gram. The goal is to help domestic violence

these women’s situations are, and how they

recognized how valuable it is, I got a lot of

victims escape their abusers and start over in

continue to deal with fear and many complex

support. I came out of it loving photography

safe, productive environments. In the past year,

issues even long after escaping their abusers,”

even more, and appreciating it even more for

the organization has provided direct assistance

explains Stoyer. “The women really wanted to

the bonds it can form between people.” �

to more than 8,000 women and children whose

participate so other people would understand

lives have been impacted by domestic violence.

more about domestic violence, how prevalent

Photographer Paige Stoyer had been volun-

it is and how destructive it is to families.”

teering at Sanctuary when she came up with the

Fujifilm found out about the project and

idea of leading a photography class and por-

offered a grant for Stoyer to extend her work

trait project for women in the program.

with the women. Fuji also donated a Fujifilm

114 • www.ppmag.com

To learn more about Sanctuary for Families, visit www.sanctuaryforfamilies.org. For more on Paige Stoyer, visit www.paigestoyer.com. Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]

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