Professional Photographer UK April 2008

APRIL 2008 | WWW.PPMAG.COM | $4.95 ©Allison Rodgers Photography Manfrotto. 100% Carbon Fiber. Enough said. Up to $5...

Author: Professional Photographer UK

15 downloads 1288 Views 30MB Size Report

This content was uploaded by our users and we assume good faith they have the permission to share this book. If you own the copyright to this book and it is wrongfully on our website, we offer a simple DMCA procedure to remove your content from our site. Start by pressing the button below!

Report copyright / DMCA form

DOWNLOAD PDF

APRIL 2008 | WWW.PPMAG.COM | $4.95

©Allison Rodgers Photography

Manfrotto. 100% Carbon Fiber. Enough said.

Up to

$50 Rebate on Manfrotto! For details, go to

www.bogenimaging.us/promotions

To locate a Manfrotto dealer with products on display and in stock Go2 www.bogenimaging.us Manfrotto US subsidiary: Bogen Imaging Inc. 201 818 9500 www.bogenimaging.us [email protected]

100% carbon fiber tubes Magnesium die castings Quick central column system

CONTENTS PROFESSIONAL PHOTOGRAPHER | APRIL 2008

Features 86

DESIGNING DUO

Allison & Jeff Rodgers bring ad agency service to studio clients by Jeff Kent

94

BRILLIANT

A glittering gallery by the Diamond Photographers of the Year by Jeff Kent

66

PORTRAITS: JOY RIDE

Michael Gan & Leslie Artis-Gan: It’s a pleasure to be creative for a living by Stephanie Boozer

72

PORTRAITS: BOLD BLACK AND WHITE

Portraitist Kerry Brett brands her distinctive style by Lorna Gentry

82

PORTRAITS: CLASSIC BEAUTY

Portraitist Tim Kelly shares the secrets of his success by Lorna Gentry IMAGE BY ALLISON RODGERS PHOTOGRAPHY

CONTENTS PROFESSIONAL PHOTOGRAPHER | APRIL 2008 | WWW.PPMAG.COM

14

FOLIO

106 CALENDAR 111

PPA TODAY

130 GOOD WORKS

©Kerry Brett

Departments C O N TA C T S H E E T 20 Eye of the storm: Jim Reed 22 Chris Lommel’s Greenspace 26 Copyright help is a click away

by Maureen Cogan 28 Led by passion

by David McKay

PROFIT CENTER 33 What I think: Allison Rodgers 36 Web sites: Online & on your mind

by Angela Wijesinghe 40 Web sites: Tap the power

by Kammy Thurman 44 The joy of marketing:

Stay true by Sarah Petty

THE GOODS 49 What I like: Julia Gerace 52 Pro review:

Canon imagePROGRAF iPF6100 by Ellis Vener 56 Labs: Spring tryouts

by Joan Sherwood 62 Photoshop and Lightroom:

72

Portrait artist and Improper Bostonian photographer Kerry Brett loves

a challenge. Whether it’s time restraints with celebrity clients or having too little space to work in, creative problem solving heightens her delight in photography.

6 • www.ppmag.com

What’s the difference? Part II by Andrew Rodney ON THE COVER: Kit and Alicia Teeter instructed Allison Rodgers to capture the true nature of their 5-year-old twins Cassie and Kinsey and their 3-yearold sister, Kyleigh. Our cover image, captured with the Canon EOS 5D and a 24-70mm 2.8L lens, was one of nine images that Allison and Jeff Rodgers designed to go in the Teeter’s home as a grouping. Rodgers recalls, “So many expressions, so many moods. This image captures just one second in the life of the Teeter girls.” Read more about Allison Rodgers Photography in our feature on page 86.

Our Product Development Team…

is Your _ Product Development Team!

What happens when you ask a group of nine fun, creative, and innovative women to design a comprehensive product line for professional photographers? They develop a beautiful, elegant, high-quality product collection that ﬁts the product needs of every wedding and portrait studio. Learn more about the products and how these women used the highest quality materials, the hottest colors, and the most innovative design to create ﬁve best-in-class product lines at www. collages.net/creative.

Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation Check out Collages.net’s comprehensive product line at www.collages.net/products. ©2008 Collages.net Inc. All rights reserved. Photo ©2008 Erik Matey.

Mind. Body.

Photography. A Picture-Perfect Relationship :PVSLFFOFZFBOEDSFBUJWFWJTJPOUSBOTGPSNFMFNFOUTJOUPCFBVUJGVM POFPG BLJOEQIPUPHSBQIJDJNBHFT8IJUF)PVTF$VTUPN$PMPVSCSJOHTZPVSJNBHFT UPMJGFXJUIBEFWPUJPOUPTJNQMJDJUZUIBUIFMQTZPVBDIJFWFNPSF BOEB SFQVUBUJPOGPSRVBMJUZBOETFSWJDFUIBUEFMJWFSTQFBDFPGNJOE8IFOZPV TVDDFFE XFTVDDFFE*UµTUIBUTJNQMF

8IJUF)PVTF$VTUPN$PMPVSJTBGVMMTFSWJDF QSPGFTTJPOBMQIPUPHSBQIJDBOEQSFTTQSJOUFS 'PSBNPSFDPNQMFUFMJTUPGPVSTFSWJDFTBOEQSJDJOH WJTJUPVSXFCTJUF

XXXXIDDDPN

P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

Investigative reporting THE VALUE OF A GOOD Q&A SESSION What a client wants and what a client says she wants can be two different things. In journalism, there are fundamental questions every story is supposed to answer: who, what, when, where, why and how. If the reporter can elicit the answers to these six questions, he’s armed

art director/production manager

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

LESLIE HUNT [email protected]

KARISA GILMER [email protected]

editor-at-large

sales and marketing assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected] technical editors

ANDREW RODNEY, ELLIS VENER director of sales and strategic alliances

SCOTT HERSH, 610-966-2466, [email protected] western region ad manager

with the facts he needs to write the full story. The idea of a thorough question-and-answer session applies to portrait photographers as well, at least those interested in maximizing every sale.

BART ENGELS, 847-854-8182, [email protected] eastern region ad manager

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

MOLLIE O’SHEA, [email protected]

Most clients aren’t familiar with the dramatic strides in portrait-making in the last few years, and the plethora of new media and photo products now available. They need the photographer’s expertise to walk them through the selections. To provide true counsel, you have to know not only what the client wants, but what he really needs. You have to put on your reporter’s cap

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

and find out. “When clients come in, I ask a thousand questions about who they are and what they’re looking for,” says Allison Rodgers, who, along with her husband, Jeff, runs a successful studio in Olive, Miss. “I want to see the color palette of their house, the layout, the style. We look into all of these elements so that we can provide a solution that fits them.” The Rodgers, profiled on p. 86, are both former art directors, and accustomed to demanding corporate clients. Their experience in the rough-and-tumble advertising world taught them how to anticipate their clients’ requirements. In the end, says Allison, “It’s about helping people understand what they need.” And isn’t that the most effective sales strategy there is? � Cameron Bishopp [email protected] Director of Publications

10 • www.ppmag.com

senior editor

JOAN SHERWOOD [email protected]

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 2008, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wrights’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

Three amazing cameras designed to inspire. Starting with the powerful EOS-1Ds Mark III. With a 21.1-megapixel full-frame CMOS sensor, dual DiG!C III Image Processors, and a 3-inch LCD monitor, it’s far and away the most remarkable camera Canon has ever created. The innovative, feature-filled 10.1-megapixel EOS 40D lets photographers take the next leap forward, with its DiG!C III Image Processor and 6.5 framesper-second shooting. Along with the exceptional EOS-1D Mark III with its blazingly fast 10.5 frames-per-second shooting and 10.1-megapixel CMOS sensor, Canon makes the creative process easy, rewarding and, most important, inspiring. To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc ©2008 Canon U.S.A., Inc. Canon, EOS and DiG!C are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.

chairman of the board *JACK REZNICKI Cr.Photog., Hon.M.Photog., API [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

2008-2009 PPA board president *DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP [email protected] vice president *RON NICHOLS M.Photog.Cr., API [email protected] treasurer *LOUIS TONSMEIRE Cr.Photog., API [email protected]

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

DOUG BOX M.Photog.Cr., API [email protected] DON MACGREGOR M.Photog.Cr., API [email protected] industry advisor KEVIN CASEY [email protected] legal counsel Howe and Hutton, Chicago

CAROL ANDREWS M.Photog.Cr., ABI [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected]

SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

SCOTT KURKIAN Chief Financial Officer [email protected]

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

CAMERON BISHOPP Director of Publications [email protected]

DANA GROVES Director of Marketing & Communications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] J. ALEXANDER HOPPER Director of Membership, Copyright and Government Affairs [email protected] WILDA OKEN Director of Administration [email protected] LENORE TAFFEL Director of Events/Education [email protected] SANDRA LANG Executive Assistant [email protected] *Executive Committee of the Board

“Melancoly” by Joseph and Louise Simone

12 • www.ppmag.com

folio| JIM CARPENTER Jim Carpenter, CPP, of Gitchells Studio, Inc. in Charlottesville, Va., captured “Crayola Cafe” as a self-assignment after noticing the colorful umbrellas from the highway. He got permission from the University of Virginia to climb onto a roof, where he snapped the image with a Fujifilm FinePix S2 Pro digital SLR and 17-35mm Nikkor f/2.8 D IF-ED AF-S Zoom lens, exposing the frame for 1/250 second at f/8, ISO 400. He used Adobe Photoshop only to remove a crack in the concrete. “The umbrellas are really that color,” he says. This Loan Collection image won a Fujifilm Masterpiece Award.

14 • www.ppmag.com

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.

©Jim Carpenter

Introducing New Square Albums and Books to the Miller’s Line

With Innovative LayFlat Functionality and 18 Different Colorful Cover Options

www.millerslab.com

800.835.0603

©Rich Newell

RICH NEWELL While out photographing Italian architecture one afternoon, Rich Newell, M.Photog.Cr., of Photography by Eicher’s in Springboro, Ohio, noticed these three gentlemen with a baby carriage. “What were they talking about so intently, and why was there a baby carriage?” Newell wondered. With an answer in mind, Newell captured “I Told You to Use Protection” with a Fujifilm FinePix S2 Pro digital SLR and 80-200mm Nikkor f/2.8D AF ED lens, exposing the frame for 1/250 second at f/4.5, ISO 100. “This was one of those real-life moments that you just couldn’t make up,” says Newell.

TINA TIMMONS While showing a client some fine-art pieces, Tina Timmons, M.Photog.Cr., of The Portrait Gallery in Frankenmuth, Mich., came up with the idea for “It’s a Girl Thing” when the client expressed interest in a photo of purses. “My mom was making photographic purses and totes for gallery resale,” says Timmons. With her Fujifilm FinePix S3 Pro digital SLR and 18-200mm Nikkor f/2.8 G IF-ED AF-S DX VR lens, Timmons ran down to the purse shop and exposed the image for 1/125 second at f/5.6, ISO 800. She used her own special combination of Adobe Photoshop, LucisArt, BuZZ, and Nik Color Efex Pro software to achieve the final image. ©Tina Timmons

16 • www.ppmag.com

© Clay Blackmore

For ultimate

Color

accuracy

Color Management with i1Display 2

If seeing is believing, you will want to see your images in their true colors. Monitors and graphic cards interpret color in their own unique ways, and they’re all different. i1Display 2 ensures that what you see on your monitor is the real color in your digital files. It’s simple to use and includes everything you need to get accurate on-screen color throughout the digital workflow, both in your own studio or in a collaborative production environment.

XritePhoto.com 914 347 3300 X-Rite is a trademark of X-Rite, Incorporated

No digital SLR on the planet could take this shot. So we built one. The Nikon® D3™ is here.

©2008 Nikon Inc.

See more of Sandro’s awe-inspiring D3™ images at stunningnikon.com/challenge. The revolutionary new Nikon D3 will change the way you shoot sports or action of any kind. With a 12.1 megapixel FX-format CMOS sensor, 9 fps speed at full FX resolution, and incredibly low noise even at ISO 6400, the Nikon D3 means you’ll never again have to choose between blazing speed or brilliant image quality, particularly in low light situations. In the words of Nikon Pro Sandro, “There’s nothing more I could possibly have asked of this camera. I’m absolutely blown away.” The Nikon D3. Do the undoable. Brainerd Int’l Raceway. Dusk. Turn 8. 1/5000 of a sec. f/4 ISO 6400. NIKKOR® 14-24mm f/2.8 Lens.

CONTACT SHEET

Eye storm

What’s New, Events, Hot Products, Great Ideas, Etc.

of the

BY JEFF KENT

All images ©Jim Reed

For the better part of two decades, Jim Reed

orologically it’s a battleground for atmos-

has lived on the edge of a tempest. That’s

pheric conflict.”

not a metaphor. Reed is a world-renowned

From a photographic perspective, Reed

storm chaser and award-winning weather

relishes the opportunity to interact with

photographer who has witnessed the fury of

nature and produce jaw-dropping

countless floods, blizzards, tornadoes, and

“atmospheric portraits.” From a social and

hurricanes. His work has appeared in

environmental perspective, he enjoys

National Geographic, Nikon World, The

knowing his work can affect our perception

New York Times, Reader’s Digest, and Time,

of nature. “I am convinced that we’re

and the Web sites of the National Oceanic

moving into a period of increased frequency

and Atmospheric Administration and the

of harsh weather challenges. I’ve learned

World Meteorological Organization. Reed

that if you are not prepared, not engaged

is also the author of “Storm Chaser: A Pho-

with nature, there will be traumatic results.

tographer’s Journey,” winner of widespread

Photography plays a critical role in helping

critical acclaim.

people realize what’s going on around them,

Reed’s career began in Los Angeles as a

and motivating them to learn to adapt.”

filmmaker and writer, working on a variety of commercial projects. But his childhood fascination with weather began to reassert its pull, as televised coverage of severe weather became more immediate, and he began shadowing weather researchers. Well before the movie Twister thrilled audiences with the tumultuous life of storm chasing, Reed had secured a niche documenting extreme weather. In the early ’90s, with a spate of severe weather lashing across the country, Reed turned his focus to the skies full time. While everyone else was running for shelter, he stepped into the maelstrom. Reed moved from Los Angeles to Wichita, Kan., in 1992 and set up a weather photography operation. He chases storms, journeys to major weather events, and sells his images to the media and stock and fine art houses. “Kansas is amazing because of how energized people are in terms of talking about these life-changing storms,” says Reed. “And Kansas is at the geographic center of the United States, and as the crossroads of weather patterns, mete-

To see more of Jim Reed’s weather photography, and for information on his book, “Storm Chaser,” visit www.jimreedphoto.com.

CONTACT SHEET

All images ©Chris Lommel

Greenspace

cabin on the property, and to partially restore a fieldstone farmhouse in another section. And there’s always the ongoing work of planting, weeding, mulching and maintenance. The cycle begins in winter, when

Portraiture thrives in Chris Lommel’s garden

Lommel seeds some 40 flats with annuals,

BY STEPHANIE BOOZER

moves the flats to a greenhouse. Memorial

leaving them to sprout under the grow lights in his basement. When the frigid Minnesota winter eases into early spring, Lommel Day marks prime planting time, and friends and family come to help with the task. “There’s always something to do in a garden,” says Lommel, whose mother, too, tends to the gardens in the growing season, putting in more than 30 hours a week. “It really is a labor of love, designing and creating things outdoors. I’m fortunate that I can work in both areas that I love so much.” See more of the Lommels’ landscape and portrait work at www.chrislommelphotography.com.

For Chris Lommel, M.Photog., CPP, of Chris

circle the ponds. “The kids have a great time

Lommel Photography in Big Lake, Minn.,

feeding the fish and playing in the yard. I can

“going green” is more than a buzz word. His

capture kids just being themselves.”

4,000 square-foot home and studio sits on

Caring for a sizeable garden takes much

two-and-a-half acres landscaped into idyllic

time and manual labor, which Lommel was

settings for portraits, the culmination of his

feeling acutely in 2001, when he learned he

love of both photography and landscape design.

had multiple myeloma. Lommel immediately

“I love being in tune with nature and the

began an aggressive campaign of treatment,

evolution of things,” says Lommel, who works

including intense chemotherapy and,

alongside his wife and high school sweetheart,

eventually, a stem cell transplant. Recovery

Kim. “My photography reflects that, too,

meant a year-long hiatus from the studio

because I’m always trying to grow and change.”

and his beloved garden, and another two

The Lommels planted the garden’s first seeds in 1995, and it’s been sprouting in new

years of working part time. His family, members of the Rotary Club and

directions ever since. In 1999, they installed

others in the Lommel’s community tended

water features, a pond 50-feet in diameter,

the grounds, while photographers in the

and a smaller pond that runs into a rocky

area volunteered time in the studio to keep

creek bed with a series of waterfalls.

his business going.

“It’s a great place to capture candid photog-

“Last summer, the doctor said I’m cured

raphy with the kids,” says Lommel. Conditioned

until proven otherwise, so we’re back to

by Lommel’s hand-feeding, the Koi and

adding to the landscape,” says Lommel. He

goldfish follow alongside visitors as they

plans to add a rustic floor and roof to the log

22 • www.ppmag.com

PHOTO BOOKS

TX. Image courtesy of Sallee Photogaphy, Dallas,

Tell your story with a Photo Book from Mpix. Our new Custom Hard Covers give you complete freedom to add vibrant, colorful images to the front and back of your book. Now your story starts before you even reach page 1.

Visit www.mpix.com to see our full line of photographic and press products.

8IJUF)PVTF$VTUPN$PMPVS :PVS1SPGFTTJPOBM1IPUPHSBQIJDBOE1SFTT1SJOUJOH1BSUOFS

30&4XIDD 0VSDSPTTQMBUGPSN30&4TPGUXBSFNBLFTJURVJDLBOE FBTZUPPSEFS1IPUPHSBQIJDBOE1SFTT1SJOUFE1SPEVDUT GSPN8)$$

30&4XIDD

(BMMFSZ8SBQQFE$BOWBT 6TJOH,PEBL.FUBMMJDQBQFSCPOEFEUPDBOWBT PSQSJOUFE EJSFDUMZPOUPDBOWBT UIFOMBNJOBUFEBOEXSBQQFEPWFSB XPPEFOTUSFUDIFSGSBNF PVS(BMMFSZ8SBQTBSFBWBJMBCMFJO UXPEFQUITBOEEJGGFSFOUTJ[FT

1SPPGCPPLT "OJOFYQFOTJWFBOEDPOWFOJFOUXBZUPEJTQMBZQSPPGT B1SPPGCPPLXJUIZPVSMPHPPOUIFDPWFSJTBMTPB NBSLFUJOHQJFDFZPVSDMJFOUTTIPXBSPVOEGPSZPV

1SPPGJOH 8FPGGFSMPXDPTUQSPPGTJOY Y Y YBOE YTJ[FTTUBSUJOHBU"EECJOEJOHUPDSFBUFB NJOJCPPLGPSBTFOJPS GBNJMZPSCBCZTFTTJPO

7JTJUQSPXIDDDPNHP4UBSUUPEBZUPPQFOZPVS8)$$BDDPVOU

8IJUF)PVTF$VTUPN$PMPVSJTBGVMMTFSWJDF QSPGFTTJPOBMQIPUPHSBQIJDBOEQSFTTQSJOUFS*O BEEJUJPOUPUIFTIPXDBTFEQSPEVDUTPOUIFTFQBHFT XFPGGFSBGVMMMJOFPGQIPUPHSBQIJD QSJOUTQSJOUFEPO,PEBL1SPGFTTJPOBM1BQFST'PSBDPNQMFUFWJFXPGPVSQSPEVDUTBOE TFSWJDFT WJTJUPVSXFCTJUF XXXXIDDDPN

1SFTT1SJOUFE#PPLT 8JUIIJOHFEQBQFSGPSUIJDLQBHFTUIBUMBZGMBU BOE DVTUPNQIPUPDPWFST PVSCPPLTXJMMTFUZPVBQBSUBOE HJWFZPVBNPOFZNBLJOHQSJDJOHTUSVDUVSF1MVT UIFZ TIJQGBTU°NPTUCPPLTTIJQUIFOFYUEBZ

1SFTT1SJOUFE(SFFUJOH$BSET 5ISFFZFBSTJOUPPVS1SFTT1SJOUFE(SFFUJOH$BSEMJOF XF PGGFSGPVSEJGGFSFOUQBQFSTBOEOJOFEJGGFSFOUDBSETJ[FT"MM DBSETJODMVEFFOWFMPQFTBOETIJQJOEBZT

1SFTT1SJOUFE1SPEVDUT %JGGFSFOUJBUFZPVSTFMGXJUIUIFTFBEEJUJPOBM1SFTT1SJOUFE 1SPEVDUT#VTJOFTTDBSET 3FQDBSET 4UJDLFST #PPLNBSLT BOE1PTUFSTBSFBWBJMBCMFJOEJGGFSFOUQBQFSTBOEBSF QSPEVDFEJOEBZT

'JOJTIJOH4FSWJDFT 8FPGGFSBGVMMSBOHFPGQSPGFTTJPOBMMBCGJOJTIJOHBOE NPVOUJOHTFSWJDFT JODMVEJOHNBUCPBSE TUZSFOF GPBNCPBSE NBTPOJUFBOEUSBEJUJPOBMDBOWBT

XXXXIDDDPN

CONTACT SHEET

Copyright help is a click away How photographers are using the PPA Copyright Kit to protect their intellectual property BY MAUREEN COGAN, CPP If you want to protect your copyrights, PPA’s

we stamp a copyright notice on our images,

Copyright Kit will show you how. Prepared

and what constitutes copyright violation. The

by the PPA Copyright and Government

brochure accompanies every order we deliver.

Affairs Department, the kit is an exclusive

It’s not difficult for consumers to scan,

service for PPA members. Formatted as a

copy and enlarge prints, but if we educate

40-page downloadable PDF file, the kit

our clients, we can stem unintentional

includes clear explanations of copyright

copyright violation.

laws; steps to take to protect your rights;

At DeMartini Photography, in San

filing how-tos; interactive, printable U.S.

Diego, Calif., Christie DeMartini goes over

Copyright Office forms; sample usage

contracts with each client, highlighting key

licenses; model release forms; copyright

points, including her copyright to the

transfer contracts; and more.

images, and asks the client to initial each

Our company, MoCoPhoto, incorporated

point. She also inserts a PPA-supplied

the information and forms in the kit into a

copyright notice in each order. Further, she

brochure for clients that explains our legal

embeds her copyright in the metadata of

copyright over the images we create, how copy-

each digital image file, and clearly marks it

right protection is vital to our business, why

on every image on her Web site. “I market to a clientele who appreciate fine art,” says Vanessa Ard, of Vanessa’s

©Maureen Cogan

Photography in Ellicott City, Md. She screens clients and educates them during

The back of every print that leaves MoCoPhoto is stamped with a copyright notice (left). Cogan encloses brochures on copyright info with every order (above).

their initial consultation. She uses projection rather than paper proofs, and only rarely agrees to post a lo-res Web gallery online,

register images of celebrities or singular

and then for a limited time. Her final prints

events that might be widely used.

are textured and mounted, which both

“My advice is to be as careful as you can

raises their perceived value as fine art and

with your images,” says Mecey. “But I think

makes copying them virtually impossible.

losing sleep over thinking someone may be

At Mecey Enterprises, Inc. of Beverly

copying or using one of your images

Hills, Calif., most of David Mecey’s images

without permission is a no-win situation.

are made for limited use in catalogs or

Restrict the use of your images, and always

brochures, so he doesn’t usually register

get it in writing."

them with the U.S. Copyright Office. Instead, Mecey writes the terms of the client’s usage of his images into every job proposal, and reiterates the terms in every invoice. He clearly states that the client is buying usage rights for a limited time and purpose only, and that ownership of the photographs remains his. He does formally

26 • www.ppmag.com

Maureen Cogan, CPP, owns MoCoPhoto in Columbia, Md. (www.mocophoto.com). To obtain a free Copyright Kit, PPA members can visit www.ppa.com, click on the Copyright tab on the left, and select Copyright Downloads.

Smart Transceiver

NEW PocketWizard PLUS II Triggers your flash, camera or both wirelessly from up to 1,600 feet away. Auto-Sensing Transceiver Technology Automatically Transmits or Receives for faster, easier, carefree wireless triggering. Auto-Relay mode Wirelessly triggers a remote camera and a remote flash at the same time. Fast Triggering Speed Triggers cameras and/or flash units up to 12 frames per second. Digital Wireless Radio Technology Four 16-bit digitally coded channels provide the world’s best triggering performance.

The Plus II joins the growing system of photographic products with built-in PocketWizard Wireless Freedom. Ask for these brands.

Profoto, Dyna-Lite, Norman Packs and Battery Packs A built-in radio receiver provides wireless triggering from a PocketWizard Transmitter and wireless metering.

Profoto, Norman, and Photogenic Monoblocs A built-in radio receiver provides wireless triggering from a PocketWizard Transmitter and wireless metering.

PocketWizard Plus II MultiMax Trigger your flash, cameras or both without wires from the palm of your hand.

Sekonic L-758DR L-358 Choose which flash unit to trigger and measure simultaneously and even fire your camera.

Wireless Radio Triggering

9 1 4 - 3 4 7 - 3 3 0 0

PocketWizard.com

CONTACT SHEET

ESSAY

Led by passion “When you’re truly excited about your work, your clients will see it … and believe in it, too.” BY DAVID MCKAY, CPP

Pricing wars, retail giants, and a shaky economy are only a few of the reasons why niche marketing your art is crucial to your studio’s success. To attract clients who want art rather than cookie-cutter mediocrity, your work needs to be fresh and unique, and capture

28 • www.ppmag.com

©David McKay

the imagination. The market is ripe for

is uniquely yours, your competition isn’t with

we took on every kind of photography, we’d

innovation that’s driven by artistic passion.

other photographers, it’s with a value system.

devalue our work.

If your business is known for doing a certain

We don’t do portraits in the park like

Be who you were created to be, a true

type of portraiture (ours is wall decor in brown

some photographers in our area, and, yes,

artist who lives with passion and purpose,

tones), and nobody can match your quality,

we lose a few clients when we say no. The

and you will succeed in your chosen career.

your marketing should attract clients who want

clients we do attract know what we’re going

your work and expect to pay a premium for

to do for them and how much it will cost. If

McKay Photography is in El Dorado Hills, Calif. (www.mckayphotography.com).

it—we have wealthy clients, but we also have clients who save up to purchase a McKay. Start by following your passion and listen to your inner voice. When you’re truly excited about your work, and you know it’s valuable artistically, your clients will see it in your body language and believe it it, too. Others may try to imitate your style, but

!RTIX3CAN -

4HE!LL IN /NE3CANNERFOR 0ROFESSIONAL0HOTOGRAPHERS

nobody can duplicate the passion you put into your images. Others are trying to imitate our brown-tone style, but clients tell us that their

3UGGESTED2ETAIL0RICE

work just doesn’t have the depth and emotion of our portraits. When you create art that 0ROFESSIONALSCANSWITHDPIOPTICALRESOLUTIONAND BITCOLOR 'LASSLESSlLMSCANNINGWITH-ICROTEKSPATENTED%$)44-DESIGN /PTIMUMSHARPNESSWITHAUTO FOCUSTECHNOLOGYWHENSCANNINGlLM %XTENSIVElLMSUPPORTWITH3NAP4RANS lLMTEMPLATESFORMMSLIDES MMlLM CMlLM 4-

ANDX INCHlLM 2EmECTIVESCANNINGWITHANXSCANBED &ASTSCANNINGWITH(I 3PEED53"CONNECTIVITY

0ATENTED%$)44-$ESIGNFOR'LASSLESS&ILM3CANNING -ICROTEKS %MULSION $IRECT )MAGING 4ECHNOLOGY %$)4 IS A PATENTED hGLASSLESSv SCANNING SYSTEM BUILT INTO THE LOWER BAY OF THE !RTIX3CAN - 4HE %$)4 DESIGN ENABLES lLM SCANNING WITHOUT SUPPORTING THE lLM ON GLASS 4HIS EMULSION DIRECT APPROACH IS SIMILAR TO DEDICATED lLM SCANNERS AND AVOIDS ALL THE ISSUES THAT ARE RELATED TO SCANNING lLM THROUGH A GLASS SUPPORT )NCLUDED WITH THE !RTIX3CAN - ARE -ICROTEKS EXCLUSIVE 3NAP4RANS4- lLM HOLDERS WHICH ACCOMMODATE MM SLIDES MM lLMSTRIPS X INCH lLM AND MEDIUM FORMAT lLM UP TO X CM PANORAMIC 4HE X INCH AND MEDIUM FORMAT CM lLM HOLDERS ARE SPECIALLY DESIGNED WITH SPRING ACTUATED TENSION GRIPS THAT HOLD THE lLM PERFECTLY mAT ENSURING CONSISTENT SCAN RESULTS AND YIELDING SHARPER IMAGE QUALITY

3CAN-AKERI DPIOPTICALRESOLUTION X INCHSCANAREA

3CAN-AKER8,0RO DPIOPTICALRESOLUTION X INCHSCANAREA

¥ -ICROTEK -ICROTEK !RTIX3CAN 3CAN-AKER %$)4 AND 3NAP4RANS ARE TRADEMARKS OR REGISTERED TRADEMARKSOF-ICROTEK)NTERNATIONAL )NC!LLOTHERTRADEMARKSORREGISTEREDTRADEMARKSARETHEPROPERTYOFTHEIR RESPECTIVEHOLDERS3PECIlCATIONSANDSOFTWAREANDHARDWAREBUNDLESARESUBJECTTOCHANGEWITHOUTNOTICE

WWWMICROTEKUSACOM WWW!RTIX3CAN-COM

©David McKay

April 2008 • Professional Photographer • 29

Collages.net

Albums

Make You and Your Clients Look Good.

©2008 Collages.net Inc. All rights reserved. Photos ©2007 April Rocha Photography and Boucher Photography.

Why Choose Collages.net’s Print and Bind Album Solution? Quality: Each album is carefully handcrafted and meticulously reviewed. You can be conﬁdent that Collages.net will deliver you nothing less than a perfect product – every time. Innovation: Collages.net developed an innovative album solution, perfect for ﬁlling a variety of studio needs – from wedding albums to guest books to maternity albums. Savings: With Collages.net, you will save time and money letting one vendor take care of your print and bind needs, and with our online ordering system, you will experience workﬂow ease.

Collages.net albums feature the smallest page break in the industry (1mm) and incredible lay-ﬂat properties.

Customer Service: You will receive the same live, knowledgeable, and dedicated customer service you have come to expect at Collages.net.

30% OFF

STUDIO

For more information, visit www.collages.net/albums or contact Customer Service at (877) 638-7468 or [email protected].

SAMPLES

Albums | High-End Cards | Gallery Wraps | Press Printed Books | Professional Printing Check out Collages.net’s comprehensive product line at www.collages.net/products.

Have you always dreamed of seeing your work on the cover of a national magazine? Here’s your chance! Beginning March 1, 2008, submit your photographs for an opportunity to be featured on the cover of Professional Photographer. Contest Rules & Judging: Images will be judged on technical and artistic merit. Helping Professional Photographer magazine editors choose the best entries will be guest judge Helen K. Yancy, M.Photog.M.Artist.MEI.Cr.Hon. M.Photog., CPP, F-ASP, Hon. F-ASP, the chairman of PPA’s Print Exhibition Committee. You may submit as many images as you wish, provided they are representative of the work you sell to your clients. What we’re seeking are real-world examples of portrait, wedding, commercial and event photography. All work

submitted must be original and previously unpublished, and you must have written releases on ﬁle from any subjects pictured in the image. Prizes: In addition to landing the cover of a 2008 edition of Professional Photographer, the winner will be awarded a selection of prizes from among our cover photo contest sponsors, Bogen, Canon, Kodak, Microsoft and Miller’s Professional Imaging. Prizes will also be awarded to 2nd-, 3rd-, 4th- and 5th-place winners, and as many as 25 entrants will receive prizes for honorable mention.

How to enter: Go to www.ppmag.com to enter. Only digital ﬁles will be accepted. Print images and e-mailed images will NOT be accepted. Upload your electronic images to www.ppmag.com. Format/Speciﬁcations: Submit low-resolution images only, in standard digital formats (.jpg, .pdf, etc.). Images should be 525x700 pixels; ﬁle size can’t be more than 250k. A high-resolution, print-quality version (300ppi at 9x12 inches) must be available for each image.

GO TO PPMAG.COM TO ENTER Submission deadline: Saturday, May 31, 2008

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Allison Rodgers raises a family of loyal clients What do you wish you knew when you were first starting out? I wish I had invested in studio management software to manage the mass of information I gathered. Once you develop a client base, one of the most important things you can do is nurture that list. You can’t do it with sticky notes. What’s the biggest business risk you’ve ever taken? In November 2005 we moved into a 3,000-squarefoot building with triple the rent of our previous two-location setup. I wanted to get all of us into one place so we could work as a unit with room to grow. And guess what—we grew! We added framing and three more employees. It was a big risk, but it’s been so worth it. What’s your deal breaker? When parents try to run my child portrait sessions. What’s the secret to running a successful photography business? We always say that things change every six months. We are constantly re-evaluating and putting new things in place to make the experience of Allison Rodgers Photography better. You have to figure out what your clients’ needs are and meet them. Go above and beyond. Create an environment for your clients where they feel like they’re the most important client you have. And, most important, be generous with your time and your talent. Being generous will help you create a family of clients that will be forever loyal. IMAGE BY ALLISON RODGERS PHOTOGRAPHY WWW.ALLISONRODGERS.COM

April 2008 • Professional Photographer • 33

PROFIT CENTER: WEB SITES

AN-NE Award winners use smart Web design to show off their unique style and personality.

Braniff ’s original site was elegant enough with its featured black-and-white images and traditional style, “But it wasn’t all of me,” she

BY ANGELA WIJESINGHE

says. “My work had changed enough that I

Online & on your mind

needed a fresh look, a more complete

A LOOK AT TWO GREAT STUDIO WEB SITES

portfolio, and more information about myself in a new blog.” Braniff arranged her online galleries to spotlight bright, fun photos, caught-in-theact poses and location shots. People find a wealth of portrait ideas on the site, and often come in with requests for specific poses and styles they’ve seen there.

“Your Web site is terrific!” That’s what Farrah

about www.portraitsbywendy.com, the

Braniff heard when her recently overhauled

second AN-NE Web winner. “I looked at lots

designed the entire Web site in Photoshop,

Web site, www.farrahbraniff.com, landed

of photography sites and saw the same stuff.

adding swatches of various colors and

one of this year’s two PPA AN-NE Marketing

I wanted to be different,” says Rouleau.

textures, then dropping in images and text.

Building on a gray background, Braniff

Awards for Best Web Site. Braniff is the

The AN-NE awards recognize creative and

On her Portfolio page, this background sets

owner of Farrah Braniff Photographs in

effective marketing strategies and campaigns.

off the filmstrips of images showing various

Farrah Braniff recalls a saying she once

styles and categories. An image mouseover

Houston. The goal of the site redesign, she says, was to “mirror what we do, our

heard, “The only thing that nobody has but

personalities, our studios, and our work.”

you … is you.” She wanted her site to convey

Wendy Rouleau, owner of Portraits by Wendy in Buford, Ga., also heard rave reviews ©Farrah Braniff

36 • www.ppmag.com

her unique style and personality through both words and images.

Farrah Braniff needed a fresh look to reflect the changes in her work. She designed the site herself and hired a programmer to make it work as she envisioned.

PROFIT CENTER

draws a circle around the frame and brings

clients, which they in turn can send to

“We believe our studio space helps define

up the image category, such as family. A

friends. “It’s just one more avenue to reach

who we are, that it’s part of the experience,”

click takes you to that gallery. The look is

people,” she says.

she says. The studio is located at the top of a

reminiscent of a modern scrapbook. Big and bold, Braniff ’s images explode

Braniff was able to design the site herself,

staircase in an old brick building in historic

but she did hire a programmer to do the

Buford, Ga. First-time visitors don’t know

onto the screen throughout the site. Wanting

coding for all the interactions. Web sites with

what to expect as they climb the stairs, but

the images to make an impact from the

unworkable links and unsophisticated features

their first word upon entering is usually, “Wow.”

opening slideshow, she conceals most of the

are worse than not having a site. After all,

Images of the space capturing its archi-

site’s navigation tools until you roll over them.

Braniff says, “Your first impression needs to

tectural features appear throughout the site.

A small link takes you to pricing and pack-

be outstanding to get clients to call.”

aging information at the bottom of each gallery.

Wendy Rouleau hired a talented firm to

The tabs are images in slide mounts, and a postage stamp leads to the contact us page.

Braniff believes you should tell people what

transfer her ideas to her Web site. She

The site has short movies geared to elicit

they want to know up front, which in this

wanted to control the design, yet she knew

parental emotions, and a studio blog. Rouleau

case also helps screen out price shoppers.

the firm would add the polish to inspire

expanded her online marketing to include

Throughout the site, the vibrant text

clients’ trust in her abilities. Rouleau wanted

handsomely designed e-mail promotional

looks handwritten. Headers include “Rave

her site to be her main marketing tool.

campaigns with links to the complimentary

Reviews” (testimonials), “True Love” (wedding

“I don’t want to imply that I’m something

pages on the Web site. It’s such a fluid

gallery), and “Me, Myself, and I” (Braniff ’s

I’m not. I want clients to want my style of

transition that Rouleau also won a PPA

bio). “I wanted the site to not only look

photography and not to be surprised when

AN-NE Marketing Award for Best E-mail

personable, but sound personable,” she says.

they come,” says Rouleau.

Marketing Campaign.

Braniff ’s frequently updated blog contains

Rouleau looked at sites in several industries.

both personal and professional information. She

“I saw what I liked and what was possible …

transitions, polished graphics, and person-

also uses it to display post-session images for

I didn’t have to stay with a template,” she

alized text, yet they reflect the unique

explains. And it helped her define the qualities

qualities of each studio. �

Both sites illustrate the power of smooth

that make people remember and return to it. The Portraits By Wendy site incorporates wowinducing images of the studio itself, creative navigation tabs, and short movies to elicit emotions. ©Wendy Rouleau

38 • www.ppmag.com

Opening Rouleau’s home page is like peeking at her studio through a keyhole.

Angela Wijesinghe is a PPA staff marketing specialist.

PROFIT CENTER

Having a Web site is no longer an option in business. Besides showing off your beautiful images, you can make your site pay off big time. BY KAMMY THURMAN

Tap the power YOUR WEB SITE CAN BE AN AUTOMATED MARKETING MACHINE

With some 77 percent of American adults on

beautiful images; now it’s time to fully tap the

the Internet, it’s more than important to have

power of the Web as a marketing machine.

an effective Web site. It’s necessary. “If you’re

Statistics show that fewer than 1 percent

not on the ’Net, it’s as if you don’t exist,”

of Web surfers ever return to a site unless

says marketing expert Ilise Benun. “It’s not

they have a special reason. How can you give

just the tech-savvy who expect you to have

them a reason to return?

a Web site, these days it’s almost everyone.” Professional photographers have risen to the challenge with sophisticated sites and

Here are five pointers on boosting the marketing power of your site by as much as 72 percent:

E-MAIL MARKETING BEST PRACTICES E-mail marketing these days isn’t as simple as putting together a list and sending e-mails. Internet service providers and spam filters use sophisticated techniques to protect users from spam. If you don’t follow the rules or know what to include in your text—like an opt-out option and your contact information— your mail might never find the inbox, or worse, you could be blacklisted as a spammer. Asking your readers to add your e-mail address or domain to their address book or allowed-sender list will also help you avoid their spam filter. You want e-mail recipients to see you as a welcome visitor to their inbox, not a nuisance. Reputable automatic responder services can guide you in adhering to Internet requirements for responsible email practices. If you prefer to try it on your own, enter “e-mail marketing best practices” in your preferred search engine and do your homework first. —Joan Sherwood, Senior Editor

• Use your site to begin a relationship. On average, a mere 2 percent of the prospects who visit a studio’s site will decide to book a session right then and there. Most visitors are researching, trying to get a feel for the photographer behind the site and looking for a good reason to call you—or not. Once they leave, you have no way to continue the relationship with 98 percent of your visitors, who could be perfectly wonderful clients. Since most people need to hear from a marketer seven to 10 times before buying, you need to find a way to keep in touch. On every page of your site, put an e-mail capture form “above the fold” where people are sure to see it.

40 • www.ppmag.com

• Give potential clients a good reason to

Serious Photography Demands a Serious Lab

Red hot photograph by Michelle Reed. Michelle is the owner of Michelle Reed Photography. She is also a long-time CPQ customer and our most recently featured photographer here at cpq.com. Please visit our web site today to see more of Michelle’s exciting work and to see why such incredible photography finds a comfortable home with CPQ.

CPQ Professional Imaging Lab 800.537.8399 www.cpq.com

TRY CPQ - ABSOLUTELY FREE!

Call us or visit our website to sign up for a free account and a complimentary $50 credit, good toward your first order with CPQ. ppa0408

PROFIT CENTER

sign up for your newsletter, invite her to

seven to 10 messages over a 30-day period

request a specific article, report, photography

after the first visit, followed by regular

and posing tips or a free premium, and say

contact at least once a month.

you’ll give her your monthly newsletter, too.

You can use these messages—also called

That’s two valuable items in exchange for

auto-responders—to talk about how the cus-

her name and address.

tomer will benefit from your services, to deliver

You’ll want to have an e-mail management

a short e-course or your e-newsletter, and

program on your Web site, where visitors can

seasonal promotions. Just don’t make them

leave their contact info and ask questions. Don’t

all sales messages—remember the content

have her just send you an e-mail to request

needs to be high-value (80 percent high-

the premium, or you’ll waste gargantuan

value to 20 percent selling is a healthy mix).

amounts of time sending out premiums to

• Put your message-writing self on

one person at a time. I suggest subscribing to

autopilot. Schedule the time to sit down and

an e-mail capture system like Constant

write your messages once a month, or even

Offer something of value to the prospect in exchange for their contact information. It’s a good idea to do this for each product line, as you’ll have a different target market for each.

Contact (www.constantcontact.com) or AWeber

once a year, choose how often you want

(www.aweber.com). I find AWeber easy to use,

them sent, then forget about them and

and it has effective safeguards against spam.

concentrate on your photography.

return to your site. I’ve seen many top-notch

ture prospects’ contact info, which is then

sites with absolutely gorgeous images that show

housed on the capture provider’s server.

the photographer’s best work. But what about

(AWeber has tutorials that show you how to

the potential client?

create the forms.) A few minutes after your visi-

You can create a form for your site to cap-

Put yourself in her shoes. She’s been

tor fills out the e-mail form, she receives your

checking out the sites of studios in her area

premium and a thank-you note automatically.

to see which best fits her needs. After looking

• Stay in touch with prospects and cus-

at a dozen or two other sites, what will

tomers. It’s one of the most important aspects

motivate her to call you instead of another

of marketing, and also one of the hardest. A

studio with a beautiful site? You have to

program like AWeber can simplify the task.

offer something that will elevate your value

You can write multiple messages and store

over the others. As non-artistic as it sounds,

them in the program until you want them

the something needs to be information,

sent. A good timeline seems to be sending

When someone gives their e-mail address, you receive a notice with all the info you ask for in the e-mail capture form. This is the info we capture on our contact page. You now also have their snail mail info so you can send direct mail promos, too.

Statistics show that continued contact

enough useful information to make the viewer

with site visitors brings them back again

comfortable with deciding to call you.

and again, increasing sales by as much as 72

Our studio Web site routinely lands new

percent. At that rate, isn’t it worth taking

clients who tell us they chose us because of all

another look at the marketing opportunities

the information we provided. They feel they

lurking within your Web site? �

know us by the time they call, and that gives us the opportunity to differentiate ourselves from our competitors in a number of ways. • Give high-value information in exchange for the potential client’s contact information; this is a marketing technique called reciprocity. Instead of asking your potential client to merely

42 • www.ppmag.com

We send premiums (free gifts) of interest to the specific target market for each of our product lines. These should all be created before offering them online, or you’ll spend a lot of time trying to catch up when people start requesting them.

Kammy Thurman is a direct-marketing copywriter and consultant, and co-owner of Anchor Photography in Laurel, Mont. For more marketing strategies, read her free “Photography Marketing Report: 15 Ways to Boost Your Marketing Return—Without Increasing Your Marketing Budget,” at www.anchorcreative.com

THE JOY OF MARKETING

TM

S A R A H P E T T Y, C P P

Branding is more than design and decoration; it’s communicating your style to the kind of clients you want to attract.

Stay true

WHY BRAND CONSISTENCY IS CRITICAL

Your brand is conveyed in the unity of everything that identifies you, from your logo to

but your brand must stay true to your identity. Tim Walden, M.Photog.Cr., F-ASP, and

your photography to the look of your studio.

Beverly Walden, M.Photog.Cr., of Walden’s of

In the years to come, you’ll update your studio

Photography in Lexington, Ky., are experts

décor, see your photography evolve, and infuse

in brand building. In their seminars they

your marketing campaigns with fresh elements,

present proven strategies for branding and mar-

The Waldens are known for their elegant style of family portraiture in black and white. Every element of their marketing reflects this style.

All images ©Walden’s Photography

keting that are applicable to studios of any size and specialty. Let’s take a look at a few of them. “I am less concerned that everyone likes what I do as that they know what I do,” says Tim Walden. When a studio has a well-defined style, the Waldens say, and when people love it, they’ll travel any distance and invest whatever sum it takes to get it. The people who don’t like their style will go elsewhere, and that’s just fine with them. “The customer is always right, but not everyone is our customer,” he says. Narrowing your focus to a few specialties and well-defined products helps your business grow quickly. It doesn’t mean you have to do just one kind of photography for the rest of your life, just define what you do early on, communicate it clearly, and be consistent. “Every decision is a style decision,” says Tim. The Waldens’ chosen style dictates how they decorate their studio, what equipment they purchase, and how they promote their business. No fad will sway them from being

NEW WEBINARS (online seminars) PPA and SMS are bringing education to you, and all you need is a computer and the Internet. Keep watching your inboxes for information on live business webinars about: ß Marketing ß Financial Planning ß Managerial Accounting ß Top Performing Studios ß Starting a Photography Business ß Business Basics ß Sales ß And more…

3�DAY BUSINESS PLAN WORKSHOP With Carol Andrews, Ann Monteith and Sarah Petty

Now’s your chance to increase profitability and receive instruction on essential elements for business success (in both group settings and one-on-one consultations). ß June 9-11

Plus, you can watch the archived versions at your convenience. Just visit the Events section of PPA.com and click on Webinars to reach: ß Income Tax Strategies ß Pricing for Profit ß The Art of Pricelists ß QuickBooks: Getting Started ß And more…

NEW BOOKKEEPING SERVICES

Behind on your bookkeeping? Our Bookkeeping Program can help! With competitive pricing and programs tailored to meet your studio’s individual needs, SMS can help ease your headaches and get your studio off to a great start. ß Call Eric Hathaway 800.339.5451, ext. 240 for more information.

Classes fill up fast…Register today. Professional Photographers of America

www.ppa.com | 800.786.6277

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Julia Gerace connects with digital technology What makes your workflow flow? Adobe Lightroom. I wasn’t sure shooting raw was worth the hassle until I tried Lightroom. Now I love it. What’s the best equipment investment you’ve ever made? Photoshop. Until I went digital, I outsourced tasks as simple as retouching a few pimples. Now I feel like I can create, explore new concepts, and learn to my heart’s content. Little thing, big difference … My ExpoDisc. It’s been great for getting accurate white balance in some very odd lighting. Has a piece of equipment ever changed the way you approach photography? My Canon EOS 5D camera. The files are huge, and I’m not as concerned about cropping into an image and losing information. Is there a non-photographic item that you’ve adapted to your work? Makeup. I knew becoming a certified makeup artist would be a great service for my clients. A useful item for your studio is a basic skin mattifier—a clear gel you apply if a client’s face is too shiny. What’s the one piece of gear they’d have to pry from your cold, dead fingers? A reflector. There is not one lighting situation where I don’t use a reflector. IMAGE BY JULIA GERACE WWW.JULIAGERACE.COM

April 2008 • Professional Photographer • 49

ALBUM EPOCA. GORGEOUS QUALITY, AND EQUALLY GORGEOUS STYLE. It’s incredibly easy to get Italian style with the Album EPOCA concept. And, you won’t believe the value: ALBUM EPOCA Bride & Groom*: 10˝x 10˝, 25 page, 50 sides, with Ecoleather photo cover, using our patented continuous binding system.......... $366 *The Album EPOCA layout is duplicated in the albums below.

ALBUM EPOCA FAMILY ALBUM: 8˝x 8˝ layout is duplicated on typographic paper using our patented continuous binding system..........$125 8˝x 8˝ layout is duplicated on photographic paper using our patented continuous binding system.......... $175

BEST FRIENDS ALBUM: 10˝x 10˝..........$75

FRIENDS ALBUM: 5˝x 5˝..........$15 per, $75 for 5 8˝x 8˝..........$25 per, $50 for 2 10˝x 10˝..........$45 per, $90 for 2

ACCESSORIES: Calendar..........$20 Photo Agenda..........$20 CD Viewer..........$20

Plus free EPOCA software, along with free software updates and technical support, make album design fast, easy and efﬁcient! Everything after the photography 1.800.662.1000 • www.albumsinc.com

1-3

{11

}

8":4505"1*/508)"5µ4/&8

8*5)"-#6.4*/$

/&8$0-034"/%4*;&40/461&3*03.06/5 "MCVNTXBMMFUT UPP5"1µTQFFMBOETUJDLMJOFOPXDPNFT JOSFE CMVFBOETBEEMF1MVTUIFSFBSFOFXBMCVNTJ[FT UPDIPPTFGSPN SBOHJOHGSPNYUISPVHIY

4-6 7

8

/&8461&3*03$%"-#6.4 5IFCFTUPGCPUIXPSMET5XPQBHFQFFMBOE TUJDLBMCVNTIPMEGPVSQSJOUTBOEUXP$%T POF JOFBDIUPQMPBEJOHQBHF*OEJWJEVBMMZCPYFEBOE BWBJMBCMFJOCMBDLPSTBEEMF UIFTFÝYÝ BMCVNTQVUBHSFBU²GBDF³PO$%QSFTFOUBUJPO

9

11

5)&."34)"--4-*1*/ 5IJTUPQMPBEJOHCBTJDJTBCFBVU °FTQFDJBMMZJOOFXTBEEMF $IPPTFY YPSYJO PSQBHFDBQBDJUJFT

/&8#-6& (3&&/"/%1*/,461&3*03(&.4 5IFTF(FNTBEEBGVO GSFTIUPVDIUPQBDLBHJOH $IPPTFYQIPUPNJOJBMCVNT Y QIPUPXBMMFUT PSYQIPUPBDDPSEJPOT "MMBSFBCTPMVUFMZBEPSBCMF

/&83&%"/%#-6&461&3*03.06/5'0-*04 "WBJMBCMFJOYPSY UIFTFJOEJWJEVBMMZ CPYFEGPMJPTNBLFQFFMBOETUJDL TNBSU TUZMJTIBOETFMMBCMF

10

/&8$)&&3 %"/$& 410354 "/%.&5"--*$.&.03:."5&4 ,JETUPEBZIBWFHPUJUHPJOµPO CVUUIFOTPEPZPV UIBOLTUP5"18IFUIFSZPVµSFDPWFSJOHCBTFCBMM TPGUCBMM MBDSPTTF HZNOBTUJDT©UIFDIFFSTPOUIF TJEFMJOFT©PSUIFQMJFTPOUIF EBODFGMPPS UIFTF.BUFTBSF HSFBUXBZUPUVSO TVQFSTUBSFWFOUT JOUPTVQFSTBMFT

/&8501'-*()5$%)0-%&34 *GZPVµSFHPOOBHJWFB$%JUCFUUFSMPPLHPPE°XIJDI JTXIBUUIFTFOFX5PQGMJHIUIPMEFSTBSFBMMBCPVU 4VSF UIFZDPNFJOXIJUF CMBDLBOECSPXO°CVUBMTP QVSQMF QJOL BRVBBOEHSFFO&BDIIPMETPOF$%PS %7%BOETQPSUTBYGSPOUDPWFSXJOEPX

XXXBMCVNTJODDPN "MCVNT*ODJTBOFNQMPZFFPXOFEDPNQBOZ

&WFSZUIJOHBGUFSUIFQIPUPHSBQIZ

THE GOODS: PRO REVIEW

Canon improves the user interface, fills the size gap and introduces a color calibration system with its next-generation wide-format printers. BY ELLIS VENER

Much improved CANON IMAGEPROGRAF iPF6100

Canon’s first serious salvo in the wide-format printer market came in 2006 with the imagePROGRAF iPF5000, the iPF8000 and

All images ©Ellis Vener

the iPF9000 pigment ink printers. In my tests with the iPF5000, print quality was excellent, and despite the environs—a relatively dry and pet-infested house—it never suffered paper jams, clogged heads or ink dropouts. But there were problems. The two-part user interface was confusing; Canon’s generic profiles for Canon brand papers were sub par; there were problems with the roll feed mechanism on many iPF5100 printers; and the 17-inch iPF5000 and 44-inch iPF8000 models left a huge gap in output size. Canon announced replacements for the first iPF printers in early summer 2007, the imagePROGRAF 100-series (iPF5100, iPF6100, iPF8100 and iPF9100), which would not have these problems and would have new features as well. I tested the new 24-inch iPF6100 and found several welcome changes. Topmost are the greatly improved user interfaces and generic profiles, and the addition of the GAROS plug-in for Adobe Photoshop CS3 to enable 12-bit-per-channel printing. Like HP, Canon has also started to build in color management features with the iPF printers. The 100-series printers still use 12 Lucia pigment inks: yellow, photo cyan, cyan,

The Canon GAROS plug-in for Photoshop CS3 enables 12-bit-per-channel printing and somewhat simplifies color management in the output stage.

52 • www.ppmag.com

photo magenta, magenta, black, matte black, photo gray, gray, red, green and blue.

papers. And the iPF6100 uses ink sparingly. Print speed remains fast: a 16x24-inch,

But calibration is not the same as having a built-in profiling system, such as the

With the exception of the blacks and two

high-resolution, 16-pass, 12-bit per channel

X-Rite i1 Color Spectrophotometer system

grays, the eight-color formulation remains

print takes less than 10 minutes.

in HP Z3100 printers. If you decide to use

unchanged. The gray, photo gray, black and

One of the biggest headaches of printing

papers other than Canon-brands, you’ll

matte black inks were reformulated to

in-house is color management. The iPF 100

reduce bronzing type metamerism, lessen

series incorporates a color calibration system

the appearance of “grain” in the deep

designed to keep them working to factory spec-

introduced in the 100 series is compatible solely

shadows and blacks (I never saw it in

ifications. Normally, the calibration needs to

with the Microsoft Vista operating system. I

iPF5000 prints), and make the prints more

be done only once, at setup, but if you move

don’t use Vista, so I can’t comment on it.

resistant to scuffing and scratching.

the printer or change heads, it’s a good idea

As in the first iPFs, there’s an active system

need to make your own profiles. The Kyuanos color management system

Ease-of-use is a critical factor in color man-

to recalibrate the printer back to factory

agement. As it now stands, the best way in

that automatically detects clogged and non-

specs. There’s an added benefit for studios

Photoshop to print is to make a dupe of the

firing nozzles. If it detects a problem mid-

with multiple printers, even in different

master image, convert the dupe to the destina-

print, it remaps the ink flow to another

sizes: with all of the printers working at

tion profile, sharpen for output size and media,

nozzle and clears the offender when the

factory tolerance, they can share profiles for

then go through the Photoshop print dialog,

print is complete, minimizing waste in time

the same media and the prints will match.

where you have to instruct both the Photoshop

and materials. With both matte and photo

Canon rebuilt its generic profiles for Canon-

printer dialog and the print driver not to apply

grays and blacks onboard, there’s no

brand papers, which now include some fine

additional color management steps. The process

downtime or expensive ink waste when you

Hahnemuhle papers. Compared to my own

is a distracting, time consuming, and somewhat

switch between matte and gloss/semi-gloss

custom profiles, these new profiles are first rate.

arcane art until you’ve mastered it.

THE GOODS: PRO REVIEW The Canon GAROS Photoshop Export plug-in for Photoshop CS3 improves this in two ways: it allows you to print 12-bit-perchannel color, and only once requires you to specify that you want no further color management. You still have to make sure to specify the correct size and media type, which Canon certainly could make clearer (see www.usa.canon.com/dlc to find Canon’s profiles and media type selections). How good are the prints made with the Canon iPF6100? With high-end papers—my current favorites are Canon 300gsm Polished Rag for both color and black and white, Canon/ Hahnemuhle 188gsm Photo Rag for monochrome “toned” prints, and Moab by Legion 190gsm Entrada Rag Natural—print quality

specs: Canon imagePROGRAF iPF6100 PRINTER TYPE: 12-color pigment inkjet MEDIA WIDTH: 8- to 24-inches (cut sheets and rolls) MEDIA THICKNESS: Top-loading manual feed 0.08-0.8 mm (3.2-19.6 mil), frontloading manual feed 0.5-1.5 mm (19.6-59.0 mil), roll 0.08-0.8mm (3.1-31.4 mil) BORDERLESS PRINTING WIDTH: Roll media only—10-inches, B4, A3+, 14-inch, 16-inches, A2, A2+/17-inches, B2, A1, 24-inches PRINT HEAD: PF-03, user replaceable, six colors per print head, two print heads (12 colors total), 2,560 nozzles per color (30,720 nozzles total) NOZZLE PITCH: 1,200dpi, non-firing nozzle detection and compensation INK DROPLET SIZE: 4 picoliters INK CAPACITY: 130ml per color, starter ink tanks packaged with the printer have less capacity than the replacement ink tanks specified here INK TYPE: Pigment-based LUCIA ink DIMENSIONS: 46.3x33.9x39.1 inches WEIGHT: About 150 pounds with stand PRICE: $3,495

is state of the art. Colors are clean and exhibit no magenta contamination in the light blues

One thing keeps the iPF6100 from being

time. For multiple printmaking, you’ll

(due to the use of an actual blue ink), the

perfect: When I use sheet rather than roll

appreciate the savings in using rolls, but it’s

blacks are inky, and the highlights are clean.

paper, I have to feed in each sheet one at a

a hassle if you’re making portfolios. �

54 • www.ppmag.com

Whatever you shoot, make the most of it with our unparalleled digital photo printing. You work hard to get those great shots. You deserve a creative partner that consistently delivers perfect photo nishing services. For nearly 30 years, professional photographers around the country have trusted us for unmatched results. Need proof? Call 800.382.2101 or go to fullcolor.com.

Photo printing Press printing Gallery wraps Online hosting and much more

THE GOODS: LABS

You don’t know what you’ll get until you’ve got it in your hands, so it’s wise to take time to preview a supplier for service and quality. B Y J O A N S H E R W O O D, S E N I O R E D I T O R

Spring tryouts HOLD YOUR OWN PRODUCT AUDITIONS

Adding a new item or two to your product lineup can freshen up your sales presentations and boost your profits. But before you make the investment to incorporate a new product in your Web site, marketing materials, promotions and price lists, you need to know that it’s right for your brand and that the lab will deliver what’s promised. With such a bounty of eye-catching specialty products available from professional photo labs, you need a strategy for choosing both the products and the provider.

All images ©Joan T. Sherwood

First, go window shopping to find products that excite you—if it doesn’t excite you, you can’t sell it. Then narrow the list to the products that will sell in your target market. Once you’ve settled on a product, you’re ready to hold your tryouts. A big part of working with a professional photo lab goes beyond prices and products, to customer service, prompt delivery and the ease of integrating the ordering system with your workflow. With this in mind I set out to order several print products from selected labs. (I chose labs advertising specialty products that I’d noticed attracting interest at trade shows and, while not exclusive to a single lab, were not saturating the market yet.) Without identifying myself as a Professional Photographer editor, I signed on as a new client with three labs. I researched the products, went through the ordering process, and contacted customer service. For comparison, I ordered similar products from two of the labs, metallic prints on Kodak Professional papers from MPix and prints on Fujicolor Crystal Archive Pearl Paper from BWC. I ordered a product sampler from

Dalmatian Black & White Custom Lab offers a Digital B&W Sample Packet that features seven print types using your own image for $110. It’s a great way to sample the line and see how your photos work with different print methods.

56 • www.ppmag.com

Dalmatian, specialists in black-and-white printing. As you would probably do, I made a list of the product qualities and lab services that are most important to me, and kept notes throughout the ordering and delivery process. It’s easy to get fuzzy about the details, and such notes help you make a sound decision.

DALMATIAN BLACK & WHITE CUSTOM LAB By partnering with Ilford and Durst, Dalmatian’s product line includes digital black-and-white silver gelatin fiber-based 400dpi prints on True Ilford Multigrade Fiber Base Paper processed through True B&W Chemistry. Dalmatian gives you a choice of three sample packs under the Customer Service tab on its Web site. One is a free sample pack of six different print types, including silver gelatin fiber, and silver gelatin RC and black-andwhite giclée. On request, they’ll add samples of canvas and traditional fiber. The two Studio Sample Packets contain 8x10-inch prints of a user-provided image. The Traditional B&W pack includes five types of prints and costs $70. I ordered the Digital B&W Sample Packet, which includes a borderless digital machine print; a full-frame black border digital machine print; a custom digital RC print with your

Mpix prints on Kodak Professional Metallic Endura paper with pearlescent finish (top) made colors more vibrant and shadows darker than in BWC Photo Imaging prints on Fujicolor Chrystal Archive Pearl paper (above).

choice of border; a custom digital fiber print with a border of your choice; a B&W giclée on photo rag paper; a giclée on photo rag paper with your choice of color or sepia ink; and a

sentative will call you and answer any questions. Ordering. The online order form has fields

answers to most of them in the FAQ under the Resources tab. If not, call. Customer service. I called to ask how to

giclée on canvas with your choice of B&W,

to type in your own file names, order specs

color, or sepia ink. This sample packet costs

(size, quantity, etc.), and room for additional

fill out the order form to request a sample

$110. Other kinds of print samples are

instructions—no pull-down menus. A lab

pack. I also asked about my choice of borders

available for an additional fee.

rep calls you if an item on the form needs

in the sampler; they weren’t on the Web site

clarification, such as when I inadvertently

as of press time. Within minutes of my call,

fill out an online form with a field for you to

combined the names of two borders when

Dalmatian e-mailed me a PDF showing the

describe the kind of photography you do. Fill

requesting just one. If you have questions

choices. I got prompt response, straight-

out a payment and shipping information form

about such things as supported file formats,

forward answers and excellent personal service.

and fax or mail it to the lab. A Dalmatian repre-

resolution, color space or dpi, you’ll find

Account Setup. Call customer service or

My original image. A 3,008x2,000-pixel

April 2008 • Professional Photographer • 57

THE GOODS: LABS

paper and the Ultrachrome Inks. Shadows and midtones were a bit richer than the original. The machine prints looked fairly standard and true to the original. The sepia canvas print (about 12.75x11 inches with a 7.5x5-inch image area) held surprising detail in the trees and water reflections, and even in the subtle ripples in the water. The Ilford fiber-based silver gelatin print looked and felt as you might expect, with rich, deep blacks, sharp detail and definitely darker in the sky and shadows than the original. The custom digital RC print was the most impressive of the lot. The printmaster had noticeably improved the file, bringing out fine detail in trees and shadows, better defining muddy areas and bringing up the tone of the building on the right to make it pop.

MPIX A division of Miller’s Professional Imaging, Mpix provides easy online ordering for pros, and requires no credit application as Miller’s does. Mpix offers a range of specialty and press products and papers, in addition to forums and photo-sharing galleries. I ordered 8x12 prints with a pearlescent finish on Kodak Professional Endura Metallic paper. Account setup. Easy as joining any consumer Mpix prints on Kodak Professional Endura Metallic paper (left) punch up the yellow and make shadows rich. The Fujicolor Chrystal Archive Pearl prints (right) from BWC Photo Imaging portray skin tones more realistically and retain more detail in the shadows.

online photo sharing site, requiring only your name, e-mail address and a password. Ordering. A simple create-an-album setup. Create an album of your images, then

color file converted to grayscale in Adobe

box padded with bubble wrap, prints placed

order prints of selected images. You can

Photoshop Lightroom, unsharpened. Saved

in glassine envelopes. The 8x10s were in an

request only one kind of paper per order, but

as a TIFF at 400ppi, and zipped for upload.

order envelope, and the canvas print

with a variety of optional frames and finishing

Dalmatian encourages clients to send RAW

sandwiched between corrugated cardboard

services. You can crop images directly in the

files along with unsharpened TIFFs for

flats. All well protected.

ordering interface and request color correction

certain print types.

Quality. Sample prints are identified by

services. Go to Help > FAQs for info on file

Costs. Sample pack $110; shipping $8.50

type, paper and ink on the backside in clear

formatting and technical answers or to request

Turnaround. Order placed February 22,

handwriting. The giclée prints on

an ICC profile. Under Tips for great images,

shipped UPS ground service February 29,

Hahnemühle Photo Rag had a velvety feel,

you can download some questionable advice

arrived March 4.

and the B&W version was still slightly warm

in a document called “Simple Color Manage-

toned, likely due to the combination of the

ment Techniques,” which suggests you adjust

Packaging. Sturdy corrugated cardboard

58 • www.ppmag.com

THE GOODS: LABS

your monitor to match your print order. Customer service. E-mail contact only. There’s no phone number for personal service.

list of products, just e-mail links to a

received a response within 15 minutes. There’s

specialist in the department.

no customer service or help tab. I found phone

Account setup. I could order without

numbers and a customer service description

I e-mailed a question about color correction

setting up an account. To get an account,

under the About Us tab. I called the 1-800

and got a response within 5 minutes.

you fill out an application. I called to have

number, asked a question about metallic

mine e-mailed to me. The Customer Access

and pearl prints and got a clear answer.

My originals. An album of 3,872x2,592pixel color JPEG files at 300ppi. The album

account tracking feature was being revamped

upload interface was a little quirky with

at press time and was not available.

Firefox, better with the File Browse option. Costs. 8x12 prints at $3.99 each, shipping $4.95. Turnaround. Order placed February 25, shipped priority mail on the

26th,

arrived on

the 28th.

Ordering. I should have used the simple browser-interface E-ZPics option, but I went

Costs. 8x12 prints $5.57 each, pearl adds 16 percent to the base price of $4.80; no shipping charge. Turnaround: Order placed February 25,

directly to Send Us A File and tried to use the

shipped UPS ground commercial on the

ROES ordering system that many pros use.

27th, arrived on the 29th.

ROES populated my desktop with many

Packaging. UPS box, prints in a glassine

windows, some convoluted with the text

sleeve with thin cardboard backing tucked

overlapping until I enlarged them. I found

into another plastic sleeve, wrapped in

glassine envelopes, sealed with plastic to a

the Welcome to ROES window at the

brown craft paper. Well protected.

corrugated cardboard sheet and cushioned

bottom of the stack, and from there I could

with packing foam. Very well protected.

figure out the ordering.

Packaging. Flat cardboard box, prints in

Quality. The pearlescent metallic prints

As an individual making a first-time

Quality. The color in the Fujicolor prints was much truer to the original than were the Kodak pearlescent metallics. The colors

brought out a vivid color that practically

order of a few prints, this interface seemed

were vivid but more natural, and without

radiated like an RGB display. Blacks were

overly complex; a studio that orders specific

the punch of a boost in yellow. The shadows

super rich. Yellows were particularly

sets of print types and sizes would benefit

were not as dark as in the Mpix metallics,

pumped up. Medium-brown skin tone

more. Unlike the Mpix album setup, your

and showed more detail. As the BWC rep

became a warm coppery brown, and a pale

files don’t go through the upload process

explained when I called, the Fujicolor Pearl

pink complexion gained color as well but was

until you’ve placed the order. I liked that you

finish is recommended for portraits because

not overly yellow. Specular highlights and

could have your logo added to the image,

it’s truer to skin tones, while Kodak’s

metallic subjects gleamed. In some areas the

but I didn’t try this option. I ordered a set of

metallic paper, which they also offer, is recom-

shadows went dark enough to obscure some

Signature Portraits on Fujicolor Crystal

mended for landscapes and edgier images.

color and detail.

Archive Pearl Paper with the same images from my Mpix order.

BWC PHOTO IMAGING This full-service digital lab also provides visual communication and marketing products. BWC offers creative services and products that most labs don’t, like trade show exhibits, design services, and store merchandising decor. Of the three lab Web sites I tried, BWC’s was the least intuitive. Customer service indicated that site revamping was going on. Some tabs were still in development, including Price Book. There’s a host of products and services under Photo Lab Services, where I found Photo Digital Printing. But there is no one

60 • www.ppmag.com

Customer service. My e-mail to digital-

‘‘

It only takes a modest budget and a little time to be sure that a new product and its provider will complement the rest of your

[email protected] was bounced back to my

offerings and be an asset to your studio. Take

Yahoo account. I e-mailed [email protected] and

a look at the field and make your pick. �

With such a bounty of eye-catching specialty products available from professional photo labs, you need a strategy for choosing both the products and the provider.

$6,999

Mamiya ZD Digital Back

22 megapixel. Medium Format Quality. •

Designed for the Mamiya 645AF/AFD/AFD II and the RZ67 Pro IID medium format cameras

•

Large 48mm x 36mm Dalsa CCD Sensor produces medium format results

•

FREE Adobe® Photoshop® Lightroom™ software included

•

FREE firmware upgrade for Mamiya 645AF cameras with purchase of the ZD digital back

Compatible with Mamiya 645AF/AFD/AFD II and RZ67 PRO llD cameras.

T: 9 1 4 . 3 4 7 . 3 3 0 0 · W W W. M A M I YA . C O M

THE GOODS

SOLUTIONS BY ANDREW RODNEY

Save time and space by knowing when to use Adobe Lightroom, when to use Photoshop, and how to transport files between the two.

What’s the difference? PART II

Once you have a single black-and-white conversion you like, you can copy and paste the metadata instructions onto the other 299 images (Figure 2). It’s a lot faster than doing it in Photoshop, and you can still alter individual images as desired. The original full-color TIFF files containing the retouch

Last month I suggested that to produce opti-

the files for your client. They love the work,

work remain untouched. When you export

mum image data in the shortest time you

but decide they want one album in split-

the toned variations, you’ll create new TIFFs

should render images from raw data in

toned grayscale and one in full color.

with the black-and-white instructions applied.

Lightroom, then use Photoshop’s powerful

Because you did so much localized pixel

selective tools to do the necessary retouching,

work in Photoshop, you’ll have to work with

the raw files with less data loss, but because

compositing and other non-global corrections.

the rendered images to accomplish that.

you’d worked on the original color files in

Lightroom can also work with rendered

If you use Photoshop’s black-and-white

You could have done the conversion with

Photoshop, that wouldn’t be the best solution.

JPEGs, TIFFs and PSDs. There are both

conversion tools, you have to open each image,

advantages and disadvantages in applying

apply a color tint and save a new copy to

the images back into Lightroom than to

corrections to such files in Lightroom.

disk. Instead, you could import all the TIFFs

manipulate the existing pixels in Photoshop,

Suppose you processed 300 raw files from a

into Lightroom, make virtual copies of the

then save new versions. In fact, if you plan to

wedding in Lightroom, then worked hours

files, and convert just one color image to

print the images from Lightroom, you’d be

on the rendered images in Photoshop, doing

black and white using the Split Toning controls

storing only the original pixel-based TIFFs;

retouching, local corrections and perfecting

to apply the effect you desire (Figure 1).

the black-and-white versions would only be

For efficient workflow, it’s better to bring

generated as the data is being sent to a local All images © Andrew Rodney

printer. You wouldn’t need to store two sets of rendered image data, only the metadata instructions for the black-and-white print work. If you crop 100 of the 300 images in Photoshop, the data you crop away is gone forever after you save the document. If you did the cropping in Lightroom, you’d only build a set of crop instructions, not actually cropping out data. You can print the image, export the image, or change your mind about the crop anytime you wish. Making round trips between Lightroom and Photoshop has advantages in speed, flexibility and storage. Yet it’s important to recognize the difference in image quality that results from rendering data directly from raw files, as opposed to applying edits via metadata on rendered images. Figure 1: You can build a better black-and-white than the grayscale button delivers and save time. In Lightroom’s Develop module, move the all the saturation sliders to -100 (make a preset). Use the HSL controls to alter the tonal relationships of the actual color data by sliding over the image using the direct select tool. Apply a split tone. (See http://lightroom-news.com/2007/08/24/tips-for-better-black-and-white-conversions/)

62 • www.ppmag.com

When you edit a rendered image and export it to Photoshop as a pixel-based document, Lightroom makes a copy of the

Figure 2: You can synchronize one B&W rendering to every image selected (above, grid view). Copy and paste only the grayscale and split toning editing instructions made in Figure 1.

World’s first full-frame ultrawide angle medium format lens for film and digital backs

28mm AF Digital lens Aspherical lens element and low dispersion glass produce unsurpassed sharpness and color accuracy on today’s high resolution digital backs. • Rectilinear design produces ultrawide images with virtually no distortion. • All Mamiya Sekor Digital lenses are designed with large image circles and can be used with film and digital backs. • Ideal for architecture, landscapes, interiors, group shots, etc.

T: 914.347.3300 WWW.MAMIYA.COM

Mamiya Sekor AF 28mm f4.5 D Aspherical for Mamiya 645AFD/AFD II

THE GOODS

Lightroom also allows you to build any

with layered documents and maintain them

number of iterations in different sizes without

after being edited in its environment. Lightroom

having to resize the full-resolution file and

builds a flattened copy, so keep this in mind

save another version. You can determine the

if you plan round trips between Photoshop and

size you need when you export or print

Lightroom and you have to maintain layers.

though Lightroom’s Print, Slideshow or Web

Color documents. I have little use for Lab

11x14 or 3x5 print in-house, you simply

because Lightroom tools often provide all

define the size in a print template, and let

the necessary functionality to render RGB

Lightroom send the resizing instructions to

images, and CMYK documents are output-

your printer from the Print module.

ready (or they should be). By the time the

Whether you’re working with a retouched, high-res rendered image or the original raw data, you can build any iteration from a single Figure 3: These options appear when you instruct Lightroom to allow you to edit an existing rendered image in Photoshop CS3 (Photo > Edit in Adobe Photoshop CS3). If you want to edit an image that has Lightroom adjustments, select the top radio button, which builds a copy of the original first, and if the file has layers, flattens it.

Lightroom will not edit CYMK or Lab

modules. When you want to make an 8x10,

document is in CMYK, it should no longer need editing in Lightroom. Lightroom can’t import images with more

data source. This saves tremendous hard drive

than 10,000 pixels in either dimension.

space and greatly simplifies image management.

Hopefully future versions will allow users to

As for its limitations, Lightroom can’t work

edit panoramas and other large images. �

original, converts the 16-bit data into its internal color space (ProPhoto RGB), and applies the edits. Then you have to choose the resolution and color space you want on the back-end (Figures 3 and 4). Lightroom supports sRGB, Adobe RGB (1998) and ProPhoto RGB. Keep this in mind because it’s possible to end up in a different color space than you started with, depending on what you select in the export dialog. Also note that camera-generated JPEGs differ from other JPEGs in initial image quality. Before any Photoshop editing, camera JPEGs are just one generation from the raw data. They generally show less damage than a JPEG from another source that’s been edited before it hits Lightroom. Global corrections on camera JPEGs cause less damage and process faster in Lightroom. If selective editing is required, use Photoshop and save the document as a TIFF rather than a JPEG. (More on the benefits of doing so in an upcoming article.)

64 • www.ppmag.com

Figure 4: In the Export dialog, you can build a rendered image in one of three color spaces and select the bit depth and file size. Notice on the left in the dialog that I was able to create my own settings and save them as user presets.

Feeling stuck, bored, burned out? Michael Gan and Leslie Artis-Gan rediscovered the joy of portraiture, and their workshops and programs aim to help you find the path to your artistic inspiration, too. PORTRAITS ©Leslie Artis-Gan

F

By Stephanie Boozer

rom excited newbie 30 years ago, to-burned-out businessman and now re-energized veteran, pro-

fessional photographer Michael Gan, M.Photog.Cr., has cycled through enough ups and downs to have gained a comfortable wisdom. If his name sounds familiar, perhaps you’ve seen it on the OurPPA online forum, where Gan regularly comments and advises. “A lot of people get into photography because it’s a creative endeavor, then they turn off that creativity,” says Gan who with his wife, Leslie Artis-Gan, M.Photog.Cr., CPP, owns Meritage House of Photography in Pleasanton, Calif. The disconnect, says Gan, happens when photographers “spend more time copying what other photographers do instead of creating a style all their own.” It’s understandable, he says, that they’d try to do something they know will sell in order to make a living. Both Gans are teaching photographers how to recover their creativity. First, they say, photographers need to grasp that they’re artists, creative thinkers and inventors, not simply picture takers. Inspired by Santa Barbara photographer Joyce Wilson, M.Photog.Cr., API, F-ASP, who teaches at the Brooks Institute of Photography, the Gans have begun to take a historical perspective of portraiture. “Somewhere along the line, the art of portraiture disappeared,” says Gan. “We’re trying to bring it back so that

Joy Ride It's a pleasure to be creative for a living 66 • www.ppmag.com

the art and the client are one.” Back in 1995, Gan realized that while he was busy photographing weddings, babies, seniors and other kinds of portraits, he was

PORTRAITS

©Michael Gan

merely going through the motions. He was

House of Photography, with the mission of

seemed natural to me, but I realized I’d

concentrating on volume sales rather than

merging their talents in a perfect blend of

spent years getting people’s hearts and

nurturing his self-expression. Conflicted and

photographic acumen and creativity.

spirits into their paintings, and I had these

feeling burned out, he took a break to refocus.

Not long after the opening, Artis-Gan’s

skills under my belt.”

The following year he met Artis-Gan, then a

repetitive stress injuries from painting

painter, who helped him rediscover his

dictated a switch from brush to camera. In

workshops and speaking programs to help

creativity and find a new direction.

her first year of entering print competitions,

photographers grapple with the basic

the Northern California Professional Pho-

question of how to keep the joy alive. “We’re

photographic art history, Gan returned to

tographers association named her a 2004

not teaching f/stops and shutter speeds, or

the studio hoping to revive the spirit of the

Photographer of the Year, and she received

Photoshop actions,” says Gan. “You really

masters of black and white from the early

an offer to teach in a night school program.

need to go beyond what I call ‘the actions

“I e-mailed enrolled students to find out

mentality,’ which pigeonholes you. Take a

Drawing on his collegiate background in

days, and rediscover the romance of platinum-

Seeing a need, the Gans developed

palladium printmaking. With Artis-Gan’s

what they really wanted to learn,” she says.

painter’s approach, where you see something

experience in painting and his photographic

“They all came back with the same question

and draw it.”

experience, the Gans opened Meritage

—‘how do you get your inspiration?’ It had

68 • www.ppmag.com

The Gans find fulfillment in teaching,

"SuccessWare helped me become very profitable and create a wonderful debt-free life for my family through a business that I dearly love. But in any business, adversity can appear at any time. The focus SuccessWare provides gives me the insight to keep my studio on track - even through back-to-back hurricanes."

“Success depends on how you react to adversity.”

Frank Donnino Donnino Galleria Portraits | Boynton Beach, FL

SuccessWare is the only studio software that manages your clients, prices your products, pays your bills, and helps you plan for more profit. All this…plus financial reports that actually make sense!

Frank teaching The Baby Plan at a workshop.

successful photographers have a lot in common. creativity. passion. successware.

Carol Andrews, Sam Puc, Jason & Tammy Odom, Audrey Wancket, Mary Fisk, Jamie Hayes, Lori Nordstrom, Susan Michal, Jeff & Julia Woods, Jed & Vickie Taufer. Michael Redford, Sarah Petty

PURCHASE OR LEASE | WINDOWS & MAC GET YOUR FREE DEMO AT WWW.SUCCESSWARE.NET | 800.593.3767

© 2008 Donnino Galleria Portraits

Read Frank’s story at successware.net/success_stories.

PORTRAITS

and it stimulates their portrait business. Averaging around $10,000 for a portrait session, the Gans involve clients in the creative process, finding out what’s important to them, what feelings they want to convey to viewers through the portrait. “The higher you raise the bar on your own work, the more you don’t have to worry about the competition. If you create from your soul, you will excel,” says Gan. In classes, the Gans show photographers how to tap into their background and interests in developing a personal style of their own, which will be the deciding factor that sets them apart from everyone else. “My best advice is to stay true to yourself,” says Artis-Gan. “Turn off your brain and listen for the whispers, because nothing is obvious. Like Michelangelo, who said he was simply setting the figure of David free from the stone, you have to allow your creativity to happen.” � To view the Gans’ portfolio and find details about their teaching schedule, visit www.meritageonmain.com. ©Michael Gan

©Leslie Artis-Gan

© 2007 Cherie Steinberg Cote

Set Yourself Apart. Introducing new Color Efex Pro™ 3.0 from Nik Software, the leading digital photographic ﬁlters for Adobe® Photoshop® that let you craft a style all your own. Used by today’s top professionals, Color Efex Pro 3.0 offers state of the art image processing, unprecedented selective control with Nik’s patented U Point® technology and a streamlined workﬂow you have to experience to believe.

New ﬁlters like Bleach Bypass, Polaroid™ Transfer, Glamour Glow, and more let you truly take control of color, light and tonality in your images to create unique enhancements with easy yet professional results. The way you see photography will never be the same. Download the free, full-featured trial software at www.niksoftware.com/prophoto

Celebrity or not, every subject gets the special star treatment from Kerry Brett. From babies to adults, her portraits have a fresh, in-the-minute appeal, whether taken on the beach or in the studio. PORTRAITS

K

By Lorna Gentry

All images ©Kerry Brett

erry Brett, M.Photog., CPP, giggles recalling the first picture that made her money and launched her career in photography. It’s her moxie she laughs about.

Her father, award-winning Boston Globe photojournalist Bill Brett, was out on assignment one night, when Brett, then 17 years old, heard on his police scanner that a car had just crashed into a house. She grabbed her dad’s 35mm Nikon F3 camera, loaded a roll of Tri-X black-and-white film, and headed to the crash site. “I went under the police tape and told the fire chief I was covering the story. I got up on the fire truck, found a good angle and fired away. Then I went home and called the newspaper to tell them that I had Page One.” To her father’s utter surprise, Kerry’s picture did indeed land on the front page of the next morning’s paper, and earned her $50. Brett trailed her dad into the darkroom and on his newspaper assignments from the time she was 3 years old, breezily switching between her Fisher-Price camera and her dad’s Nikon. The senior Brett fostered a passion in his daughter that drove her first to photojournalism—she, too, worked for a time at the Boston Globe—then into portraiture. In 1997 she opened a studio in Hingham, Mass., an affluent bedroom community on the coast 15 miles southeast of Boston, and specialized in black-and-white portraits.

Bold black and white Portraitist Kerry Brett brands her distinctive style

72 • www.ppmag.com

“I created a recognizable style and then branded it,” says Brett. “I felt strongly and passionately about the look I created, but it was kind of a gutsy move at the time because

PORTRAITS

I was afraid I would pigeonhole myself as a

and white tones makes the subjects pop from

the public and brings in wardrobe, hair and

black-and-white specialist,” thus scaring

the background with an almost 3-D effect. At

makeup technicians, who set up stations

away those who wanted color portraits. “The

first, Brett shot all her work on film and hand-

near the camera room. Brett works directly

flip side is that I have such a recognizable

printed it. The diehard film fan didn’t convert

with the magazine’s editor, art director and

style that people know my work.”

to digital until 2004, and it was a tough tran-

photo editor, who watch the shoot progress

sition, she confesses. But now, says Brett, “I love

on monitors in an upstairs room.

IN THE MOMENT Brett is perhaps best known for beach portraits,

digital because of the instantaneous feedback.” That’s especially helpful during celebrity

The work is always exciting and challenging, she says, which is why she loves it. “It’s

which began with a space dilemma in her first

shoots for Improper Bostonian magazine,

so much pressure—I have less than 5 minutes

studio. Subjects in tow, she bounded onto the

where she’s been the staff photographer for

with some celebrities, and it gives me such

beach to photograph them with long lenses and

14 years. “I have such limited time with them,

an adrenaline rush—there’s nothing like it.

reflectors. “On the beach, I work like a photo-

and I have to respect their schedules,” says

The hardest thing is dealing with celebrities’

journalist,” Brett explains. “I shoot fast and in

Brett. Digital enables her to “know that I

handlers or entourage, who are protective

the moment so portable lights wouldn’t work.”

have the money shot for the cover so that I

and don’t trust anyone. I have to zone all

can then do something artistic for the

that out to create a good portrait.”

All Brett’s portraits have that in-themoment, fresh look. From babies to adults,

inside” photos. Digital has given her more

she connects with people in a way that opens

confidence, she confides.

up their faces. Her creamy lighting gives a

When Brett photographs actors, athletes,

ATTRACTING TYPE A Brett’s bread-and-butter customers are well-

richness to her portraits, and the contrast

musicians and trendsetters for the monthly

educated working professionals who “tend

between razor-sharp focus and soft black, gray

magazine’s covers, she closes her studio to

to be Type-A personalities,” she says. “They

“On the beach, I work like a photojournalist. I shoot fast and in the moment so portable lights wouldn’t work.”

PORTRAITS

want someone who has a good reputation and they want perfection. For them it’s about quality not quantity.” To attract this clientele, Brett positions her studio in the public eye as much as possible through advertising, charity work and displays. “I love marketing as much as I love photography. I don’t sit around waiting for the phone to ring.” She felt it was important as well to invest in creating a studio that bespeaks professionalism and success. In a prime location near Hingham Square, Brett bought a dilapidated, historic 1890 mercantile building in 2004 and turned it into a contemporary studio (see “Urbane Antique,” Professional Photographer, October 2007). The renovation took more than a year, a slew of contractors, and patient compliance with the Hingham Historical Society’s exacting specs. Brett’s investment in both the studio and marketing has paid off handsomely. Her portraiture is highly sought after, as evidenced by her calendar, which is continually booked three months in advance. Brett shoots more than 300 portraits a year, 120 of which are taken on the beach. She relies on two DSLR cameras to handle the workload, a Canon EOS-1D Mark III and a Canon EOS-1Ds Mark II. The lenses she most often uses are a 70-200mm f/2.8, a 28-70mm f/2.8, a 300mm f/2.8, and a 20-35mm f/3.5. Her memory card of choice is a high-speed SanDisk. For studio lighting Brett uses Photogenic PowerLight 1250s with Larson Soff Boxes. She uses Adobe Photoshop CS3 for photo editing, and Adobe Lightroom for image management, both running on four Power Mac G5 computers. Two employees help her run the studio, while Brett does all the shooting. Brett would like to do a book on her celebrity photography one day, but for now she’s enjoying shooting portraits and watching history repeat itself: her 4-year-old, Morgan, follows behind

76 • www.ppmag.com

Where portrait photographers learn Photoshop! ®

Every day, the National Association of Photoshop Professionals teaches portrait photographers from around the world how to turn ordinary into extraordinary and memories into masterpieces. We’re your ultimate resource for Adobe Photoshop training, education, and news. ®

®

Join today and receive... tPhotoshop User magazine t0OMJOFUFDITVQQPSU

t&YDMVTJWFNFNCFSEJTDPVOUT t6OMJNJUFEWJEFPUVUPSJBMT

And, as a bonus, you’ll get “The Best of Photoshop User: The 10th Year” DVD

0OF :FBS.FNCFSTIJQt5XP :FBS.FNCFSTIJQ

Use code NAPM-1UM for your bonus gift.

National Association of Photoshop Professionals Photography by David Ziser, Professional Photographer and Photoshop World Instructor ©2007

w w w. p h o t o s h o p u s e r. c o m o r c a l l 8 0 0 - 7 3 8 - 8 5 1 3 Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated. *Prices are for U.S. residents only. Corporate, Educational and International rates are also available.

PORTRAITS

her camera, just as Brett followed her dad. “I used to go with my dad and sit on the sidelines of the Celtics games when I was little, where he would photograph Larry Bird and all the greats. Just recently I shot Celtics stars Kevin Garnett, Ray Allen and Paul Pierce, the new Celtics dream team, for Improper Bostonian magazine. I walked into the gym just moments after they were photographed for the cover of Sports Illustrated. I said, ‘I’m Kerry Brett and I’m here to photograph Kevin Garnett. ‘Are you Bill Brett’s daughter?’ they asked. I was so proud. It’s been amazing to mimic his career. Dad and I have a bond because we are both so passionate about photography.” � To see more of Kerry Brett’s photography, visit www.brettphotography.com. Lorna Gentry is a freelance writer in Atlanta.

78 • www.ppmag.com

April 2008 • Professional Photographer • 79

Starting out with a multi-faceted business gave Tim Kelly experience and insight that enhance his portraiture. Always growing artistically, he’s added digital painting to his lineup, and clients love it. PORTRAITS

By Lorna Gentry

Classic beauty

W

Portraitist Tim Kelly shares the secrets of his success hile on the

everything from weddings to commercial work. It’s what suits Kelly’s sensibility best. In the 1980s, Kelly’s handsomely lit commercial work earned him an impressive $175 an hour. Orlandoans with fam-

the candidate for a magazine and less

ilies began asking for portraits, too. His

than 1 minute of direct eye contact, thanks

competition charged $75 sitting fees, an

to the phalanx of reporters squeezed into

untenable amount to a man earning

this year, Republican

the camera room, peppering Huckabee

commercial rates. Kelly asked $250 per

presidential candidate

with questions. Kelly got the cover shot,

session, unsure anyone would be willing to

no sweat.

pay that much. But the high price boosted

campaign trail

in Florida early

Mike Huckabee stopped

by the studio of Tim

The name Tim Kelly has become

Kelly, M.Photog.Cr., in

synonymous with portraiture. That’s the

multiplied. By the early 1990s, he was a

Lake Mary, a northern suburb of Orlando.

only kind of photography he’s done for the

full-time portraitist.

Kelly had only 10 minutes to photograph

last 18 years, after 20 years of shooting

All images ©Tim Kelly

the perceived value of his work, and clients

Now Kelly’s creation fees range from $500

to $1,500, which covers only his time behind the camera. Finished portraits run $8,000 to $15,000. A custom-designed, perfectbound, leather photo album with 24 to 30 pages from a single session sells for $4,000 to $8,000. In 2007 Kelly did about 175 sittings, nearly half the number of previous years. He attributes the decline to the weak economy. But his clientele is affluent enough to stave off cutbacks on essentials, like pictures of their children. “Our clients are established families with two to three children ranging in age from 4 or 5 all the way to college age,” Kelly says in a soft, relaxed tone. Though many of his clients live near the studio, some live to the south and southwest of Orlando and will drive 45 minutes to get there and not think twice about it. Such customer loyalty comes from an appreciation of Kelly’s classic approach to portraiture. The poses look natural, yet the subjects are sculpted by luscious lighting; “It’s product lighting for people,” he laughs. When he was doing commercial work, Kelly devised a way to wrap light around the subject to delineate it from the background. “I use two to three boxes on one side and reflectors on the other, which gives the effect of north light coming through a window,” he says. “Multiple light sources enable me to correct skin, hair or background tone to be exactly the value I want.” In the studio Kelly uses Photogenic monolights on a rail system with Larson Soff Boxes. His favorite camera is the Canon EOS 5D with Canon L-series lenses, most often a 70-200mm EF f/2.8. Kelly also has a medium-format camera with a 33megapixel Leaf Aptus digital back in the camera room “just to impress clients,” he says. “If I do a big group, I’ll definitely use it because the fidelity is awesome. For routine portraits it’s overkill. I’ll probably get the

“We stress quality. To keep perceived value high, we tell our customers delivery takes four to six weeks. They come back in a week to see the images, which gives me an opportunity to edit and retouch my favorites. ” April 2008 • Professional Photographer • 83

PORTRAITS

new Canon EOS-1Ds Mark III, but I don’t know,” he says, his voice trailing off. “The 5D was such a homerun. Everything I shoot with it I love. And I can make any size print from it that I want, so what else do I need?” Kelly feels digital photography gives him a greater range of artistic expression than film did. “I used to paint oil on canvas years ago, but it took many weeks. About six years ago I started working with Corel Painter, taking classes every year, but not selling anything. Two years ago, after my fifth class on Painter, I decided I was going to make it work. I began to create a painting every week, even if no one bought it. I did two paintings during that class on my customers’ portraits. I invited my clients to come see them. They didn’t ask when they could come, they asked if they could buy them,

sight unseen. Within 24 hours, I sold them both for a lot of money.” Now Kelly does one painting a week for his Modern Masterpiece series, and nearly every one sells. Although it’s time-consuming —three to 10 hours—he says he loves the process. Last year he was inducted to the International Society of Portrait Painters. He outputs the digital paintings on canvas and adds form-following brushwork. “The heavy hand-brushed lacquer gives the brush strokes a 3D look, further deceiving the eye.” Tim Kelly portraits are also available in unpainted color and black and white. About 60 percent of his portraits are of children, 20 percent families. The remainder is divided among seniors, business, commercial and illustrated portraits. “When I do a family, I do a complete study with all the breakouts of various poses, lighting and interpretations. They will always have more choices than they can afford to buy. I know

84 • www.ppmag.com

I’m not going to see them again for a couple

my favorites. Instead of seeing the 200

of years, so I do as much as I can as quickly

frames I shot, they see the 30 polished

as I can,” says Kelly.

ones I love.”

“From one visit I typically sell a large por-

Tiger Woods, who lives nearby, and his

trait, secondary and gift portraits, and a

wife, Elin, welcomed a baby girl last

family album.” Kelly designs the albums as

summer. Might Kelly do their family

he likes, without an order, to see if the client

portrait? Kelly chuckles. “I was scheduled to

will like it. “I use Capri albums because I can

photograph Tiger Woods in 1997 when he

do panoramic layouts spread across 10x20-

won his first Masters Green Jacket. I’ve

inch pages, or put one to a dozen pictures

done other Green Jacket portraits for

on a spread. … I take imagination out of the

Augusta National Golf Club. But his plane

equation by showing them what I can do

was late and I was young and impatient

and I sell it.”

so I didn’t wait. I should have, but who

Kelly purposefully elongates delivery

was to know?” �

time. “We stress quality,” he says. “To keep perceived value high, we tell our customers delivery takes four to six weeks. They come back in a week to see the images, which gives me an opportunity to edit and retouch

To see more of Tim Kelly’s work, visit his Web site, www.timkellyportraits.com. Lorna Gentry is a freelance writer in Atlanta.

April 2008 • Professional Photographer • 85

Allison & Jeff Rodgers bring ad agency service to studio clients

designing duo BY JEFF KENT

All images ©Allison Rodgers Photography

hen Allison and Jeff Rodgers left their jobs as art directors for a Memphis ad agency, they had a specific goal in mind. For several years, the creatives-on-demand worked with a variety of clients to produce projects for print, TV and online media. Now with a portrait and wedding studio of their own, Allison Rodgers Photography in

photographer, Jeff as the art director. “We want to offer each client a solution,

ask a thousand questions about who they are and what they’re looking for. Everything

Olive Branch, Miss., they have successfully

as if we’re dealing with a client in an ad

we do is designed to make the process easy

adapted the ad agency model to retail

agency,” says Allison. “When clients come in,

for our clients. From our first consultation, I

photography, with Allison as the

our first conversation is about their needs. I

(continued on p. 91)

CREATING A DESIGNER SESSION BY ALLISON RODGERS

At Allison Rodgers Photography our tagline is “let us tell your story,” because every client that walks through our door is a little different from the next. During my consultation appointments, my goal is to find out what makes my client different. It doesn’t matter whether I’m shooting a newborn or a family. I want to find something I can focus on to make the session truly about them. I ask tons of open questions, such as: How would you define your style as a family—casual, frazzled or sophisticated? What rooms do you spend most of your time in? What colors and textures are in those rooms? What do you wear on the weekends? I always love to see images of my client’s home. I ask the client to send a few shots of each room so that we can keep them on file to help in the final size and placement of our images. Once I have a good feel for the client’s style and personality, I explain that I always want to plan my image design for rooms that they live in on a daily basis, like the living room, kitchen, hallway, entryway and children’s bedrooms. I talk about designing something customized for certain spaces, usually for at least two different rooms. I also help them understand that I’m going to create something unique. They are there to make an investment, so I am going to create something for them to invest in. Before the session ever takes place, I have a good idea of what we’re going to do with the images. We plan session clothing to match the specific rooms in which the clients plan to display the images. I even ask for measurements of walls and furniture so that I can design something for a certain spot in their home. By doing all of this preparation in the first meeting, I’ve already sold the client on my ideas before the session takes place. They get excited about the session. All they have to do is show up and let us do the rest. When it’s time to order, the client has a multiple-choice list of tailored options. We use all of their favorite images in our product mock-ups. They know the items will fit their style. They know they will match their home. Even better, they know where to hang them and that they’re going to fit the spaces perfectly. Taking the time to get to know the client in the beginning means that we can better tell their story, and give them products that they absolutely need. What more could they ask for?

(continued from p. 88)

For each client, the design process begins

an image for a specific place in their home.”

send them away with homework. I want to

with the initial consultation, during which

see the color palette of their house, the

Allison and the client discuss where the

when it comes to abstract things like photo-

layout, the style. We look into all of these

images will be displayed and how they are to

graphic art,” adds Jeff. “They need to be

elements so that we can provide a solution

fit into the overall decorating scheme. The

presented those options. We don’t sell a

that fits them. Everything is tailored.”

process continues through the session and

vague idea of an image that will go somewhere,

into the sales presentation. It’s a matter of

it’s artwork to fit into a specific place.”

The Rodgers continue to enjoy the collab-

“It’s hard for people to have creative vision

orative structure of the ad agency in their

paring down options to focus on the must-

studio. They oversee two junior designers,

haves, rather than selling every product and

2003, Allison and Jeff have enlarged the

who work on product creation, album layouts

service to every client.

studio three times, and nearly doubled their

and image processing. “The designers become

“People just get overwhelmed,” says Allison.

Since opening the business in the fall of

gross revenue every year. They’ve accomplished

extensions of us, like extra hands,” says Jeff.

“They come in and think they want to buy

this, in part, through managerial accounting

“I’ll come in and tweak things here and

everything. I’m honest with them and try to

guidance from PPA’s Studio Management

there. Collaboration allows us to produce

focus on certain things they need and will

Services (SMS). With help from SMS account-

more work in a timely manner while

enjoy. That’s so important. It helps me when

ants, the Rodgers have set up a system that

maintaining a consistent artistic direction.”

I shoot to have a plan. I’m shooting to create

allows them to know exactly where they

“When clients come in, our first conversation is about their needs. I ask a thousand questions about who they are and what they’re looking for. Everything we do is designed to make the process easy for our clients.”

GO FROM RAGS TO RICHES PPA Webinar spotlights four realworld financial success stories in April. Learn how to transform your studio’s bottom line not with gimmicks, just know-how.

stand financially at all times. They are aware

principles. They build relationships with

of their cost of sales, session numbers, sales

their clients and are active in the community.

averages, total income and net profit.

They give perks to loyal customers. They

In 2006, the average sale on 310 sessions

consult on decorating decisions and offer

was $686. In 2007, 256 sessions yielded an

suggestions for future photographic art. They

average of $1,656. The Rodgers have been

console clients who lose a loved one and

able to dramatically increase revenue without

donate images to the family. Such personal

increasing prices by limiting the focus of

touches endear the Rodgers to their clients.

each session to concentrate on creating specific

“We want to give something back to our

images. Clients are actually inclined to pur-

clients, our community and to other

chase more because the options are tailored

photographers,” says Jeff. “Sure, we want to

to their situation. “It’s all about helping people

make enough money to live comfortably, but

understand what they need,” says Allison. “If

we’re not in this to be millionaires.”

you provide someone something specific—

“That’s right,” agrees Allison. “We want to

for example, a custom-designed gallery wrap

tell our clients’ stories. We want to offer our

to go in a designated space in a living

creative vision. This is such an important

room—they’re likely to buy it.”

business to be in. It’s such a privilege when

The Rodgers are always mindful that they’re running a family-owned photography business, and never lose sight of traditional

you think about it.” � For more information on Allison Rodgers Photography, visit www.allisonrodgers.com.

Interested in learning more about how the Rodgers have repeatedly doubled revenues without raising prices? On April 21, from 12 to 1:30 p.m. Eastern Time, Allison and Jeff join the owners of three other high-performing studios for a PPA Webinar on studio business success. “2007 Financial Success Stories” also includes Ryan and Carrie Phillips of Click Portrait Studio/Ryan Phillips Photography, a portrait and wedding outfit in Thousand Oaks, Calif.; wedding, portrait and commercial photographers Jeff and Carolle Dachowski of Dachowski Photography in Manchester, N.H.; and Todd and Jaime Reichman, the wedding, portrait and senior photography specialists of Reichman Photographic Artists in Dunlap, Ill. The pros will discuss how they’ve managed to accomplish such feats as tripling net profits, dramatically increasing sales averages, creating financial security for their businesses, and regaining their personal lives in the process. PPA chief financial officer and Studio Management Services (SMS) guru Scott Kurkian will moderate the Webinar. “2007 Financial Success Stories” is part of the popular online educational series sponsored by SMS. Cost for the April 21 Webinar is $49 for PPA members and $249 for nonmembers. For more information, visit www.ppa.com and click on the Events section.

©Jerry Ghionis

Brilliant

A glittering gallery by the Diamond Photographers of the Year COMPILED BY JEFF KENT

©Jim Frieze

©Jim Frieze

t’s no small accomplishment to land multiple prints in the PPA Loan Collection via the PPA International Print Competition, one of the largest, most stringently judged photography competitions in the world. With some 5,000 entries, the Loan Collection comprises only a few hundred photographs, the best of the best. Those who merit multiple Loan inclusions earn a special distinction. With four images in the collection, photographers reach the Diamond level, the highest, in one of three categories: Artist of the Year, Electronic Imager of the Year and Photographer of the Year. On the following pages, we pay tribute to the 2007 Diamond image-makers, and display a selection of the images that put them on the top tier.

JIM FRIEZE

Jim Frieze, M.Photog.Cr., of Jim Frieze Photography in Columbus, Neb., has been a professional photographer for more than 45 years. He brings a clean, fresh approach to contemporary wedding photography, as well as family, senior and child portraiture. www.jimfriezephotography.com

“HER DADDY’S WORST NIGHTMARE” The subject, Eric, frequently changes his look in the course of a year. He works in Frieze’s studio, so the photographer sees the alterations firsthand. This portrait encapsulates one of the looks in Eric’s diverse repertoire. Frieze desaturated the image in Photoshop, then adjusted the density and contrast before stretching the background. “I always capture my images in color,” says Frieze. “I can change and adjust to whatever I choose, and I find the contrast and density of the images to be so much more enjoyable.” CAMERA: Fujifilm FinePix S3 Pro LENS: 28-75mm Tamron SP AF f/2.8 XR Di LD Aspherical LIGHTS: Main—Photogenic PowerLight modified by a 22x28-inch Larson Soff Box; background—Photogenic PowerLight; fill—5-foot Larson silver reflector SHUTTER SPEED: 1/125 second APERTURE: f/9.5 ISO: 100 SOFTWARE: Adobe Photoshop CS

“STRONG FOUNDATION” Image on page 95. The father of the child in this photo has been going to Jim Frieze Photography for portraits since he was a young boy. When he adopted a child, Frieze invited him to the studio to do a father-son portrait session. When Frieze captured this image of the sleeping child, he knew “Strong Foundation” summed up the story. “The challenges we encountered during the session included getting the little tyke to go to sleep and stay asleep,” says Frieze. “But the most humorous was the tiny bladder of this youngster. With each new pose he baptized his father—over and over again!” In post-production, Frieze de-saturated the image in Photoshop, adjusted the density and contrast and stretched the background. He applied a stroke line and black canvas for the presentation. CAMERA: Fujifilm FinePix S3 Pro LENS: 28-75mm Tamron SP AF f/2.8 XR Di LD Aspherical LIGHTS: Main—Photogenic PowerLight modified by a 22x28-inch Larson Soff Box; background—Photogenic PowerLight; fill—5-foot Larson silver reflector SHUTTER SPEED: 1/125 second APERTURE: f/9.5 ISO: 100 SOFTWARE: Adobe Photoshop CS

96 • www.ppmag.com

JERRY GHIONIS

Jerry Ghionis operates Jerry Ghionis Photography, a new boutique addition to his 10-year-old company, XSiGHT Photography & Video. The Melbourne, Australia, photographer specializes in weddings, portraits and fashion. He travels three to four months a year pursuing his photographic passions. www.jerryghionis.com

“NATHAN & VANESSA” (ALBUM) Image below. “I set out to create the simplest album I have ever produced,” says Ghionis. “I focused on showcasing the photography and not the design, which I believe is what an effective album should do. There were so many powerful images from this wedding, but I ruthlessly featured one-image page designs among multiple image designs. It’s all about the wow.” When digitally projected, the album displays vertically like a folding calendar. The printed album is 20x13.3 inches, printed on Kodak metallic paper by Edge Photo Imaging, and produced by Seldex Artistic Albums. CAMERA: Canon EOS 5D LENSES: 70-200mm Canon EF f/2.8L IS USM and EF 17-40mm f/4L USM

“HADDEN & REBECCA” (ALBUM) Image on page 94. A mix of flush-mount and matted pages, this album is 11x14 inches with a simple, clean design. “I only had about 15 minutes of location time with the bride and groom, so I concentrated on producing fewer images and making each one count,” remembers Ghionis. “The images of the long, tall grass are among my all-time favorite sequences. This album includes many elements, including storytelling, glamour, candor, emotion and a big measure of soul.” CAMERA: Canon EOS 5D LENSES: 70-200mm Canon EF f/2.8L IS USM and EF 17-40mm f/4L USM

©Jerry Ghionis

April 2008 • Professional Photographer • 97

©Tomas Muñoz

TOMAS MUÑOZ

Calling on a rich tradition that began in Cuba in 1909, Muñoz Photography has grown into one of Florida’s most popular studios. The emerging generation of Muñoz photographers is led by Tom Muñoz, M.Photog.Cr., CPP, who does a mix of weddings, portraits and pet photography out of the studio’s West Palm Beach and Fort Lauderdale locations. www.munozphoto.net

“VINTAGE GRACE” This classically composed bridal portrait comes from a traditional Indian wedding. The bride had worn the Indian sari and lehnga during earlier stages of the event, but she changed into her white wedding gown for this photo session at the Biltmore Hotel in Coral Gables, Fla. “I put the bride on a staircase that leads to the main lobby of the hotel,” says Muñoz. “I used the beautiful light coming from a window to light her profile. The bride wanted me to photograph the blend of cultures represented in her wedding day. She was ecstatic over this formal bridal portrait.” CAMERA: Canon EOS 5D LENS: 24-70mm Canon EF f/2.8L USM SHUTTER SPEED: 1/125 second APERTURE: f/5.6 ISO: 200

KASSY & TOBY “The bride and groom are a young, fun couple, who enjoyed every minute of their wedding,” says Muñoz. “I started the day with the bride and her family at the Breakers Hotel in Palm Beach. The hair and make-up team ran late with the bridesmaids, and I was pressed for time during the portraits. Once I finished, the girls practically ran toward the limo. I captured this moment as they realized that they were minutes away from the start of the ceremony, as they looked at one other with in an adrenaline rush.” CAMERA: Canon EOS 5D LENS: 24-70mm Canon EF f/2.8L USM SHUTTER SPEED: 1/125 second APERTURE: f/5.6 ISO: 200 ©Tomas Muñoz

©Sam Gray Portraits

SAM GRAY PORTRAITS

In business since the late 1960s, Sam Gray Portraits of Raleigh, N.C., focuses on children and families, with an increasing number of women and executive portraits. Proprietor Sam Gray, M.Photog.Cr., provides his longtime clientele traditional fine-art photography in a variety of formats and media. He attained Diamond status this year with his first competition entries in 11 years. www.samgrayportraits.com

“THE SHEEP KNOW HIS VOICE” “I captured the shepherd when I was with some friends on a photographic safari in northern Italy looking into the Swiss Alps,” remembers Gray. “I wanted to compose the image as quickly as possible because I knew the scene would change any minute. The first thing I did was get a wide angle showing the mountains and clouds, with the shepherd talking to his dog.” Gray used Photoshop to make several adjustments, clean up distractions in the background, and enhance the clouds and fog to look like it was morning. He also moved the shepherd to improve the overall composition. CAMERA: Kodak DCS Pro SLR/n LENS: 80-200mm Nikkor f/2.8 ED-IF AF-S VR Zoom and 35-70mm f/2.8D AF Zoom SHUTTER SPEED: 1/180 second APERTURE: f/6.7 ISO: 200 SOFTWARE: Adobe Photoshop

©Sam Gray Portraits

“ROLLING HILLS” Gray initiated this project for a competition judged by the curator of contemporary art at the North Carolina Museum of Art. “Although this [competition] was out of my comfort zone, I wanted to be in front of this judge,” says Gray. Looking over some old travel images, Gray found a photograph that he’d captured in the hill town of Corniglia, Italy. Using the palette knife tool in Corel Painter, he digitally painted the entire image and intensified the colors for impact. Then he cropped it for a 30x70-inch composition before printing the image on canvas. The art piece was one of 20 out of 300 chosen for the show. It now hangs in his studio gallery and is finished with rich impasto oil paints. CAMERA: Kodak DCS Pro SLR/n LENS: 70-200mm Nikkor f/2.8 ED-IF AF-S VR Zoom and 35-70mm f/2.8D AF Zoom SHUTTER SPEED: 1/750 second APERTURE: f/6.7 ISO: 160 COMPUTER: Mac G4 17-inch notebook with Wacom Intuos3 graphics tablet SOFTWARE: Adobe Photoshop and Corel Painter

April 2008 • Professional Photographer • 99

©Steven Ahrens

STEVEN AHRENS

©Steven Ahrens

A second-generation photographer who has been photographing professionally for 27 years, Steve Ahrens, M.Photog.Cr., runs Ahrens Photography in Fond du Lac, Wis. Technically adept and traditional minded, Ahrens specializes in classic portraits of seniors, children and families. www.theahrensimage.com

“JOE” “I had owned the hat for years and was looking for just the right background and subject to photograph with it,” says Ahrens. “Then I needed something for the subject to wear. We made an ethnic outfit for him, but it just didn’t look right. At the last minute I visited the local Goodwill store and found this T-shirt for $2.” Again, lighting proved to be a challenge. Ahrens used north light and reflectors to illuminate the subject to appear to be lit by the moon and the spectral highlights on the water. CAMERA: Cannon EOS 5D LENS: 70-200mm Canon f/2.8L IS USM LIGHTS: Natural light and reflectors SHUTTER SPEED: 1/60 second APERTURE: f/5.6 ISO: 100

“A SHOULDER TO LEAN ON” “Will's parents wanted me to recreate a pose I had done of their older son,” says Ahrens. “After I’d gotten the image they were looking for, Will's father picked him up and held him, and that is the moment in this image.” Ahrens appreciates the special feeling that comes through when a child feels secure. “Children feel safe and comforted when held by their parents. Will’s father served as a prop, which led to the perfect title.” This image also received an ASB Regional Medallion Award. CAMERA: Canon EOS 5D LENS: 70-200mm Canon f/2.8L IS USM LIGHTS: Natural light and reflectors SHUTTER SPEED: 1/60 second APERTURE: f/5.6 ISO: 100

100 • www.ppmag.com

©Jo Burkhardt

JO BURKHARDT

Jo Burkhardt, M.Artist.MEI, runs Photographic Art by Jo in Sarasota, Fla. She does artistic image enhancements of both new and old images. This is the third consecutive year that she has reached Diamond status as an Electronic Imager of the Year.

“GONE FISHIN’” Burkhardt adapted this image from a photograph by Brian Shindle of Creative Moments Photography in Westerville, Ohio. She used Adobe Photoshop to eliminate the house and background before painting in a new scene for aesthetic balance. “The biggest challenge was removing a large home from the original work and envisioning a completely different background in the process,” says Burkhardt. SOFTWARE: Adobe Photoshop and Corel Painter

“HOME FOR THE HOLIDAYS” “The artistic intent was to start with a cluttered image and transform it into a beautiful scene,” says Burkhardt. The original image was especially fun for Burkhardt because the yard required a digital clean-up before she could begin to focus on transforming the house and background. She removed all the clutter in Adobe Photoshop before pulling up Corel Painter to paint the winter scene. CAMERA: Fujifilm QuickSnap Flash 35mm Single Use camera FILM: 35mm Fujifilm 400 speed film SOFTWARE: Adobe Photoshop and Corel Painter

102 • www.ppmag.com

©Jo Burkhardt

©Juli Cialone

JULI CIALONE

Juli Cialone, M.Photog., proprietor of Cialone Photography in Rochester, N.Y., has been in business for 10 years, working primarily with portrait and wedding clients. Her specialties are environmental portraits, portrait albums and photojournalistic images. www.cialonephoto.com

“JENNIFER AND MICHAEL” (ALBUM) Aiming for “urban and sexy,” Cialone created this image on location. Her first challenge was to get the couple comfortable, so she started the session with a few drinks at a bar. Her next challenge was to keep onlookers from interfering, which turned out to be more difficult than anticipated. “An ogling passerby actually walked into a pole because he wasn’t paying attention to where he was going!” she recalls. In post-production, Cialone retouched the image with Nik Color Efex Pro and Kubota Artistic Tools. She designed and laid out the album with Yervant Page Gallery software. CAMERA: Canon EOS 5D LENSES: 85mm Canon f/1.2L II USM and 15mm Canon EF f/2.8 fisheye LIGHTS: Photogenic PowerLights

“PUPPY AND THE BABY BOOK” (ALBUM) “I was going for something fun and silly but also very clean,” says Cialone. “It was a little challenging keeping a puppy and a 1-year-old happy simultaneously—not to mention getting expressions.” Cialone created the image with a fisheye lens while shooting the subjects against a seamless white background. Everything went smoothly until both subjects wet the floor. Cialone retouched the images with Nik Color Efex Pro and Kubota Artistic Tools. She designed the album layout freehand. CAMERA: Canon EOS 5D LENSES: 85mm Canon f/1.2L II USM and 15mm Canon EF f/2.8 fisheye LIGHTS: Photogenic PowerLights SOFTWARE: Nik Color Efex Pro and Kubota Artistic Tools ©Juli Cialone

104 • www.ppmag.com

calendar 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 additions or corrections to: Sandra Lang, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected].

Current Events May 18-20 S: PP of Louisiana, Marksville, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net May 18-23 W: Imaging Workshops, Mountain Summit, Breckenridge, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.coloradoworkshops.com June 1-2 S: PP of South Carolina summer mini-seminar, Columbia.S.C.; Jeanne Richardson; 843-527-2071; [email protected]; www.ppofsc.com

June 15-17 S: PP of Oregon, Mt. Bachelor Resort, Bend, Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com

September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum; 770-972-8552; [email protected]; www.gppa.com

June 16 S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com

October 3-7 C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf, Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; [email protected]; www.swppa.com

June 22-23 S: Kentucky PPA; Embassy Suites, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com June 22-24 S: PP of North Dakota, Northern Light Seminar, Doublewood Inn, Bismarck, N.D.; Poppy Mills, 701-222-3040; [email protected] June 22-25 S: Texas PPA, YO Ranch Resort, Kerrville, Texas; Doug Box; 979-272-5200; [email protected]; www.tppa.org August 2-5 C: PP of Louisiana, New Orleans, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net August 15 C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson, 615-509-5737; [email protected]; tnppa.com September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin, [email protected]; www.ppok.org September 13-16 C: PPA of New England, Radisson Hotel Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226; [email protected]

PPA EVENTS

January 11-13, 2009 Imaging USA, Phoenix

Professional Photographers of America (PPA) has a proud tradition of providing its members with outstanding educational opportunities through its annual events, PPA-Merited classes and its PPA Affiliate School Network. Don’t miss out on the vital knowledge you’ll gain at these events! For information on PPA events, call 800-786-6277 or visit www.ppa.com.

January 10-12, 2010 Imaging USA, Nashville

Certification Exam For a complete list of exam dates, go to www.ppa.com and click on Certification.

June 6 117th Annual International Print Competition Deadline for Entries

Image Review

July 22-23 Judges Workshop, Daytona Beach

Online submission: May 9, August 8, & October 10

April 7 Super Monday October 9-18 PPA Fall Cruise 106 • www.ppmag.com

October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com October 12-13 C: PP of Colorado, Denver, Colo.; Jeff Johnson; 303-921-4454; [email protected]; www.ppcolorado.com October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected] October 20 S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com October 20-21 C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Mary Gueller; 920-753-5302; Jim Buivid; 262-377-5118; Deb Wiltsey, 866-382-9772; wppa-online.com October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected] October 26-28 S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-6272; [email protected] November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

PPA-Approved Continuing Education Seminars PPA members receive both merits and the best-published prices. May-December C/E: Hands on Photography Classes; Quinn Hancock; 785-883-4166; [email protected] Extreme Portraiture: Wedding Edition; Batavia, Ill.; 630-761-2990; 815-436-0422 May 1-2 C/E: Extreme Portraiture: Wedding Edition; Batavia, Ill.; 630-761-2990; 815-436-0422 May 5-9 C/E: From Traditional to Digital; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com May 14 C/E: “The Art of Children” with Mary Mortensen; Rockford, Ill.; Wendy Veugeler; 815-356-1231; [email protected]

Future Events January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected] February 6-10, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat; wilber@jeffcoatphotography; www.ppofsc.com February 20-23, 2009 C: PP of Oregon, Embassy Suites Hotel, PDX, Portland, Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com February 20-23, 2009 C: PP of Massachusetts, Steve Meier; 781-829-4282; [email protected]; www.ppam.com February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth, Va.; William Garrett, 434-836-2751; [email protected]

June 9-11 C/E: Camp Howe, North Platte, Neb.; 308534-7909; www.photographicimages1.com

February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com

July 12-18 C/E: Copan Honduras Study Abroad Excursion with Paul Wingler, Suzette Allen & Jon Yoshinaga; 800-483-6208; [email protected]; www.suzetteallen.com/copan

February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb Wiltsey, 866-382-9772; wppa-online.com

August 1-4 C/E: Oxford Painter Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com

March 15-18, 2009 C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected]

August 13 C/E: “Making Digital Photography Easy, Predictable & Fun” with Robert D. Lloyd, Malta, Ill.; Wend Weugeler; 815-356-1231; [email protected]

March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

September 12-17 C/E: Great Gatsby Impressionist Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com

April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783; [email protected]; mnppa.com

October 20-23 C/E: Painter Creativity; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com

April 4-8, 2009 C: Northern Light, Minnesota, Jeff Fifield, 218-722-377; [email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, Minn.; 56455; 763-390-6272

108 • www.ppmag.com

April 25-28, 2009 C: SEPPA, Athens, Ga.; TomMcCollum; 770-972-8552; [email protected]; www.4seppa.com August 8-12, 2009 C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson; 615-509-5737; [email protected]; tnppa.com October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected] November 1-2, 2009 S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf; 563-578-1126; [email protected]; www.ppiowa.com February 6-9, 2010 C: PPof Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; iowatelecom.net; www.ppiowa.com February 26-March2, 2010 C: Wisconsin PPA, Radison Hotel, Green Bay, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb Wiltsey, 866-3829772; wppa-online.com April 10-13, 2010 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com November 14-15, 2010 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected] March 4-9, 2011 C: PP of North Carolina, Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com April 2-5, 2011 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

Send all Calendar of Events additions or corrections to: Sandra Lang, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected]

2008 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices. May 4-9 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-2723711; [email protected]; www.gppa.com May 4-9 MARS (Mid-Atlantic Regional School), Grand Hotel, Cape May, N.J.; Adele Bastinck, 888-267-6277; [email protected]; www.marsschool.com May 6-9 and May 11-14 Wisconsin Professional Photographers School, UW Stevens Point-Treehaven, Tomahawk, Wis.; Phil Ziesemer, 715-536-4540, [email protected]; www.wiprophotoschool.org May 18-22 Florida School of Photography, Daytona Beach Community College, Daytona Beach, Fla.; Teri Crownover; [email protected]; 800-330-0532; Marybeth Jackson-Hamberger, MHamberger@ comcast.net; www.fppfloridaschool.com May 18-22 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.coloradoworkshops.com

June 1-5 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 785-2427710, [email protected]; www.kpps.com June 1-5 Mid-America Institute of Professional Photography, University of Northern Iowa, Cedar Falls, Iowa; Charles Lee, 641-7998957; [email protected]; www.maipp.com; Al DeWild, [email protected] June 8-12 Illinois Workshops, Grafton, Ill.; Bret Wade, 217-245-5418; [email protected]; www.ilworkshops.com June 8-13 Great Lakes Institute of Photography, Northwestern College, Traverse City, Mich.; Greg Ockerman, 313-318-4327; [email protected]; www.glip.org June 15-20 West Coast School, University of San Diego, San Diego, Calif.; Kip Cothran, 951-696-9706; [email protected]; www.prophotoca.com June 22-26 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla.; Glenn Cope, 580-628-6438; [email protected]; www.ppok.org/school.html

June 23-25 Golden Gate School of Professional Photography, Mills College, Oakland, Calif.; Julie Olson, 650-548-0889; goldengateschool @yahoo.com; www.goldengateschool.com July 13-17 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604-731-7225; [email protected]; www.imageexplorations.ca/ July 20-25 PPSNY Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-6563; ppsnyworkshop @pws1893.com; www.ppsnysworkshop.com August 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com August 10-14 East Coast School, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected]; www.eastcoastschool.com Send all additions or corrections to: Marisa Pitts, [email protected].

April 2008 • Professional Photographer • 109

© Kelvin Leung, Geoff White Photography

PPA gives us THE BUSINESS FOCUS.

Two of the Manyy Faces of PPA

When starting out, Geoff was just fine-tuning his personal photography. But when we decide to do something, we put everything we have into it. PPA offered a lot of education—both business and photographic—and we used it all. We researched the best wedding photographers, where they were teaching (most at PPA and affiliate schools), and took 5-6 weeklong classes in the first year.

Now, we have the financial and creative freedom to expand our photography even more. Geoff & Lara White Professional Photographers PPA Members since 2003

Professional Photographers of America | 800.786.6277 | [email protected] | www.ppa.com

APRIL | 08

TODAY

PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009

© Dennis Craft

As we come into spring, I hope that you were able to renew yourself and your studio and prepare for another busy photographic season. I always look forward to this time of year after the conventions and seminars that renew my passion for photography…and my friendships.

FRIENDS MET ALONG THE WAY

This month I would like to introduce you to three people who taught me about photography. When I bought my studio in Marshall, Michigan in 1979, I had no real training in photography. In fact, I had only owned a 35mm camera for a few years. Taking the advice of a lab rep, I started attending our local PPA afﬁliate in Michigan (Triangle). After a couple years, I knew I was in over my head. So I paid attention to the others who attended, soon identifying three photographers I admired for their businesses, friendship, and photography. One you might know: Ron Nichols, current Vice President of PPA. The other two might be new to many outside Michigan: Rod Gleason and Duaine Brenner. To these three I owe most of my success.

© Dennis Craft

by the creativity and quality of others’ works and am committed to create my own best image. At Michigan’s competition some new photographers did very well alongside the “veterans.” One of those veterans was well-known lecturer and mentor Barry Rankin. Barry received the Photographer of the Year for PPM — congratulations Barry! I hope everyone is planning on entering PPA’s International Print Competition (June 6, 2008). Let’s get our images ready and make this International Judging the biggest ever. Speaking of international, I will be representing PPA this month in Korea. This is the ﬁfth year that PPA has held

an Asian Paciﬁc Afﬁliated Judging at Professional Photographers of Korea’s convention (at Seoul’s COEX Center). It has been nice to see the beneﬁts of this relationship each year, as we present the Master of Photography degrees to PPA members from this region. Thank you again for allowing me to share this time with you. And start working on those competition prints!

Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President

once a month for breakfast. I lived about an hour away from them, so I offered to do most of the driving. I’m sure it didn’t take them long to realize my real reason for the group, as I brought stacks of proofs each month for them to critique…but they were very patient. They introduced me to many photographic fundamentals over pancakes and eggs. Ron, Rod, and Duaine became my ﬁrst mentors within this profession—a gift I will never be able to repay. Never did they make me feel inferior or stupid for asking hundreds of questions.

PPA News & Notes

One of my passions is competition, which I have used as a learning tool for over twenty years. I still remember the ﬁrst time I entered four prints in the Professional Photographers of Michigan print competition: I was so happy to receive two red ribbons and two yellow ribbons…without any thrown out! Each year I am inspired

PPA President

© Dennis Craft

When you read this, I hope you call or e-mail the person who was your ﬁrst mentor. Chances are, they might not realize the inﬂuence they had on your life. From the bottom of my heart, thanks Ron, Rod and Duaine. Thanks for everything you did for me.

At one Triangle meeting, I suggested that we start a focus group and meet © Dennis Craft

news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com

P1

TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: PAUL OWEN by Angie Wijesinghe, PPA Marketing Specialist

© Anne Radtke of the Milwaukee Art Museum

“It all comes down to customer service.”

PPA News & Notes

That was Paul Owen’s description of his marketing process. Ironically, Owen, M.Photog.Cr., CPP, winner of the 2007 AN-NE Marketing Award for Best Use of Multimedia (and many other photography awards), does little active marketing himself. But that’s because his commitment to service has transformed into a behind-the-scenes marketing approach. Simply put, he helps the people who know the people. “The majority of my marketing is done by high-end vendors and other photographers who refer me,” says Owen. “After all, I love top-notch service (I ﬁgure my ideal clients would, too), so I try to surround myself with those types of vendors. It’s my biggest success.” Easier said than done? Not according to Owen. Think of the different locations you photograph… for weddings, portraits, and other events. Most could use promotional images, and Owen realized this

starting out. Referred to a wedding by a friend, he photographed the event at the Milwaukee Art Museum. Later, he returned to the museum with a fully designed album highlighting the building itself during the wedding. That album resulted in many museum events booking his photographic services. “As photographers, we’re powerful because we can provide those promotional images. However, you can’t just give a venue photos,” Owen stresses. “You need to ensure that your presentation is the best. Give an album or DVD, something you know they will show their clients so you get a return. You can’t put a price tag on that kind of marketing.” This need for prestigious presentation was the basis for Owen’s competitionwinning DVD. He already used DVDs for clients who couldn’t meet with him in person—sort of a long-distance portfolio. As the Milwaukee Museum had many out-of-town clients, Owen

BOARD MEMBER SPOTLIGHT Doug Box, M.Photog.Cr., API PPA Member since: 1979 Location: CALDWELL, TX “Never stop learning.” It’s Doug Box’s motto (really…it’s how he signs his letters), and he certainly lives up to that statement. Doug was always learning different nuances in photography and business...even if it happened in ways one might not expect. As a teenager, he hung out at the K-mart camera department. Then he worked

P2

in the yearbook staff, where he sold his ﬁrst photo (to the fraternity he photographed dressed in old-time clothes). “I was rich with that $3.50,” chuckles Doug. He even bought a daycare center, and “cleaned up the Jell-o and peanut butter to take photos in the lunchroom,” he remembers. “After all, I had a builtin clientele!” It might sound odd, but it worked—enough to grow into a proﬁtable photography business he could sell. Despite his own success, he still idolizes one moment with Don Blair during a Texas School class. He had to leave early to shoot a portrait,

and he went up to Don (who was teaching a class probably too advanced for Doug at the time). “I only have one strobe and an old piece of carpet for a background. What can I do?” he asked Don. With a serious look, Don replied, “Son, keep it close to the camera.” Why is that so meaningful? Well, Don could have easily discounted him as not being professional or important enough to answer. Instead, he encouraged the young Doug Box. “He became my mentor,” remembers Doug. “I wanted to be like him as a person, an instructor, and a photographer.”

news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com

TODAY Always find out what you can do to help others; it will come back to you tenfold. — Paul Owen Only later did that gift to the museum become his AN-NE competition entry, mainly because he wanted to see what the judges had to say. He wanted to ensure that the DVD’s marketing message came through the way he intended. And it overwhelmingly did.

It wasn’t just the technical quality of the promotional DVD that secured his rst-place spot in the AN-NE Marketing Awards. Owen also knew which images would be most helpful to the museum.

Owen’s DVD symbolizes his belief in the necessity of service and presentation in marketing. “Your demeanor is crucial to getting your foot in the door. Be positive, not too pushy, and friendly…a friendly approach is the most powerful for vendors and clients alike,” he says. “Just nd out what you can do to help others; it will come back to you tenfold.”

“With vendors,” he says, “you need to highlight their place (their venue)… not just the room in which the event is held. Find the details that set them apart from other venues and highlight those areas.” For instance, Owen even photographed the museum staff—“the nicest staff I’ve ever worked with, especially at a prestigious venue.”

For example, he once took photographs of his son’s football game. Afterwards, he put 4x6s in a plastic bag with his business cards, leaving them for the families. He ended up getting

The annual AN-NE Marketing Awards competition recognizes outstanding ingenuity and effectiveness in real-world marketing endeavors. Named in honor of Ann Monteith and Marvel Nelson,

both marketing gurus and past PPA Presidents, the competition is open to PPA members only.

Doug still touts the need for all to keep learning—as evidenced by his motto above. What he most enjoys is teaching basics to new photographers. “They’re like sponges…it’s fun to help them soak up good, solid education.”

he says, “but it’s like wearing blinders.” Where can you receive such hands-on interaction? Doug strongly believes that PPA and its afliated organizations are the places. “I want our associations to be strong because I know how important they were — and are — to me,” he emphasizes.

That kind of education is what he believes is needed today. After all, with digital it’s easy to use the back of the camera as your guide, skipping the basics of good photography. And with those basics goes hands-on interaction. Doug sees that kind of personal touch as necessary to really learning and connecting with the industry. “You can learn a lot from blogs and the Internet,”

a substantial family portrait booking from that kind act. This “help them to help yourself” philosophy has certainly worked for Owen in his past 20-some years of photography. Sample the end result of that philosophy—his entry—at www.PaulOwenPhotography.com, where you can also see his many awards. But above all, take his advice and consider helping businesses around you. Such shadow marketing can take you far. Paul Owen Paul Owen Photograph, LLC New Berlin, Wis. www.PaulOwenPhotography.com

The rules and entry form for the 2008 competition are online now. More information is at the Competition & Awards page on www.ppa.com. Don’t miss the June 27, 2008 postmark deadline.

news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com

PPA News & Notes

made them a DVD, too. But he didn’t just paste up a slideshow of images. Thanks to the help of close friend and photographer Jim Buivid of Grafton, Wis., Owen dove into the Apple Motion program to create a smoother, DVD-quality look.

P3

TODAY AFFILIATE SCHOOL SPOTLIGHT KANSAS PROFESSIONAL PHOTOGRAPHERS SCHOOL

June 1 - 5, 2008 Bethel College, Newton, Kansas Contact: Ron Clevenger; [email protected]; 785-242-7710 Web site: www.kpps.com Tuition: All-Week Class - $570 or $495 with early enrollment* (Choose one of the all-week classes) Segment I or II - $370 or $295 with early enrollment* (Choose a class in Segment I or II)

PPA News & Notes

*To qualify for early discount, registrations must be postmarked by April 30, 2008. Course information: All Week (June 1 – 5): Mastering Wedding Success - Michael & Pam Ayers Seniors: Artistic Elements of Portraiture - Carl Caylor The Big Bang Theory of Digital - Jeff Locklear & Bentley Skeie

Segment 1 (June 1 – 3): Getting Started with Painter: Painter Essentials 4 - John Derry Basic Studio Portraiture - Charlie Rees Beginning Photoshop - Fred Taylor & Steve Attig Background Painting Plus - Susan Treft Children’s Portraiture - Michael & Kathleen Bishop Basic Wedding Photography - Don & Joyce Brent Segment 2 (June 3 – 5): Painter X: Beyond the Basics - John Derry Basic Studio Portraiture - Charlie Rees Intermediate Photoshop - Fred Taylor Advanced Photoshop - Steve Attig Background Painting Plus - Susan Treft Introduction to the Complete Digital Studio - Stan Reimer Basic Environmental Portraiture - T. Michael Stanley

GREAT LAKES INSTITUTE OF PHOTOGRAPHY June 8 – 13, 2008 | Northwestern Michigan College, Traverse City, Michigan Contact: Gregory Ockerman (Registrar); 313-318-4327 Web site: www.glip.org Course information: Join us for fantastic instruction (intermediate to advanced) on Grand Traverse Bay, mixed with a fantastic theme party and great camaraderie between staff, instructors, and students: a fantastic learning and growing experience. Instructors include Greg Stangl, Michael & Tina Timmons, Lou Szoke, Brian Cox, Andre Constantini, Cheri McCallum, Kalen Henderson, Al Audleman, Betty Huth, Ed Booth, David Deutsch, James Churchill, and Bob Guliani.

IN MEMORY… HENRY FROELICH The photographic community, family and friends will miss Henry Froehlich, one of the true pioneers and leaders of the photographic industry in the 20th Century. He died peacefully on January 24, 2008, at the age of 85. He is survived by Marian, his wife of 57 years, his two children, grandchildren, and great-granddaughter.

Born in 1922, he experienced the difﬁcult life Jewish families had in Nazi Germany, including having his father taken to a concentration camp. Then, in 1940, he entered the United States. His ﬁrst job in the photo business was as an assembler of “bank lights.” But Henry was among the ﬁrst to recognize the potential in Japanese photographic products. He founded Konica Camera Company in Philadelphia in 1951, having acquired the sole U.S. distribution rights for Konica cameras. His company then merged with Berkey Photo (1962). Next, he founded the Froehlich FotoVideo Corporation, pioneering the concept of ﬁlm-to-tape transfer, and developing equipment systems to perform this service within the retail environment of camera stores and minilabs. In 1987, when the exclusive distribution rights for Mamiya Medium Format cameras and Toyo Large Format cameras

became available, he and partners started Mamiya America Corporation (MAC). They soon made these products the market leaders. As the years went by, their name was modiﬁed to MAC Group, with more lines added to the product offerings. Henry’s interest in photography was also deeply personal. He formed many long-term relationships with retailers, photographers and other industry members. He was an advocate of The International Center of Photography, strongly believing in its principles. Above all, Henry’s vision never wavered: “Our mission is to supply professional photographers and the educational community with the tools they need to create an image.” That, and his credo to “under promise, and over deliver” serves as a model for his associates to follow.

HENRY FROELICH 1922 - 2008 P4

news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

April 2008 • Professional Photographer • 115

LabTab

116 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

April 2008 • Professional Photographer • 117

LabTab

118 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

April 2008 • Professional Photographer • 119

LabTab

120 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

PROFE SSIONAL

3D LightMaster (www.3dlightmaster.com) . . . . . . . 122 Adorama (www.adorama.com). . . . . . . . . 103, 105, 107 Advanced Photographic Solutions (www.advancedphoto.com) . . . . . . . . . . . . . . . . 116 Albums Inc. (www.albums inc.com) . . . . . . . . . . 50-51 AlbumX/Renaissance Albums (www.renaissancealbums.com) . . . . . . . . . . . . . 126 Allied Photographic & Imaging Lab (www.alliedphoto.com) . . . . . . . . . . . . . . . . . . . 116 AllStar Photo Imaging (www.4allstar.com) . . . . . . . 117 American Color Imaging (www.acilab.com) . . . . 65, 118 American Photographic Resouces (www.aprprops.com). . . . . . . . . . . . . . . . . . . . . 127 American Student List (www.studentlist.com) . . . . 123 AN-NE Marketing Awards (http://competitions.ppa.com) . . . . . . . . . . . . . 43 ARK-LA-TEX Color Lab (www.altcolorlab.com) . . . . 119 Art Hands (www.arthandsinc.com) . . . . . . . . . . . . . 124 B & H Photo-Video (www.bhphotovideo.com) . . 80-81 BWC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Backdrop Outlet (www.backdropoutlet.com) . . . . . . 122 Backgrounds by David Maheu (www.backgroundsbymaheu.com) . . . . . . . . . . 124 Bay Photo Lab (www.bayphoto.com) . . . . . . 34-35, 115 Bellies & Babies 2008 Tour (www.bellies-babies.com) . . . . . . . . . . . . . . . . . 39 Big Black Bag (www.bigblackbag.com) . . . . . . . . . . 124 Bogen Imaging Inc. (www.bogenimaging.us) . . . . . . . 3 Brightroom Inc. (www.backprint.com) . . . . . . . . . . . 117 Buckeye Color (www.buckeyecolor.com) . . . . . . . . . 118 Paul Buff Inc. (www.white-lightning.com) . . . . . . . . 47 CPQ (www.cpq.net) . . . . . . . . . . . . . . . . . . . . . . . . . 41 Candid Color Systems Inc. (www.candid.com) . . . . . 119 Canon (www.usa.canon.com/dlc) . . . . . . . . . . . . . . . . 11 Canvas Artworks.com (www.canvasartworks.com. . 124 Christopher Imaging (www.chrisimaging.com) . . . . . 117 Collages.Net (www.collages.net) . . . . . . . . . . . 7, 30-31 Color Incorporated (www.colorincprolab.com) . . . . . 116 Corporate Color/Prolab Express (www.prolabexpress.com) . . . . . . . . . . . . . . . . . 115

Contemporary Photography/J. Hartman (www.jhartman.com) . . . . . . . . . . . . . . . . . . . . 123 Custom Brackets (www.custombracket.com). . . . . . 125 Custom Color Corporation (www.customcolor.com) . 115 Dalmatian Lab (www.dalmatianlab.com) . . . . . . 79, 120 Denny Manufacturing (www.dennymfg.com). . . . . . 127 Denny Manufacturing (www.photonovelty.com) . . . 127 Diversified Lab (www.diversifiedlab.com). . . . . . . . . 117 Draper Imaging (www.draperimaging.com) . . . . . . . 123 Dury’s (www.durys.com) . . . . . . . . . . . . . . . . . . . . . 59 Ed Pierce Seminars (www.edpierceseminars.com) . . . 13 emotion Media Inc. (www.emotionmedia.com) . . . . 125 Focal Point Studios (www.notecard.info). . . . . . . . . 127 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . 127 Fredericks Photo Lab (www.fredericksphotolab.com)116 Full Color (www.fullcolor.com) . . . . . . . . . . . . . . . . . 55 Graphic Authority (www.graphicauthority.com) . . . . 54 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . . 115 H&H Color Lab (www.hhcolorlab.com) . . . . . . Cover III Hallmark Imaging (www.hallmarklabs.com). . . . . . . 119 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . . . 118 HiTi Digital America Inc. (www.hi-ti.com) . . . . . . . . 53 I Shoot People Tour (www.ishootpeopletour.com) . . 75 Imaging Spectrum (www.imagingspectrum.com) . . 126 Jonathan Penney Inc. (www.jonathanpenney.com) . 127 The Levin Company (www.levinframes.com) . . . . . . 122 Lustre Color (www.lustrecolor.com) . . . . . . . . . 109, 119 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . 23 McKenna Pro (www.mckennapro.com). . . . . . . . . . . 115 Mamiya (www.mamiya.com) . . . . . . . . . . . . . . . . 61, 63 Marathon Press (www.marathonpress.com) . . . . Insert Meridian Professional Imaging (www.meridianpro.com) . . . . . . . . . . . . . . . Cover II Michel Company (www.michelcompany.com). . . . . . 125 Michigan Photo (www.michiganphoto.com) . . . . . . . 117 Microtek (www.microtekusa.com or www.artixscanm1.com) . 29 Midwest Sports (www.midwestsportslab.com) . . . . 118 Miller Professional Imaging (www.millerslab.com) . . 15 More Photos (www.morephotos.com) . . . . . . . . . . 109 Morris Group (www.themorriscompany.com) . . . . . 125 MyPhotopipe (www.myphotopipe.com) . . . . . . . . . . 67 NAPP (www.photoshopuser.com). . . . . . . . . . . . . . . 77

National Direct Marketing Services (www.ndmservices.com) . . . . . . . . . . . . . . . . . . 126 Neil Enterprises (www.neilenterprises.com) . . . . . . 123 Nik Software (www.niksoftware.com/ppadfine . . . . . 71 Nikon (www.stunningnikon.com/challenge.com) . 18-19 Norman (www.normanlights.com) . . . . . . . . . . . . . . 85 North American Photo (www.naphoto.com) . . . . . . 118 Onlinephotofix.com (www.onlinephotofix.com) . . . . 127 PR Photo Lab (www.prphotolab.com) . . . . . . . . . . . 116 Pacific Mount (www.pacificmount.com). . . . . . . . . . 123 Perfection Distributing Inc. (www.perfectiondistibuting.com) . . . . . . . . . . . 126 Photoprism Color Lab (www.photoprismcolorlab). . 120 Phototech (www.phototechinc.com) . . . . . . . . . . . . 127 Pictobooks (www.pictobooks.com) . . . . . . . . . 124, 126 Pictology (www.go.pictology.com). . . . . . . . . . . . . . 122 Photogenic Professional Lighting (www.photogenic). . . . . . . . . . . . . . . . . . . . . . . . 12 PocketWizard (www.pocketwizard.com) . . . . . . . . . . 27 Printmakers Chicago (www.printmakers.com). . . . . 120 Professional Photographer Cover Contest (www.ppmag.com) . . . . . . . . . . . . . . . . . . . . . . . 32 Profoto (www.profoto-usa.com) . . . . . . . . . . . Cover IV Portrait Weavers (www.portraitweavers.com) . . . . . 123 Ramsey Resources (www.ramseyresources.com) . . 120 Reedy Photo (www.reedyphoto.com) . . . . . . . . . . . 1221 Simply Canvas (www.simplycanvas.com). . . . . . . . . 121 Student Marketing Group Inc. (www.studentmarketing.net) . . . . . . . . . . . . . . 125 Studio Dynamics (www.studiodynamics.com) . . . . . 127 Studio Logic (www.studiologic.com). . . . . . . . . . . . . 37 Studuio Management Services (www.ppa.com) . . . . 48 Studio Pro Group (www.studioprogroup.com) . . . . 143 Successware (www.successware.net) . . . . . . . . . . . . 69 TAP Professional (www.tap-usa.com). . . . . . . . . . . 127 Unique Photo Supplies (www.uniquephoto.com) . . . . 4 United Promotions Inc. (www.upilab.com) . . . . . . . 120 Used Camera Buyer (www.usedcamerabuyer.com) . . 79 Walker Display (www.walkerdisplay.com) . . . . . . . . 126 White House Custom Color (www.whcc.com) . 8-9, 24-25 White Glove (www.wgbooks.com) . . . . . . . . . . . . . . 124 Xrite (www.xritephoto.com) . . . . . . . . . . . . . . . . . . . 17 Publisher not responsible for errors & omissions

April 2008 • Professional Photographer • 121

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.

122 • www.ppmag.com

April 2008 • Professional Photographer • 123

124 • www.ppmag.com

April 2008 • Professional Photographer • 125

126 • www.ppmag.com

ProductMall SOMETHING HERE YOU NEED...

April 2008 • Professional Photographer • 127

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; 800339-5451, 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.

ALBUMS GP ALBUMS (formerly General Products L.L.C.) is focused on flush mount and digital offset albums along with our NEW extensive line of self-mount albums and folios. GP’s Optimus, Quick-Stick, Digital Vision, Tempus, and Eclipse albums are the products that will help take your photography business into the future. You will experience the same great quality with a whole new look. As a manufacturer, GP Albums also has the ability to create custom photo packaging products upon request. GP Albums continues to offer variety and flexibility allowing photographers to design the perfect product that will last a lifetime. For more information, please visit us at www.gpalbums.com or call 1-800-888-1934.

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] KNOWLEDGE BACKGROUNDS—The #1 manufacturer of quality handpainted canvas and muslin backdrops. Proudly handcrafted in the U.S.A. Call today toll free: 888-8497352 for your free copy of our 2008 Product Catalog; or visit us on the web at: www.knowledgebackgrounds.com

CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 31 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.

128 • www.ppmag.com

CANVAS MOUNTING

EQUIPMENT FOR SALE

CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. WWW.CANVASMOUNT.COM

DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW & USED, FACTORY AUTHORIZED. INSTALLATION AND TRAINING. FINANCING—$600 UP. DELIVERY— INSURED. WWW.DIRECT-RESOURCES.COM; 877-318-3015.

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. Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business— even when you don’t! More professional photographers trust Photo One Software, powered by Granite Bear than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio; personalized phone training for you and your staff; 75 minute no-hassle guaranteed support call-back time; 365 days of unlimited support and usable upgrades and a 365 day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 now for your free working demo or visit www.photoonesoftware.com. Photo One, Building better businesses, one studio at a time.

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.

DIGITAL TEMPLATES DIGITAL TEMPLATES AND BACKGROUNDS. Delmiaco.com has fully customizable Photoshop templates sold as layered .psd files. Collections include: wedding collages, wedding invitations and thank you cards, birth announcements, birthday invitations and thank you cards, senior portrait collages and more. High quality digital backdrops also available. Visit www.delmiaco.com for further details.

EDUCATION/WORKSHOPS DIGITAL PAINTING FORUM. The Digital Painting Forum, hosted by Painter Master Marilyn Sholin has thousands of international members and over 50,000 post about Corel® Painter, Essentials, and Photoshop.Forums include tutorials, brushes, digital painting, art, and the business of creating, marketing and selling digital art. This forum has a small subscription fee that is well worth the education gained. www.digitalpaintingforum.com WALL PORTRAIT CONFERENCE. April 20th-25th, 2008. Six day Wall Portraiture concept to completion. The original wall portrait school. Has changed the lives of many! Emphasis on public acceptance, concepts, sales, portrait finishing and more. Yakima, Washington, 509248-6700, www.wallportrait.com AMPED PHOTOGRAPHY WORKSHOP: Orlando, Florida May 7/8 - Intense 2 day training course featuring Damon Tucci and Domenico Castaldo. Get two perspectives, as you learn a systematic method of documenting weddings through multiple live shoots, critique and discussion. Topics include lighting solutions, fashion posing, Lightroom workflow, retouching, business essentials, and branding. 407-835-7879; www.castaldostudio.com/ampedworkshop.

FINANCIAL TIRED OF DEBT? TIRED OF BILLS? NEED CASH FAST? CASH CASH CASH. BUSINESS SMART UP LOANS, DEBT CONSOLIDATION, HOME RENOVATIONS, 2ND MORTGAGES, PERSONAL LOANS, GOOD, BAD CREDIT, NO CREDIT, OR BANKRUPTCY, AVAILABLE AMOUNTS FROM $10K TO $500,000. FREE CONSULTATIONS, NO FEES, QUICK, EASY AND CONFIDENTIAL, FOR FAST RESULTS CALL TOLL FREE. CALL: 877-423-7974

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]. Well established Studio in CODY WYOMING seeking business partner. Must have a minimum of 10 years experience in running your own studio operation. www.singerphotography.com/partner for details PORTRAIT PHOTOGRAPHER. Company: Club Services of America. Description: Family portrait photographer with wanderlust. Great earning potential for excellent family photographer with quality portrait experience. Photograph and sell to Country Club members throughout the United States. Many assignments are where the weather is good: south in the winter and north in the summer. OK to travel with spouse. PPA Certified or Masters of Photography are preferred. Requirements: Must have tools of the trade and a dependable automobile. Family portrait photographer. Some sales experience. Excellent knowledge of digital photography. See our website at: www.clubservicesofamerica.com. Email resume and sample portraits to [email protected].

INCORPORATION SERVICES INCORPORATE OR FORM an LLC today! Your art is a business. Treat it like one. The Company Corporation can help you incorporate or form a limited liability company in as little as ten minutes. We are fast, accurate and affordable. Provide additional credibility to your photography studio or business at the fraction of the cost of using an attorney. Call 1-800-206-7276 or visit www.corporate.com today!

LAB SERVICES SCHOOL & SPORTS PACKAGES “Green Screen”—With Hundreds of Different Backgrounds Galeone Photo Lab 2161 Greenspring Drive Timonium, MD 21093 410-252-5355 [email protected] Call for pricing. HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd. Beverly Hills, CA 90211 310-274-3445 www.goldencolor.com

ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com SCHOOL/WEDDING Photographers. Low package prices starting at 19 images. Wedding 10x10’s, you design we print $2.49. www.PhotoPrintPros.com. PECHMAN PROFESSIONAL IMAGING (DIGITAL OR FILM) Portraits & Units 8x10 16x20 Print-By-Inch $1.45 $5.80 Studio-Color Corrected 1.90 11.99 Lab-Color-Corrected 2.57 13.99 Raw-File-Services 3.15 16.40 •Undergrad-Sport-Event Pkgs. 8x10 @ $.96 •Fully Assembled Albums-10x10 print included-9 to 18 pages from $149.99, (100’s of templates available) •Proofs from $.25 •Proof Books-spiral bound-8x10 page @ $1.60 • 48 Wal Gold Stamp Special-next 48 free •Spray-Mount-Texture •Digital Retouch $2.50, Art-$1.00 per minute ROES®, LABPRINTSTM, FTP OR DISK. 800-777-0221 WWW.PECHMANIMAGING.COM TM

PRESENTATION BOXES available for immediate shipment; 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800-861-4528. BUY DIRECT AND SAVE. NPD Box Company, 3000 Quigley Road, Cleveland, OH 44113. www.NPDBox.com PRESENTATION BOXES-BOX MANUFACTURER BUY DIRECT AND SAVE. Complete line of Print and Proof boxes. Hinged presentations. Better Quality, Lower Prices. Product mfg in our own plant. Customize with logo, and choose colors with ease. Tissue included! Call 401-7253646 for free samples. H-B Packaging Group 575 Lonsdale Ave. Central Falls, RI 02863 www.h-bphoto.com.

RETOUCHING

BOXES—FROM THE ORIGINAL BLACK BOX MANUFACTURE—FREE SAMPLE—Fast delivery, Finest quality 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”. AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com CREATIVE FRAMES…Designed frames for the professional wedding, portrait and school photographers. Our frames are manufactured here in the USA. Visit us at WWW.CREATIVEFRAME.COM to see our full line. 5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com $10 off /with ad

QUAINT PHOTOGRAPHY STUDIO in Sterling, Colorado for lease or sale. This studio is very unique and is located on prime main street property. Sterling, Colorado is located in northeast Colorado approximately 125 miles east of Denver. The community consists of 13,000 people and is a smaller, friendly town. The property sits on 5 lots totaling 15,000 square feet. The large studio has been totally remodeled and is 3,000 square feet with all studio lighting, props, backgrounds, etc. There is an adjoining 2,000 square foot building that is equipped with scenery and props also. The backyard has extensive landscaping including a barn, pier, gazebo, pond, bridge, waterfall, and various settings. This is a great opportunity for the right person and this community is in great need of a talented photographer. Please call 970522-7408 for more information. Serious inquiries only.

PHOTO RESTORATION 1st PHOTO RESTORATION FREE! Try us, you’ll like us! Point & click easy. No sign up cost. 100% guarantee. Online leader since 1993. Wholesale only to professionals. www.hollywoodfotofix.com or call 888-700-3686.

Better than ever! Professional Photographer Online has exciting new features for you.

STUDIO FOR SALE

SPORTS PHOTOGRAPHERS The most versatile sports program available. Digital or film, quality & service is our motto. See www.sportsphoto.com

BUILD KIDS’ Portrait Business Automatically. Unique Birthday Club Program brings in clients 2-4 times yearly and gets referrals. FREE 24/7 Toll Free Recorded Message. 800-301-2062, Ext. 704.

COLUMBUS CAMERA GROUP, INC. buys whole studios or any part including cameras, film, darkroom, long roll, lighting, and misc. No quantities too small. Call 800-3257664. Ask for Eric.

SALES AIDS

FULL SERVICE Studio with Great Reputation in Charming Mid-South Town with Major University and Large Trade Area. 30-Year-Old Business—Only Studio in Town. Great Opportunity—Owners Retiring and Will Assist in Transition. $125,000 Studio Real Estate Available. To obtain further information, please reply to :[email protected] and refer to ad #107.

MARKETING

STUDIOS WANTED

WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fast service, a retouch that looks like the photo was never altered and the lowest prices in the industry. If you demand the best log onto www.retouchup.com and your first 10 retouches are free just to prove our claims—the best—the fastest and the least expensive or call 888-700-3686.

PLATINUM GICLEE FINE ART B&W from your digital file or negative up to 40 x 60. New DuraFiberTM Media provides deep blacks and waterproof, non-scuff surface, great for hand-coloring. Also available in sepia, color, split-tone. Call for free sample. Jonathan Penney, Inc., Master Printmakers. 631-874-3409. www.jonathanpenney.com

REVEALED: HOW TO GET MORE REFERRALS AND REPEAT BUSINESS THAN EVER BEFORE! Studies show you can see a 10, 25, EVEN 100% INCREASE in referrals and repeat business by ‘staying in touch’ with a client newsletter. But who has the time? Photographers using my unique, “DONE-FOR-YOU” NEWSLETTER system report spending only around 60 minutes on their newsletter and getting $750-$18,500 back every month! See for yourself… Request your FREE Special Report and Sample Package at www.TheStudioNewsletter.com to learn more.

FANTASY STUDIO FOR RENT. Not ready to buy, wanting to relocate and test an area? This is a studio unlike any other. Now you can afford to be the best with minimal outlay. Complete with lights, wardrobe, props and 5000 sq.ft. of movie set backgrounds. Unlimited creativity and an exceptional opportunity to be the best you can be. Colorado Springs, Colorado, is waiting for you. www.ljmphotography.com; 719.593.2424.

At ppmag.com, we don’t simply recreate the magazine online, Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all all yours free. Go to www.ppmag.com today!

STUDIO ESTABLISHED in the Pittsburgh, Pennsylvania, area for over 20 years, with a great image and a very large client base. Owner is PPA Certified, Master Photographer & Photographic Craftsman. Wants to slow down. Will train and is willing to work for new owner to maintain continuity during transition. For information call 724-789-7371.

PRESENTATION BOXES

WESTERN COLORADO—just hours from national parks. 40 year-old established studio plus client list. Amazing outdoor photo park. Thriving economy in this sunny college town of 150,000 - a great opportunity. Owner will assist your transition. Call 970-596-1975.

BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com

HOME/ STUDIO FOR SALE. Three bedroom Cape Cod with 20 x 30 x 10h addition, with full bath and basement on corner lot. (Perfect for home studio) Busy street, separate office entrance, parking in front and side of house. Five minutes to I-95, fifteen minutes to Philadelphia, Pennsylvania and/or Wilmington Delaware. Retired, asking $ 295,000. Phone 610-859-8596 Cell 610-505-4018.

April 2008 • Professional Photographer • 129

good works |

Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work. ©Jeffrey Sauger

a vehicle for fundraising. Many sponsors are leery of donating money directly to individual photographers, so Blue Earth accepts donations on the projects’ behalf and transfers the funds for specific projects. Blue Earth sponsorship is open to all photographers with the vision and technical expertise to pull off a significant documentary project. At present, the organization is assisting 30 projects, the most it’s ever supported simultaneously. Project photographers have raised more than $1 million through BEA and $4-6 million from outside sources. Projects have addressed such problems as malaria, HIV/AIDS, the aftermath of the Bosnian war, environmental injustice in Texas,

From heart to action HELPING PHOTOGRAPHERS FOLLOW THEIR VISION

P

the plight of truck farmers in the Deep South and global warming. So far, 11 Blue Earth projects have culminated with books, including Art Wolfe’s “The Living Wild,” and Rebecca Norris Webb’s “The Glass Between Us.” Those interested in getting involved can become members of the Blue Earth Alliance.

ursuing meaningful projects isn’t

of project support and education,” explains

Donations are accepted for Blue Earth as a

easy for photographers. Anyone

board of directors president Larry Ockene.

whole or for specific projects sponsored by

who’s ever tried knows the diffi-

“On the support side, we help photographers

BEA. Blue Earth is also looking for experi-

culty of attaining funding and finding

plan and execute their projects. Among other

enced, well-connected people for its advisory

willing publishers and outlets for promotion,

things, we help them find sources of grant

board, as well as volunteers for other posi-

let alone the tribulations of accomplishing

funding, and we have a grant writer on staff

tions. In particular, the group needs people

who can help with proposals. We help locate

with the skills to help others facilitate their

the project itself. The Blue Earth Alliance in Seattle assists

distribution channels and publishers. We also

projects—legal knowledge, project manage-

photographers in realizing their projects.

set up mentorships and connections to help

ment experience, connections with PR out-

Founded in 1996 by photographers Phil Borges

photographers advance their projects. On the

lets, publishers and galleries. �

and Natalie Fobes, Blue Earth is a 501(c)3

education side, we’re putting together a series

nonprofit organization dedicated to educat-

of educational programs that are designed

ing the public through photography. Its mis-

to help photographers conceive, organize,

sion is to alleviate the problems of endan-

fund and produce documentary projects.”

gered cultures and threatened environments by promoting photographic storytelling. “The Blue Earth Alliance has a dual focus

130 • www.ppmag.com

To learn more about the Blue Earth Alliance, visit www.blueearth.org where you can download “Shooting from the Heart,” BEA’s resource manual designed to help photographers develop their personal projects.

Blue Earth provides one annual grant of $3,000, but no other direct funding. However, the organization offers its 501(c)3 structure as

Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]

Copyright © Tony L. Corbell, Corbell Productions

Tony L. Corbell & Profoto ComPact

“ I never had such consistent color and exposure until I made the switch. Being known as a ‘lighting’ guy I continually get the question from workshop students on what kind of lights to buy. I can finally say that I am now using the finest lights in the world, Profoto, and cannot recommend them any higher. From consistent color temperature to durability of construction, to broad range of light shaping tools, Profoto wins. I have no idea what took me so long to finally ‘see the light.’”

ComPact and new ComPact R

ComPact Kits include

a FREE custom case, two umbrellas and two light stands. F O R M O R E D E TA I L S V I S I T W W W. P R O F O T O - U S A . C O M

914-347-3300 Profoto-USA.com