Professional Photographer April 2009

APRIL 2009 | WWW.PPMAG.COM | $4.95

©Carrie Sandoval

Image captured by Carrie Sandoval of San Diego, for this issue's focus on photographing babies and newborns.

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P ROF E S S I ONA L

EDITORIAL

A French connection

director of publications

CAMERON BISHOPP [email protected]

CREATING A RETAIL EXPERIENCE One of my favorite stores in Atlanta is a lovely French gift shop tucked away in a strip mall about 20 minutes north of the city. Its unvarnished pine floorboards and romantic Parisian music always make browsing the elaborate displays of handmade dinnerware, delicate linens and perfumed soaps one of my favorite pastimes. I don’t really go there to buy anything, but just being in that atmosphere makes me feel I simply can’t live without a handpainted pitcher from Provence. Retail gurus use the term “experiential retailing” to describe how sporting goods or electronics stores are designed to create a particular shopping environment. Here, all of the store’s specialty merchandise is displayed to induce shoppers to visualize the experience of casting a line into a river with that new fishing rod, or kicking back to the streaming vibes from the latest mp3 player. The same experiential tenets apply to the retail spaces in a photographer’s studio. The display of your framed portraits, tabletop prints in specialty frames and boxes, wedding albums and photo jewelry, all should induce clients to visualize how these items would enhance their own home. More than show-and-sell, the design of your studio should relate to your clients emotionally. The images you create for them already make it tough to resist the urge to buy every one of them, so why not try to make it impossible? “Experiential retailing means making connections with consumers who come to stores for more than merchandise,” says writer Ann Meyer in “Are You Experiential?” (Multichannel Merchant). Meyer’s piece was published in 2006, well before this rough-and-tumble economy darkened our collective doorways. Now there’s more than a little guilt tied to making major purchases, so it’s absolutely essential to create a strong emotional connection. Ask yourself: Have I created a studio atmosphere conducive to opening hearts and opening wallets? You may find an answer in our special section starting on p. 56, a series of articles exploring ways to maximize sales through studio design, even on a skinny budget.

ANSWERS TO YOUR QUESTIONS Don’t miss our new monthly Q&A help column, “Ask the Experts,” which tackles real issues in business, marketing and sales. We invite readers to ask our panel of Studio Management Services gurus—a dream team that includes photographers who’ve been there —for answers to their specific, real-world questions. E-mail me with your questions today—make no mistake, we want to hear from you! I Cameron Bishopp [email protected] Director of Publications

4 • www.ppmag.com

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

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

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

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

eastern region ad manager

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

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

editorial offices

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

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

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2009, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

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CONTENTS PROFESSIONAL PHOTOGRAPHER APRIL 2009

Features 70

STAR CHILDREN Elizabeth Messina launches into the world of celebrity baby portraits By Jeff Kent

80

BABY AS ART Carrie Sandoval & Brittany Woodall take a unique approach to newborns By Stephanie Boozer

56

STUDIO DESIGN: SPACE THAT SELLS

5 Ways to create great studio design and merchandising By Lorna Gentry

64

STUDIO DESIGN: CHEAP TRICKS

20 Affordable design ideas sure to put customers in the buying mood By Lorna Gentry IMAGE BY BRITTANY WOODALL

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

14

FOLIO

86

CALENDAR

91

PPA TODAY

106 GOOD WORKS

©Elizabeth Messina

Departments C O N TA C T S H E E T 20 Duane Klaus balances his life as a

doctor with time behind the camera by Stephanie Boozer 22 Heather Smith: Bright beginnings 24 On the catwalk with Dwight Mitchell 26 PPA comments on Facebook’s

terms of service

PROFIT CENTER 29 What I think: Gayletta Tompkins 30 Ask the SMS Experts 34 Powering out of the slump

by Jeff Carsten 36 Boots are made for walking

by Greg Stangl 38 Why pinch pixels?

by David Ziser

THE GOODS 41 What I like: Heather Smith 42 Software: Kubota AutoAlbum V3

by Cheryl Pearson 48 Pro review: NikonD3X

by Ellis Vener 52 Labs: Super-charge your lab output

by Andrew Darlow

70

Celebrities. They meet, they fall in love, they get married, just like us ordinary folks. And

when Elizabeth Messina photographs their weddings with her own brand of star shine, they want her to photograph the next phase of their lives: their children. It's an age-old natural progression. So you could say that Messina's success is, well, only natural.

8 • www.ppmag.com

ON THE COVER: Carrie Sandoval and Brittany Woodall were flown from San Francisco to Maui by the client, Jaysen Easley, to photograph his 3-dayold baby, Kapono. "I call these faraway commissions 'Destination Newborns,'" says Sandoval. Captured with a Nikon D3 with a 50mm f/1.4 lens in natural light, at f/3.2 for 1/320 second, ISO 500. Cover image retouched by Jim DiVitale, M.Photog.MEI.,Cr., API, F-ASP

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

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

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

12 • www.ppmag.com

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

DON MACGREGOR M.Photog.Cr., API [email protected] MICHAEL GAN M.Photog.Cr., CPP [email protected] industry advisor KEVIN CASEY [email protected] legal counsel Howe and Hutton, Chicago PPA staff DAVID TRUST Chief Executive Officer [email protected] SCOTT KURKIAN Chief Financial Officer [email protected]

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

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

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

CAMERON BISHOPP Director of Publications [email protected]

DANA REEVES Director of Marketing & Communications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] WILDA OKEN Director of Administration [email protected] COREY B. SHELTON Director, Web Strategy & Development [email protected] LENORE TAFFEL Director of Events/Education [email protected] BING ZENG PPA China Managing Director [email protected] SANDRA LANG Executive Assistant [email protected] *Executive Committee of the Board

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folio|

Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of award-winning photography by PPA members. The Loan Collection is a select group of some 500 photographs chosen annually by the PPA print judges from more than 5,000 entries.

©Ann Naugher

ANN NAUGHER Seven-month-old Ella was a lively subject for Ann Naugher, M.Photog., CPP, of Hopkins Fine Portraits in Tulsa, Okla., who could barely keep her on the scale. Naugher resorted to singing the alphabet to keep her interest, and was able to capture “She Ain’t Heavy” with a Canon EOS 5D and Canon 70-200mm f/2.8 L IS USM lens set at f/5.6. A Photogenic PowerLight 1250DR behind a 3x4-foot Photoflex soft box provided the main lighting, and a second PowerLight 1250DR and 4x6-foot Larson soft box provided fill. A Photogenic PowerLight 350 and 1x2-foot Photoflex soft box lit the baby’s head, while an AlienBees unit with a grid and amber gel lit the background. Naugher processed the raw image in Adobe Photoshop CS2, applied minor cropping, color correction and retouching, then painted the image in Corel Painter IX. The image won a Kodak Gallery Award and was accepted into the ASP Traveling Loan Collection. www.hopkinsfineportraits.com.

14 • www.ppmag.com

©Cary Garrison

CARY GARRISON After shooting a 40th wedding anniversary portrait, Cary Garrison, M.Photog.Cr., CPP, of Garrison Photography in Edmond, Okla., made another portrait of the gentleman alone in “the artistic style of his simple, everyday life,” he says. With a Fujifilm FinePix S2 Pro and Nikkor 35-135mm f/3.5-4.5 AF AI-S Zoom lens, Garrison exposed “Mr. Goodwrench” for 1/60 second at f/3.8, ISO 400. A 100-watt bulb provided the main lighting, while a 42x72-inch Larson Super Silver reflector bounced light onto the subject. Garrison also used a 50WS Sunpak 555 flash. In Adobe Photoshop, Garrison applied LucisArt effects in Winslow mode to enhance the texture in the subject’s skin and shirt. www.garrisonphotography.com KAREN RUBIN Karen Rubin, M.Photog.Cr., CPP, of Karen Rubin Photography in Denver, Colo., captured “Sweetness and Light” for clients who were inspired by an Annie Leibovitz image of Tom Cruise and Katie Holmes’ daughter, Suri. Shooting with a Canon EOS-1Ds Mark II and a Canon 28-300mm f/3.5-5.6 L IS USM lens, Rubin opened the shutter for 1/125 second at f/14, ISO 100. A Photogenic PowerLight 1250DR behind a 4x6-foot Larson soft box provided the main lighting, with a second PowerLight 1250DR and a 52-inch Larson Starfish for fill. Rubin rigged a third PowerLight behind a 9x24-inch Larson Soft Strip for hair light. She performed minor retouching in Adobe Photoshop, using Kubota Actions. www.karenrubin.com

©Karen Rubin

April 2009 • Professional Photographer • 15

WALDO BERRY “I wanted the impression of a passing glance just before she raised the fan to cover her face,” says Waldo Berry, Cr.Photog., of WB Photography in Junction City, Kan., of his image “Bitter Sweet.” Berry exposed the image for 1/60 second at f/5.6, ISO 100, using a Hasselblad 503CW mediumformat camera and Hasselblad 80mm f/2.8 CF T* lens. A 200WS Photogenic PowerLight 1250 Monolight behind a 4x6-foot Larson soft box with 4x6-foot Larson reflector provided the main lighting, while a 50WS Photogenic PowerLight 1250 and 1x3-foot Larson soft box provided fill. Berry also used a 100WS Photogenic PowerLight 1250 and Photogenic strip soft box above the model. He converted the image to sepia in Adobe Photoshop, adding the vignette effect and layers of texture to enhance the mood. www.wbphotography.com

16 • www.ppmag.com

©Waldo Berry

JB & DeEtte Sallee | Sallee Photography International Photographers of the Year (PPA) 2006, 2007, 2008

7E!RE3ALLEE0HOTOGRAPHY 7E!RE0ASSIONATE We find so much passion during bridal portrait sessions. When you are given ample time with a woman that is looking the best she has ever looked, in the most exquisite dress she has ever worn, there is inspiration as an artist to create something unique and artistic for her. Our ideal client is the person that loves every creative idea we offer, is open to anything at the drop of a dime, and that expects something more from us than we have ever given anyone else. These are the clients that drive us to be artists. 7E!RE)NSPIRED We love to travel with any spare time that we have. JB is embarking on a twentycity Photoshop tour starting in March, meeting photographers from all around the country. We have found that by taking ourselves out of the grind of everyday life we see the world around us in a different light. We come home refreshed and inspired with new ideas to take our work in different directions. We enjoy helping other professional photographers “Shoot Better, Design Faster, and Love Life!”

 7EARE!RTISTS. We offer 2.5” Gallery Wraps from Miller’s. They sell themselves. On the wall in our gallery, we have nothing but Miller’s Gallery Wraps. They give the statement that we are artists, and they allow our work to speak for itself.

 7E!RE$IFFERENT Our style is best described as “different.” Every bride we work with is unique, and every shot we take is different than the last. We have developed a dramatic look and a colorful style that not only brides love, but more importantly, that we enjoy creating. Pushing ourselves to create that magical image or story albums for our clients. 7E!RE-ILLER´S Our lab is Miller’s Professional Imaging because we Expect More.

%XPECT-ORE

To see how DeEtte and JB use Miller’s to grow their studio, please visit www.millerslab.com/Sallee. For more information on the Sallee Photoshop Tour, visit www.iPhotoshopPeopleTour.com.

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

All images ©Duane Klaus

Before the world got hold Duane Klaus balances his life as a doctor with time behind the camera BY STEPHANIE BOOZER Medicine man by day, photographer, writer

trying to find a balance,” he says. “Every

New England and the Spanish moss-draped

and musician after hours, Duane Klaus is

culture, every religion. Photography is one

Lowcountry of the Deep South. He prints

foremost an artist.

of those things that I’m constantly pulled

his images large to allow the viewer to truly

back into, one of those things I can do for

experience the scene. “It’s so difficult to get

hours and hours and not get tired of.”

that moody feeling with an 11x14 print; you

“I’m an artistic jack-of-all-trades, but now I spend most of my time on photography,” says Klaus, of Klaus Kreations Photography in San

In his medical practice, Klaus’ goal is to

Antonio. Although he’s a physician in practice

eliminate pain. In his photography, his goal

as an anesthesiologist, Klaus’ driving passion

is to transport the viewer to a place of

since boyhood has always been photography.

unadulterated beauty.

Over the past 20 years of his medical career,

Klaus’ images do just that; they’re glowing,

need something really big to let the viewer sink into the image,” he explains. Despite Klaus’ devotion to the photographic arts, he pursued the sciences in college, then went on to medical school. At the time, he

Klaus has been building a fine-art portfolio,

sometimes haunting landscape and

felt he had to choose between earning a good

as well as taking commissions for pho-

architectural photographs. By altering focus

living and struggling to make it as an artist.

tography from interior designers, hotels and

and contrast, for example, Klaus transforms

corporate clients. He is working toward

ordinary cityscapes into ethereal

images has grown, he has remained focused

doing photography full time in the next four

dreamscapes, yet familiar enough to keep

on his original intent, to simply create

years or so.

the viewer grounded.

beautiful imagery. He does that by recalling

As the demand and popularity for Klaus’

“I want to share that one moment in

Yes, Klaus concedes, it’s a greater chal-

time, to pass it on to someone else,” he says.

lenge to portray emotion in landscapes than

“In these times, we need art. The world

in portraits. “When hands are lit a certain

hold of you, before the world told you about

sometimes seems so full of evil and greed—

way, or in an image of a wrinkled old

money and a big house, what was I doing?”

art transcends all that. I want to convey a

woman, there’s so much built-in emotion.

he says. “I was taking pictures, sitting on top

sense of beauty and emotion and mood to

To do that with a building or a skyline or a

of a highway overpass with a slow shutter

the viewers of my images.”

landscape is so much more difficult,” he says.

speed, watching cars go by, doing time-lapse

Reinforcing that idealist’s spirit helps

An avid traveler, Klaus roams European

Klaus find the necessary balance between

cities and countryside as well as the United

his photographic passion and his medical

States looking for inspiration. He’s found it

career. “Everybody in the whole world is

in such places as the weathered churches of

his childhood aspirations. “You ask yourself, before the world got

photography of the stars and the moon.” See more of Duane Klaus’ extensive portfolio at www.duaneklaus.com.

April 2009 • Professional Photographer • 21

CONTACT SHEET

goofing around with the children. “Walking

Bright beginning 2008 Cover Contest winner Heather Smith launches to success

into a studio can be an intimidating experience for kids, but if they feel they have a friend, they loosen up,” she says. “I get down to their level. I’m on the floor playing with them. I typically work with a remote trigger so I can be close to my subjects. I’m not a big, scary person standing 10 feet away behind a bunch of equipment.” The challenge, of course, is to channel the fun into making casual-style portraits with professional technical accuracy. Smith

BY JEFF KENT

writes a game plan in advance of every session, and leaves her notes by the camera. She sets the lights and backdrops beforehand so they’ll be easy to maneuver during the session itself. Everything, in fact, is prepared to exacting specifications, freeing Smith to work with the subjects in a natural way. That’s what gives her meticulous photographs a candid quality. “You have to give clients something worth the investment,” she says. “Part of it is the quality of your images, part of it is the experience.” When clients come to her studio, she wants them to see the difference

©Heather Smith

between her and other photographers. She wants them to actually enjoy the experience Consider the case of Heather Smith of North

by photographing friends and family, taking

Atlanta. A mother with young children,

just enough work that she could ace every

With the migration of casual practi-

Smith had been a part-time photographer

shoot, wow every client. She didn’t force it.

tioners into retail portraiture, Smith antic-

for a few years before diving in full-time

She took the time to know each client. “For

ipates a growing demand for snapshot

about 18 months ago. In that short span of

me, it’s about building a relationship with the

prices over image quality. “There is a huge

time, this portraitist has garnered consider-

client from the onset,” she explains. “It’s critical

market out there that will never purchase

able recognition, including winning the

that my clients feel a connection not just to

my images because they know that down the

grand prize in Professional Photographer’s

my photographs, but to me as well. I don’t want

street they can get a CD full of images for

2008 cover contest (November 2008 issue).

this to be just another business they go to.”

$25,” she says. “Those people will never

Smith has cultivated a dedicated clientele.

Smith means it, too. This isn’t rhetoric

of working with a professional photographer.

value what I provide. Our responsibility as

Her bookings have increased amidst an

she picked up in a night school marketing

professionals is to really stretch, to give

economic downturn, and she recently

class. That sincerity is apparent in her inter-

people a reason to make spending money

moved her business from her home into a

actions and her photography. Clients know

with us a priority. Build that relationship.

new retail space. She—well, she’s made it.

they matter to her, and that she’ll give her

Show what good quality is. Demonstrate a

best to create their portraits. That builds loyalty,

good experience. To convince someone it’s

and loyalty leads to heartfelt personal referrals.

worth what you’re charging, you need to be

Smith’s case begs the question: How does a part-time pro make the leap to full-time and success? Smith built her business through grassroots marketing and networking. She started

22 • www.ppmag.com

The constant in Smith’s photographs is

on the top of your game all the time.”

that the kids in them look like they’re having

To see more from Heather Smith, visit www.smithphotodesign.com.

fun. A kid at heart herself, Smith doesn’t mind

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Haute couture (high fashion), being what

On the catwalk What it’s like to cover Fashion Week l

it is, has captivated me to the point that, given the choice, this is all I would ever BY DWIGHT MITCHELL

shoot. Paris and Milan never disappoint, providing enough shows to satisfy even the

Anticipation! It’s the single word to describe

houses to display their latest collections in

most diehard fashion junkie. London and

my emotions as I wait to see what the

runway shows, but more important, it lets

New York come close behind as locales for

designers have in store for the masses

the industry know what’s in and what’s out

Fashion Week.

collected for Fashion Week. Fashion Week

for the upcoming season—designers, models,

not only allows designers and fashion

editors and buyers swoop in to attend.

All the top design houses are represented, like D&G, Prada, Gucci, Armani, and Fendi.

All images ©Dwight Mitchell

Everyone wants a piece of the runway action. Even with a press pass, it’s not easy to get into every show. Top designers limit access, so you have to choose which shows you’ll attend during the course of a week, and there are more than 100 of them. I shoot the top names but like to focus mostly on the mid-size to lesser-known design houses. I feel the people striving to make a name for themselves are apt to put more creative energy into their work. At the end of my last fashion week I’d covered 48 shows and captured more than 10,000 images, the best of which are on my website, www.map6.com. What’s it like for the fashion photographers? I’ll attend the Giorgio Armani show, for example, which he gives at his own facility. Most people, the press included, who I’m sure are perfectly nice otherwise, try to push, shove, moan and bully their way in. Others without invitations or who aren’t on the guest list, nevertheless feel compelled to see the show, and are also trying to get in. Believe it or not, even celebrities can’t always get into some of the shows, and I find it all very intriguing and somewhat amusing. Of course the paparazzi are in full force, attempting to photograph every celeb who makes an appearance. Television and print media have the best seats in the house at the end of the runway, commonly called the pit. The models are tall, thin and gorgeous, and not in short supply. Backstage at any of the shows is organized chaos, but a wonder to behold with all the dressers, makeup artists and hairstylists.

Invariably one model will be late and 10 people will descend upon her to get her ready

backstage, but trying to take photos while they are disrobed or changing is frowned upon.

in time for the show. If one designer shows a

Shooting Fashion Week requires prepara-

look, you’ll be sure to see it again elsewhere.

tion and forethought. The method of organ-

Everyone’s a critic and you find yourself in

ized chaos extends beyond any single show

fashion debates with complete strangers.

and applies to the entire event, especially when,

The lines will be very long everywhere you

on any given and day, you are covering up to

go, especially at the shows for the top design

eight shows at several different venues. The

houses. The ideas will be so varied, but all the

process entails finishing a shoot, fighting

clothing will be incredibly appealing. The

your way out of the venue, downloading to

smaller, less-known designers’ outfits are just

your computer, then getting to the next show,

as appealing as the larger design houses’.

which can take 10 minutes if the shows are

I try to take as many different types of

both in the convention center, or 30 minutes

shots as possible, and from a mix of artistic

and more if the next destination is an

angles along with the standard straight shots

outside venue. Much as it would please me,

to give the editors more variety and maximum

there is no way to attend all 95 shows, so

flexibility. Photographers shooting for the

deciding which ones are most important for

major magazines tend to have to be dead

your assignment is one of the photog-

center in the pack, but backstage is a whole

rapher’s paramount responsibilities.

other story, and it’s a marvel with all the people running around. The models generally don’t mind being photographed

—Dwight Mitchell See more of Dwight Mitchell’s stylish images at www.map6.com.

“Haute couture (high fashion), being what it is, has captivated me to the point that, given the choice, this is all I would ever shoot.”

April 2009 • Professional Photographer • 25

PPA sheds light on Facebook license policy What happens to image licenses when those images are posted to a third-party site? Facebook found itself in hot water in early

many pro photographers incorporate

when an image you created is queued up in

February after stating it would continue to

Facebook in their marketing plan.

a search, it qualifies as a reproduction of your

hold a usage license on artistic works posted to

As content-sharers on Facebook, users

work. Facebook is bound to ensure that you, as

its pages after the owner of those works deleted

have given the site a license to distribute

a site user, agree to the display and distribution

them from the site or closed his account. A

and display their work. When any user

of your images within its online community.

public outcry elicited a quick about-face from

(including a professional artist) posts an

the company. The following day, Facebook

image to the site, he hasn't given away rights

use their terms of service statement to help

issued a statement clearly articulating that its

to that image, but allowed Facebook to show

content creators manage their copyrights. Face-

license to use posted images expires when users

and share it. Facebook does not assume

book, for example, requires users to affirm

delete them from the site or close their account.

ownership of the work posted.

that they’ve obtained permission to use any

In a letter sent to Facebook founder and

Content-sharing website owners will also

With the volume of online content sharing,

information or creative works they post to the

CEO Mark Zuckerberg, PPA stressed the

PPA understands any website owner’s desire

site. Further, Facebook provides information

importance of adhering to U.S. copyright

for protection when handling copyrighted

on its adherence to the Digital Millennium

laws and explained that copyright pro-

creations. That’s why Facebook asks pho-

Copyright Act, and the procedures copyright

tection is integral to the livelihood of

tographers to grant usage licenses for the

owners can easily follow to get infringed

professional photographers.

images posted on its site.

works quickly removed from the site.

The majority of Facebook’s 175 million

Whenever someone views your images

—Maria Matthews,

users post photographs to their pages and

on your Web pages or a communal site, or

PPA copyright and government affairs

26 • www.ppmag.com

Standard Edition: $159.95 Professional Edition: $259.95

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© 2009 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc. The onOne Software logo and PhotoTools are trademarks of onOne Software.

GO T PPMA O G.CO TO EN M TER

©Heath er Smit h

ENTRIES & JUDGING: We’re looking for an image that is representative of the work you sell your clients—portraits, weddings, commercial, sports, events, etc. 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.

winner will be awarded prizes from our cover photo contest sponsors, Bogen Imaging, Canon, Kodak, Emotion Media, and White House Custom Colour. Prizes will also be awarded to second-, third-, fourth- and fifth-place winners, and as many as 20 entrants could receive prizes with an honorable mention.

DUE TO THE HIGH VOLUME OF ENTRIES RECEIVED IN 2008, ENTRIES FOR THIS YEAR’S CONTEST WILL BE LIMITED TO ONE IMAGE PER ENTRANT.

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.

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Images should be 525x700 pixels; file size should not be more than 250k. A high-resolution, print-quality version (300ppi at 9x12 inches) must be available for print publication. OFFICIAL RULES: Go to ppmag.com for complete rules. SUBMISSION DEADLINE: MONDAY, JUNE 1

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Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Like Gayletta Tompkins, get out the word, and give back How do you organize your business? One of our main organizational tools is PhotoOne studio management software. The key is to be disciplined about backing up images on hard drives and archiving them. We use BackupAndBurn Pro. My staff is trained to follow a set workflow. Our in-house daily accounting and the monthly reports from our CPA help us keep a close eye on our finances. What are you doing to boost business? We’ve been working harder to create new and different product designs that our clients cannot resist. It’s also important to create extraordinarily close relationships with clients, and keep them informed about what’s new and exciting. We produce a semi-annual newsletter and e-mail reminders for upcoming events. What’s the riskiest business decision you’ve made? My complete studio remodeling, by far. I took out an SBA loan and recreated the whole look and layout. What’s the secret of your success? Finding the right source of advertisement for your area and giving back to the community. In 15 years our Kiddie Kontest has raised more than $73,000 for local causes. The support we’ve received from our community has been amazing. IMAGE BY GAYLETTA TOMPKINS WWW.GAYLETTA.COM

April 2009 • Professional Photographer • 29

PROFIT CENTER

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

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

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

Ask the experts Startups, sales tax and getting more wedding business Q: We thought we didn’t have to charge customers the state sales tax because we provide a service, but some sources say we do. Do you know for sure what the law is in Ohio? If we do need to collect sales tax, how do we remit it to the state? If someone out of state orders a book, prints or whatever, do I charge them sales tax? I need to know what to do! A: Yes, you do have to charge sales tax on everything you sell. If you’ve just started your business, you need to apply for a sales tax registration identification number immediately. If you’ve been in business for awhile and have never collected sales tax, you need to talk to a local accountant right away. Most states require you to collect sales tax on the sitting fee as well as the product; if a service ends in a product, both the service and the product are subject to sales tax. In contrast, when a service (like that of a car mechanic) fixes a product rather than producing a new one, the service is not subject to sales tax. Out-of-state purchases are generally not subject to sales tax, although if a client comes to you from another state, states differ as to whether sales tax is charged. Check with your state's Department of Revenue. Once you register for a sales tax number, your state will instruct you on how to remit the collected sales tax to the state. In a number of states, including Ohio, businesses recently have been required to pay their sales taxes online. We encourage everyone to contact his or her state’s Department of Revenue for specific answers on what is taxable, how to apply for a sales tax number, how to collect sales tax, and how to remit it to the state. (Google your state’s name and “Department of Revenue.”) —Scott Kurkian & Bridget Jackson

30 • www.ppmag.com

Q: About three years ago, I switched from newspaper freelancing to the wedding photography business. I had marketing materials and a website designed, and my prices are reasonable. I’ve been to bridal shows and advertised with TheKnot.com. I give good customer service, yet I’m booking fewer than 10 weddings a year. Any ideas? A: Weddings take a unique marketing endeavor. All those marketing strategies are effective, but there’s one that’s missing from your list—local wedding vendors. It’s always been our best source of referrals. When a bride goes to a venue, a florist, a dress shop, and asks them to recommend a photographer, and they all say you, it’s a home run. It takes time to build relationships with vendors, but Lori Nordstrom, M.Photog.Cr., CPP, taught us a super jump-starter. After you photograph a wedding, use your favorite images that showcase the flowers to create a 5x7 referral card for the florist. Include your photo credit and your website address, and the florist’s logo and contact info. Have 25 of these cards printed at your lab, then deliver them to the florist. They’ll be more than delighted to hand them out! Now 25 bridesto-be have a referral to you and your website. Do the same thing for the venue, cake decorator, dress shop and all the other pertinent vendors, and I bet you’ll see an increase in your bookings. —Julia Woods (portraitlife.com) Q: We just started a photography business. We’re pretty clueless. What do we need to do to become legitimate? A: I can’t stress enough how important it is to

learn as much as you can about the business of photography before you get in too deep. Photography can be a great career when you go into it with your eyes wide open and the business skills required to be successful. The very best thing you can do is to learn the fundamentals. Until a couple of years ago, there was no course on business management and marketing specifically designed for professional photographers—a lot of us tried to find one. That's why PPA Studio Management Services developed the "Business Basics Workshop" for professional photographers at any stage in their career. As one of several instructors who teach this course, I can attest that the curriculum it provides could have cut two years off the learning curve I experienced when I started my own photography business. The two-day workshop is offered several times a year at locations throughout the country. (Go to ppa.com for specifics.) We cover a lot of ground, including legal and financial requirements for starting a photography business, personal skills and attributes needed to succeed, financial benchmarks, and marketing and pricing for profitability. —Ann K. Monteith (annmonteith.com)

Got a business, sales or marketing concern? There are no stupid questions. The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

© 2009 Vincent Versace

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PROFIT CENTER

JEFF CARSTEN

The economy may be tough, but your sales can still prosper—just amp up your marketing efforts.

Powering out of the downturn

albums. Gift prints and small wall portrait prices went up, large wall portrait prices became less expensive. We call this “movie theater popcorn pricing”—the beginning price point is high, but the difference in price between small and large sizes is not so

In November, we mailed out $360,000 in gift

has $500 than it is to sell a $100 package to

great. We think it’s a good strategy, provided

certificates for our studio, Southern Light

someone who doesn’t have $100. The

the price of admission isn’t too high.

Photography. We’re not nuts. We’re

lesson: market to people who have money.

How’s it working? Well, we had very few

The “deal” is the key to sales. You will get

appointments left for the Christmas season,

better results with deal-driven sales strategies

but that’s typical. But the sales of wall portraits

than price-driven sales strategies.

rose by 50 percent over our 2007 holiday

powering out of this economic slump. I’m convinced that we can drive our portrait business into a substantial volume, but it won’t happen by accident. Every sale we get is one that we went after. We believe it’s actually easier to capture market share in a down market because share of voice (what it costs for your marketing dollar to be heard) is less expensive. When everyone else is pulling back, we push forward. Because our gross margins are high, our

You have to have a call to action. While

sales, and the number of orders totaling

most moms would love to have a great

$1,000 and more was greater as well. Our

family portrait, prospective clients need a

customers are thankful for those gift

motivator to become clients.

certificates, and even though the economy is

So, if we accept these assumptions, what is the best course of action? Our promotions have usually included a

tough, our sales are excellent. I strongly believe that you have to promote like mad in this business (and I

free session and an 8x10 print. But in today’s

admit we haven’t done enough of it). I also

profits are determined more by our volume

market, the perceived value of an 8x10 has

believe almost every marketing effort works

than by our costs, so it’s especially important

been hurt by mass-market pricing, so we

to at least some extent. The mistake we make

to keep our sales up. That means we have to

decided to mail out a $100 gift certificate,

is not failing to use the best promotion, but

increase our marketing effort to keep our

which entitles the consumer to a session and

doing too little promotion of any kind. More

volume high—so we’re hiring.

a free 5x7. We didn’t tell them that, but they

than ever, photographers need to work hard

can figure it out if they ask. We enclosed a

to keep up the volume of business. As for us,

Australian photographer and seminar presenter

second $100 gift certificate, to be given by

we intend to power out of this recession. I

Tero Sade (www.tero.com.au). Sade is known

my client as a Christmas gift to a family

for his aggressive approach to marketing. I agree

member or good friend. The certificate must

completely with his startling assumptions:

be redeemed before the end of the first

I recently went to a seminar run by

Photography is a speculative business. We don’t sell a thing until we shoot it. Therefore, session fees are not a revenue generator but a barrier to landing the job. Price is not the key to sales. Once you have

quarter of the new year. A hand-signed letter accompanied the certificates. The mailing went to 1,800 of our prior customers and prospects. The total value in those packages: $200 in gift certificates x 1,800

taken the pictures, you have a virtual monopoly

recipients = $360,000! The promotion was

on the images. You can price to each

powerful enough to interest our area’s widely

customer without any competition, charge

distributed newspaper, The Charlotte Observer,

according to what the customer can afford.

which ran a feature about our studio in the

The economy is an aggregate of individual customers. Right now, some people have the same amount of money as they always have,

business section. From the article alone, we booked several sessions and a wedding. We also took this opportunity to revamp

some don’t. Averages are deceiving—it is

our pricing. We eliminated 4x6 prints from

easier to sell a $500 package to someone who

our menu altogether and added 10-page

34 • www.ppmag.com

Jeff Carsten’s Southern Light Photography is in Charlotte, N.C., www.southernlightphoto.com.

“You have to promote like mad in this business . . . Almost every marketing effort works to at least some extent. The mistake we make is not failing to use the best promotion, but doing too little promotion of any kind.”

PROFIT CENTER

G R E G S TA N G L , M . P H O T O G .C R . , C P P

Personal visits build relationships and bring in business —get out of the studio and network face-to-face.

Boots are made for walking

services could benefit the business in ways the owner might not have imagined. My strategy might work for you too. The Marketing Mondays guidelines below are based on the lessons learned from my experience. • First, identify the businesses in your

In today’s economic climate, photographers

is open and I’m dressed to the nines, why

community that could use any kind of photo-

are looking for affordable marketing and

can’t I use the rest of the day to walk around

graphic services, from signage to advertising

advertising solutions. The best advice I can

town and introduce myself and my studio’s

to decor. List the businesses by geographic

give you is to literally get out of the studio!

services to other small business owners and

proximity to one another. I could easily visit

Go out, walk around, meet prospects face to

their employees?

four small businesses before the Lions Club

face and let them know how you can help them to grow their business. When I opened my studio in the ’70s, I

I came to enjoy this venture, which I named Marketing Monday. I was pleased to

luncheon and four afterward if they were all in the same general area.

see my business growing as a direct result of

• Take time to go online to learn about

had no concept of marketing or advertising.

this on-foot campaign. I became a fixture at

the businesses you intend to visit. Understand

I simply unlocked my door and waited for the

realtor’s offices, banks, insurance companies

what they do and identify their target markets.

clients to roll in. They didn’t just roll in, and

and medical clinics, and I soon became the

Find out the names of the owners and be

we pretty much starved for the first few years.

photography studio of choice for business

prepared to meet with them when you visit.

Then, at my father-in-law’s invitation, I joined the Aurora Noon chapter of the Lions

portraiture in my community. The benefits? Marketing Mondays incur

• Prepare your marketing materials ahead of time. Carry business cards that feature an

Club, an international service organization.

little expense, and given the cold climate of

image of you or samples of your photog-

I met many members who were also small

Internet transaction, business owners love

raphy, and brochures with examples of the

business owners. The Lions met on Mondays,

the warm, personal touch of an actual visit.

different kinds of photography you offer,

my day off. I didn’t usually wear a suit and

Dropping in also gives me the opportunity

including head shots and product photos.

tie, but I did so on meeting days because the

to discover the specific needs of each business,

other members did. I thought, my schedule

and therefore to suggest how my photographic

Base your materials on features-benefit marketing, aka problem-solving marketing: Nobody buys a drill because he wants a drill.

RETURN ON INVESTMENT

What he wants is a hole. Businesspeople

After visiting an area realtor, I discovered he was having trouble getting decent, consistent head shots of his salespeople for use in his advertising. Some were even submitting glamour-style images, which the owner found inappropriate for newspaper ads. I offered to speak about appropriate dress for business portraits at his next sales meeting. Then I offered to set up a shoot at his office. Over a three-day period, I photographed his entire sales force. Now his new sales recruits are sent to my studio. At a local medical clinic, I talked my way into the marketing director’s office. The clinic has now been a good client for more than 20 years. Recently I asked the director why she’d chosen my studio. “You walked in the door and asked me to!” she said. After a visit with a builder, he scheduled an appointment for a head shot for marketing use. As we talked, he told me he was building a new office for his own business. How about decorating it with large photographs of his completed building projects, I suggested. Great idea, he said. That commission took nearly a week to finish, and netted several thousand dollars. Don’t have a lot of money these days for a big marketing program? A marketing walk about is one the simplest yet most effective ways to grow your business.

increase sales by showing what they sell or

36 • www.ppmag.com

invest in photography because they want to who they are or something about their brand. Write your marketing materials from the perspective of your prospects to create a message that truly engages the reader. Don’t tell the prospect what you do, tell her how you can help grow her business. Instead of saying how long you’ve been in business (a feature about you), describe how stable and trustworthy your company is (a benefit for your client). Don’t just list the associations you belong to (a feature about you), but how your professional association membership, certification and degrees signify that your clients will get the highest standards and

professionalism in the photographic

clinics, hospitals and banks, often have PR

prospects excited about the ways you want

industry (a benefit for your client).

departments that you’ll need to work with.

to help them grow their business and help

List every feature of your services and

In realty and insurance companies, the power

them upgrade their marketing efforts.

products—years in business, photographic

broker is often the office manager. I’m uncom-

Suggest ways photography could benefit

degrees, association memberships, specialties

fortable with simply leaving my materials

their business. If the prospect brings up

or product diversity, awards. Then think

with a receptionist, so try to talk to the person

prices, likely you’ve got his interest. Present

how each feature might benefit a client. Be

in charge. A friendly smile and a warm

your prices clearly, directly and confidently.

clear and be specific. This list becomes the

handshake have opened many doors for me.

basis for every marketing endeavor, including Marketing Monday conversations. • I recommend not calling ahead to say

• To my knowledge, the best sales people

• After the visit, follow up with a brief handwritten note. Quick e-mails don’t have

spend 25 percent of the time pitching, 75

quite the same impact. You’ve grabbed some

percent listening. This visit is an opportunity

of their marketing materials when you

you might visit. That only gives the other

to listen, make a friend, and begin a relation-

visited, now dissect it for ways your photog-

person an opportunity to say no. And

ship. Ask questions. What kind of clients do

raphy could help clarify their message. If

remember, you’re simply paying a visit to the

they serve, and how do they get their

you’ve learned enough to suggest some solu-

business, not selling, not soliciting business.

business? The more you learn about the

tions, call the prospect and discuss them, or

(To do so, you’d probably need a license of

business, the more you’ll discover about its

offer to come by and discuss them. I

some kind from your local city or township;

needs, and the more specific you can be

and besides that, it’s off-putting.)

about how you can fulfill those needs.

• Take the time to discover the power broker at each office. Larger outfits, such as medical

• Never walk in and present a price list. Create desire, then mention price. Get

Greg Stangl, a popular business, sales and marketing speaker, owns a studio in Aurora, Ill. Visit his website, www.prospeak1.com.

April 2009 • Professional Photographer • 37

PROFIT CENTER

P R O TA L K B Y DAV I D Z I S E R , M . P H O T O G .C R . , F - A S P

Go ahead—splurge, indulge, take all the pictures!

I handhold my 70-300mm imagestabilized (IS) lens during the ceremony as I

Why pinch pixels?

quietly roam the church and discreetly capture the expressions of the moms, dads and grandparents. Because I use a slower shutter

It’s always fascinating for me to watch other

best wedding day banter. In four quick

speed, I adopted a multi-shot IS technique

photographers shoot a wedding. Many are

shots, I’ve got at least one in which

that works just fine to be sure I get a sharp

timid when it comes to getting the shots.

everyone’s wearing a good expression.

frame with no motion blur. With the camera

Some act as if they’re still shooting film,

Meanwhile, my assistant is shooting periph-

set to aperture priority, which sometimes

taking only two or three frames of the entire

erally, capturing quick close-up expressions,

gives me exposures as slow as 1/6 second, I

wedding party, while I take as many as 18.

hugging arms and various angles, looking

lift the camera to my eye, tighten my elbows

for five or six compositions to add interest to

on my ribcage, hold my breath, rapidly fire

off a few tight frames on the white wedding

the overall coverage. I call for a group hug,

off three or four frames, take a breath, and

gown to check my exposure against the

everyone loosens up, and I cheer them on to

do it again. I know I’ve got the shot among

histogram. Then I shoot for the best

hug ever tighter as I slowly zoom-in on the

the multiple images, one image that’s sharp.

expression, coaxing the assembly with my

bride and groom. That gives me a wonderful

There’s always plenty of action at the

series of five or six images full of spontaneity

wedding reception. The camera could be up

and emotions to go into the album.

to my eye, over my head, hovering near the

While assembling a wedding group, I fire

Why not take only two or three group photos? Because I’d like to sell more than just

and exciting shot. I change lenses often for

one. I can put together a double-page spread

variety. My team and I are always trying

of five to eight shots from my 15-shot rampage.

some new technique, something that

It’s a much more exciting presentation for

separates David A. Ziser Photography from

the client and added value to my pocketbook.

the crowd. That’s the extra something that

Some photographers shoot only the peak

makes the difference in our success. Pixels

action. When the bride and groom see each other for the first time, I take about 20

On average, I shoot one image every 9 seconds at a wedding. Each wedding event

the tears, laughs, giggles, secret whispers

lasts nine to 12 hours. That’s … oh, you do

and loving expressions that tell the story are

the math. My assistant doing the peripheral

there for the capture. I circle around the

shots takes about 700 more to add to the col-

couple, moving from her expression to his—

lection. It’s a total of some 4,000 images on

click, click, click. They continue to hug, kiss,

a normal big job. In the film days, I shot 700

admire each other—click, click, click. I

to 800 images, more than the other shooters

survey the onlookers, parents, attendants, to

in the area. The film and processing back then

see their responses—click, click, click.

cost me $1,000. Boy, do I love digital. I

looking for action and reaction, the heights of emotion, the soft touches and tender looks. Getting all that demands an assertive attitude toward the shutter release. It takes a tenacious search for those moments to be sure I have the image—the best image.

38 • www.ppmag.com

be damned, full speed ahead.

images. The emotions are flowing, and all

And so it goes for the rest of the day,

©David Ziser

floor, anywhere that will get me a unique

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Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Heather Smith concentrates on expressions, not equipment What’s the best equipment investment you’ve ever made? My Profoto ComPactPlus 600 monobloc lights. They were the biggest equipment investment I made for my studio, but they’ve been worth it. I don’t have to worry about them; they work like a dream every time. Now, all I have to worry about is getting that expression from the subject! Little thing, big difference … With every order, we include a referral card that has eight walletsize images for our clients to hand out to friends. The images serve as coupons for complimentary sessions, which gets people in the door. Once they’re in, we can provide something they will love. What hot new product are you dying to get your hands on? The new portable, superlightweight Denny soft boxes. I’ll just add a Speedlite and be ready for location shooting. Has a piece of equipment ever changed the way you approach your photography? Having an off-camera shutter release on my PocketWizards makes a world of difference. I can connect with my subjects in a way I never could with a big piece of equipment in front of my face. It was a small investment, yet it made a tremendous difference in capturing the expressions I’m looking for. IMAGE BY HEATHER SMITH WWW.SMITHPHOTODESIGN.COM

April 2009 • Professional Photographer • 41

THE GOODS: SOFTWARE

Kubota AutoAlbum V3 harnesses the power of Photoshop automation to make album design nearly as easy as choosing layouts from a catalog.

AutoAlbum works within Adobe Photoshop, utilizing its built-in color management and image resizing technology. It’s an efficient, time-saving way to create professional magazine-style album pages. Dashboard

BY CHERYL PEARSON

Album design simplified

KUBOTA AUTOALBUM V3

2.0 for AutoAlbum launches as a floating palette in Photoshop, combining two tools into a simple, well-organized interface for designing each page. The software comes with a highly browsable full-color paper book of 500 album layout templates to accommodate future page additions. The templates are illustrated with actual images in the layout, to give you a better

Photographers are always looking for ways

change elements in my layouts easily,

to simplify and speed up workflow. I was

yet afford me some creative freedom in

looking for a straightforward album design

the album design. Kubota AutoAlbum V3

layout orientations: square, square

software that would allow me to adjust and

does that.

panorama and vertical rectangle. Each

idea of how your pages will look. The templates are divided into three

©Cheryl Pearson

This layout calls for two vertical and one horizontal photo, yet you can still edit every element of the design, arranging the images for maximum impact.

42 • www.ppmag.com

The AutoAlbum Template Library reference book, above, shows you image-populated examples of layouts. The templates are organized by layout orientations: square, square panorama and vertical rectangle. The layout codes reflect the number of vertical and horizontal images in the design.

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THE GOODS: SOFTWARE All images ©Cheryl Pearson

layout has a corresponding code that you enter into the AutoAlbums Dashboard. The dashboard is essentially a layout search engine. You can find suitable digital templates by entering a layout code or via a search on the number of horizontal/vertical images you need to accommodate. For example, select layout code 403-H1V2S from the book, type the code into the Dashboard, and the template is automatically selected. If you would like to select from all the layouts with one horizontal and two vertical images per page, simply type in H1V2. All corresponding layouts will be displayed in the Dashboard palette. Then you can look at the templates in the paper book to see how each layout looks with actual photographs, and select your favorite. One of the most useful features of this software is the combination of automated design and editable features. You can edit

The Dashboard dialog guides you through image selection for the AutoAlbum layout.

The AutoAlbums page design is logically organized in the Photoshop Layers palette. Photographers familiar with Photoshop will understand the construction at a glance, and how to customize any element of the design.

Once the layout has been selected, you can see the elements of the design in each Photoshop layer. Any of these elements can be edited or removed entirely.

44 • www.ppmag.com

THE GOODS: SOFTWARE

any of the page elements—such as

I’d like to have some more creative options.

background color and keylines—and add

Each layout has a standard key line around

text as well. It’s easy to modify or replace

the images. You can apply a border to the

images in the layout. To replace an image,

image before importing it to your page, but

right-click (Windows) or control-click

I’d like to see some sample pages with a

(Mac) on that layer in Photoshop to open a

variety of border options already set up.

dialogue box. Choose Replace Contents to

The expandable construction of the

select a new image from your files, and it’s

reference book suggests more designs will

automatically displayed in the template.

be published.

AutoAlbums has Adobe Smart Object technology, which automatically converts

all-encompassing and user-friendly album

all images to Smart Objects when they’re

design software. All the tasks you’d like to

placed in the layout; when you select

have automated are, yet you have the

Edit Contents and modify the image in

creative freedom to change or eliminate

Photoshop, the image will be automatically

anything in the layout.

updated in the layout when you save it.

Select a Photoshop layer and right- or control-click to access the Edit Contents and Replace Contents commands to modify the image on a particular layer.

46 • www.ppmag.com

Overall, Kubota AutoAlbum V3 is an

Kubota AutoAlbum V3 ($399) can

You can also use Kubota Action Dashboard

be used with Photoshop CS2 or later.

to make some easy and quick changes to

Tutorials and user guides are provided

your images.

online to get you started. Go to

Though the variety of templates is wide,

kubotaimagetools.com. I

THE GOODS: PRO REVIEW

Nikon D3X sets a new standard for DSLRs, tackling jobs other cameras couldn’t handle. BY ELLIS VENER

Totally worth it NIKON D3X

Say what you want about the $7,999 price of

world assignments tested the limits of the

the camera, but the performance of the Nikon

D3X capabilities.

D3X sets a new high in the standards that

The Nikon D3, released in late 2007, is

The ergonomics and components of the D3X make it a physical twin of the D3. Nikon’s specs say the D3X is slightly lighter,

working photographers can expect in a DSLR.

still no slouch in the area of performance. At

but the chassis, LED monitor, menus, and

Some folks are comparing the D3X to

extremely high ISO settings, its captures have

control positioning are identical, and the

other high-resolution full-frame DSLRs

less electronic grain than the D3X’s captures,

batteries are interchangeable. Many of the

with half the list price of the D3X: One of

and if you need to shoot nine to 10 frames per

internal components are the same, including

them even has the same basic CMOS

second with totally accurate autofocus, it’s

the Multi-CAM 3500FX autofocus module,

imaging chip. But those cameras can’t com-

unequalled. But when you want to produce

the 1,005-pixel RGB light sensor, and 3D

pete in specs and overall performance. A

large, finely detailed prints without post-

Color Matrix Metering II system.

fair comparison sets the D3X against the

processing interpolation, even when the

Canon EOS-1Ds Mark III or a Phase One,

subjects were shot in challenging lighting

with the CMOS image capture array. At

Leaf or Hasselblad digital back with

conditions, the D3X set in 14-bit-per-channel

24x35.9mm, the D3X’s CMOS is slightly

similar resolution on a medium-format

raw mode—Nikon’s NEF format—does it

larger than the chip in both the D3 and

camera. Shooting a wide range of real-

better than any camera I’ve worked with.

D700 (23.9x 36mm). With more than twice

Yet there are big differences, beginning

the number of photo sites packed into the All images ©Ellis Vener

same area, the individual D3X photo sites— pixels—are smaller. The D3 has a pixel pitch of 8.45μm, the D3X a pitch of 5.94μm—the same as the CMOS in the Sony Alpha A900, but the similarity ends there. Sony fabricates the CMOS to Nikon’s proprietary specs, and while it’s possible that the Nikon D3X and the Sony A900 use different micro-lens arrays and anti-aliasing filters in front of the CMOS, they definitely use different processors and algorithms to process the signal from the sensor. Data flows from the CMOS through 12 high-speed, 16-bit channel read outs into a

Figure 1: The D3X 14-bit NEF mode records a very large dynamic range with saturated colors and fine detail.

48 • www.ppmag.com

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THE GOODS: PRO REVIEW

report. The location is a rather cold and,

compressed NEFs, subtly dodging the faces

fortunately for the photograph, smoky steel

with the Adjustment brush, and intensifying

fabrication plant. This photo tested the

the beams of light using multiple passes

D3X’s ability to capture detailed 14-bit NEF

with the Graduated Filter.

files with a very large dynamic range and strongly saturated colors. The setting was dramatic. Sodium vapor

Nikon Expeed processor, where it’s processed

decent tonal distinctions in both the noisefree deep shadows and the fine details in the

lights lent an orange glow to the workshop,

highlights that weren’t intentionally

while the early morning sunlight streaming

overexposed. At 300ppi without

through a vent created shafts of light through

interpolation, this image made a fine

the smoke. A single Nikon SB-900 mounted

20.16x13.44-inch print.

on a stand at camera left worked as a

Figure 2: This portrait for an annual report was an exposure set for 1/160 second at f/10, ISO 100, 5:4 crop mode, using the AF-S Nikkor 24-70mm f/2.8G ED lens.

The original 14-bit NEF file recorded

There are three features the D3X lacks: a

portrait light. I used 3D Color Matrix II

hi-def video option; ultra-high ISO (1000

metering in conjunction with the exposure

and greater) performance as good as the D3’s;

bias control, and set a basic exposure of 1/13

and at full resolution, the D3X shoots only 5

second at f/6.3 at ISO 200; iTTL flash

fps. In my experience, these are far

controlled the SB-900, and I set the Active

outweighed by the ability of the D3X to

D-Lighting to the new Extra High mode to

efficiently capture excellent photographs in

help deal with the extreme contrast range.

situations that other cameras couldn’t

At the client’s request, the main part of the

handle as well. I

drawing on the table is overexposed. I used

Find specs for the Nikon D3X in Web Exclusives at www.ppmag.com

Lightroom to process the lossless 14-bit

for output in NEF, JPEG or TIFF format at 12- or 14-bit color. The processor combines that data with information from other systems in the camera, most notably Scene Recognition and 3D Color Matrix II metering, white balance, lateral chromatic aberration correction, noise reduction at high ISO and in long exposures, and Active D-Lighting settings. As with the D300, D700 and D3 models, combinations of scene recognition, metering, and the user’s choice of active D-lighting algorithms (optional), are used to adjust the upper end of the tone curve to ensure fine, bright highlight detail, and brings the D3X’s usable dynamic range to slightly more than 13 stops with 14-bit NEFs. In the three sample photos here, I pushed the D3X capacity in several areas—resolution, color depth, dynamic range—and tested for mirror bounce at relatively long exposures. I photographed Figure 1 early one morning for a corporate client’s annual

50 • www.ppmag.com

Figure 3: These yeast cultures were photographed for 1/3 second at f/16, ISO 100, with an AF MicroNikkor 60mm f/2.8D lens. The camera was mounted on a short, improvised boom made of Really Right Stuff components and placed directly above the dishes, making it impractical to look through the viewfinder. I used Live View in tripod mode and manually focused with the magnification feature to zoom-in on details. I set a custom white balance for the fluorescent lights in a booth where lab techs work with the cultures. The close-up is a 100-percent crop of a section of the frame.

© Joe Glyda

Keeping photography alive as a profession inspires me. Many who claim to be professional really aren’t. Some have the passion, but no education. Others have the education, but no passion. I believe a true professional photographer is someone in whom knowledge and passion coexist. Professional photography is a whole world — a profession, not a hobby. It gives me creative freedom and constant learning opportunities. Most importantly, it allows me to make a difference in other people’s lives.

THERE’S SO MUCH MORE TO THIS THAN JUST TAKING PRETTY PICTURES. Rachel Williams Photographic Designs by Rachel Williams PPA Member since 2004

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

THE GOODS: LABS Assembled by Andrew Darlow from Fuji and Kodak test targets; sepia image ©Andrew Darlow

You can get better results from your lab with these five simple tips for better prints. B Y A N D R E W DA R L O W

Lab results SUPER-CHARGE YOUR LAB OUTPUT The technology behind continuous-tone

(ambient natural light or artificial lighting

printing in the digital photo lab is nothing

type) and the characteristics of the display

short of amazing. Labs can quickly produce

itself (laptop, glossy screen, LCD, etc.), have

sharp, vibrant, long-lasting prints from

a significant impact on the appearance of

wallet size to over 40x60 inches. Thanks to

the images displayed onscreen. Re-profiling

demand, digital lab printing is currently the

is generally suggested every few months,

most affordable high-end printing process.

and periodically viewing a target image can

There are steps photographers can take on their end to ensure they get consistent, high-

be very helpful. 2. Use a target image to test your

Use a target file to test the accuracy of your monitor and consistency of the lab prints.

quality print results from their lab. I’m a big

monitor, as well as your lab’s output. After

proponent of using custom profiles, but prob-

calibrating and profiling your monitor, use a

lems arise when you send those profiles to a

target (test) image to determine whether the

Important: Instruct your lab to turn off all

lab that uses multiple print devices, not to men-

monitor is displaying colors accurately. Have

color correction, or you won’t be able to

tion different makes and models. The resulting

the target image printed on different days,

control the color and density of your prints.

prints can exhibit color and density shifts.

even on different paper surfaces, and

Assuming that your lab keeps its printers

3. Convert to sRGB before sending files

compare the prints side-by-side to each

to the lab. Many photographers shoot and

calibrated and color-balanced, these tips will

other and to the image displayed on your

process their files in the Adobe RGB (1998)

help you get the best results.

monitor. This will also show if there are

or ProPhoto working space; most labs,

significant changes in the lab’s output from

however, expect incoming files to be

day to day.

converted to sRGB. To be safe, convert all

1. Calibrate and profile your monitor. Calibration means measuring and adjusting the display’s controls for brightness, contrast

Try the test file available for download at

lab-bound files to sRGB. In Photoshop: Edit

and ambient viewing light, among others,

www.andrewdarlow.com/ctest.zip. The file

> Convert to Profile > sRGB. In Adobe

until it reaches a known state. From there,

contains color and black-and-white images

Lightroom, Apple Aperture, or another

you can build a “fingerprint” of that particular

at a size of 280ppi on a 4x6 canvas. Because

color-management aware application,

display, a.k.a. a custom profile. The custom

it’s saved in the sRGB working space in the

choose sRGB when exporting.

profile should help your neutral images to

Photoshop PSD file format, you can experi-

appear neutral on-screen and your colors to

ment with it without degrading the image

appropriate file resolution. With so many

look accurate. Consistency is important if

quality—saving changes in JPEG format

means of sharpening images, rather than

you want to achieve the best results.

should be avoided when possible. The 21-

making specific suggestions, I recommend

step grayscale wedge is especially helpful for

doing print tests with the kind of

device such as the X-Rite i1 Display 2, X-Rite

detecting color casts. The text in the image

sharpening software you prefer.

ColorMunki or ColorVision Spyder3 to build

file will help you judge the sharpness of the

your display profile. The viewing conditions

lab’s output.

I recommend using a hardware calibration

52 • www.ppmag.com

4. Sharpen with care and use an

The resolution of your files in proportion to the output size is critical. Resolution too

THE GOODS: LABS

A WORD ABOUT LIGHTING The color temperature and intensity of light determines how we see everything. Don’t overlook its importance in your physical working space. Be sure to view prints under controlled lighting, such as a 4,700K bulb from SoLux (www.SoLux.net). You can use daylight from a window, but it won’t be as easy to determine whether your lab is printing neutrals accurately. Just don’t expect neutrals to look neutral under warm light, such as that of a common household incandescent bulb (about 2,500K-3,500K).

TIPS FOR IMPROVING PRINT QUALITY Enhance color with selective color and adjustment layers in Photoshop. Even if you’re happy with how images look on your calibrated monitor, you can make certain colors pop more. In some cases, you may sacrifice a bit of detail, but more often the results will be worthwhile. Yellows can often look weak in output from continuous-tone lab printers. To enhance the yellows, try one of these methods: In Photoshop, go to Image > Adjustments > Selective Color, choose Yellows, and move the cyan and/or black slider to the left. Also

low will result in softness and lack of detail. Where it becomes too low depends upon the lab’s printer and internal RIP, but I recommend saving the file at least at 200ppi at the desired output size. Test a few resolution and file size combinations. The bottom line is that you don’t want to spend extra time sending larger files than you need to.

Photoshop’s Hue/Saturation dialog box with adjustments made to the yellows.

try adding a touch of magenta by moving the magenta slider to the right. Or go to Image > Adjustments > Hue/ Saturation and select Yellows, then add about 10 points of saturation. This can be used for any color that you wish to enhance. The adjustments you make can be saved from inside the color adjustment dialog boxes, but it’s even better to use adjustment layers: Layer > New Adjustment Layer > Selective Color (or Hue/Saturation). Those adjustment layers can then be named and dragged into other Photoshop documents.

For more on this plus a size-to-resolution chart, go to http://tinyurl.com/reschart. 5. Find the best, most economical JPG compression. JPG compression quality varies greatly with the amount of compression you select, and to some extent, the amount of detail in the image itself. For high-quality prints, using Photoshop’s scale of 1 to 12, I recommend at least 9. Testing a few JPG compression levels is worth the cost of a few prints, because then you’ll know at what point image degradation occurs. I Andrew Darlow, photographer and digital imaging consultant, is the author of “301 Inkjet Tips and Techniques: An Essential Printing Resource for Photographers” (Course Technology, PTR). For more information, visit www.imagingbuffet.com.

54 • www.ppmag.com

Photoshop’s Selective Color Options (selecting Relative is usually best) with before-and-after image showing the enhanced yellows.

EDITING AND TESTING IN NONPHOTOSHOP APPLICATIONS. Lightroom, Aperture and many of the raw file processing applications photographers use have sophisticated tools for adjusting color and contrast. You can apply the same methods described for Photoshop, almost always with the advantage of having nondestructive presets and saved settings. Just choose a group of images, apply a preset for cleaning up a specific color range, batch export, and let the lab do the work. Some applications also have a virtual copies feature that allows you to quickly duplicate and make several adjustments to one image. The files can then be ganged on a single page and tested side by side.

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Don't fool yourself: Studio design matters. In this era of uber-retailers, you need to create a studio space that’s eminently conducive to big-time sales. We asked a few pros for advice on how to do it. STUDIO DESIGN

By Lorna Gentry

Space that sells 5 Ways to create great studio design and merchandising

P

hotographers can combine studio design and merchandising with the ultimate customer experience

to spur sales, define their brand

and create customer loyalty, says

Design in Boston (infinityportraitdesign.com), and Diana Parrish of Diana Parrish Design and Photography, a commercial studio specializing in furniture photography in High Point, N.C. (dianaparrishphoto.com).

tips on designing a space that’s eminently

Here’s what they told us:

conducive to big-time sales. We also sought out retail design consultant

1. COMMUNICATE WHO YOU ARE.

Linda Cahan, author of “Feng Shui for

Not everyone needs a logo, but you’ve got to

Retailers,” published by ST Media Group Inter-

have a look. And your look must be consistent

Lynn Switanowski, president of the retail con-

national (lindacahan.com). To round out the

throughout all forms of communication,

sulting company Creative Business Consulting

perspective, we invited two successful, business-

from studio design and signage to website

Group, based in Boston (cbc-group.net).

savvy professional photographers to join the

and business cards.

We called her recently to ask for a few

©Kay Eskridge

discussion, Susan Symonds of Infinity Portrait

—Linda Cahan

©Infinity Portrait Design

©Diana Parrish

Left: Kay Eskridge’s Phoenix portrait studio; above: Susan Symonds’ Infinity Portrait Design in Boston; right: Diana Parrish Design and Photography in High Point, N.C.

We reinforce the Diana Parrish brand in everything we do. Our street sign looks just like my business card, and our website has the same colors and clean linear design as the studio and everything else. It’s a strong look with an undercurrent of femininity, and feels contemporary but with traditional touches. For example, instead of having office cubicles, I designed classical white crowned columns with contemporary curves. Stretched between them are 4-foot translucent white screens that look organic but [elegant]. It’s white on white—a clean look, one of our goals. The walls are a warm off-white, and we add accents of seasonal color, such as periwinkle in May and orange in October.

April 2009 • Professional Photographer • 57

STUDIO DESIGN

©Kay Eskridge

The floor is chocolate with a high-gloss finish.

Hill, people have 12-foot walls, as do

Our studio itself has spurred word-of-mouth

we, so they see how various portrait

advertising. Recently, a well-respected designer

sizes will look on their own walls.

was so impressed after his first visit that he

—Susan Symonds

recommended us to a large client of his. —Diana Parrish

3. CREATE DISPLAYS THAT ARE ACCESSIBLE, DYNAMIC

2. SHOW HOW YOUR PRODUCTS WILL

AND TOUCHABLE. MAKE

LOOK IN YOUR CUSTOMER’S HOME.

THEM IRRESISTIBLE!

Help your customers visualize your

People can’t shop above six feet. If

merchandise in their homes.

you have high shelves, pull down

—Lynn Switanowski

items and group them to show how they work with one another—that inspires

Our reception area has a fireplace, over which I

multiple sales. Make displays dynamic by

hung a 30x40-inch portrait, and it’s a perfect

grouping products in odd numbers and

example of a portrait in a home setting. I created

angling them. And don’t crowd merchandise.

a living room around the fireplace, choosing

Space equals perceived value. If you honor

warm colors to make it homey, and because our

your products, your customers will, too. —LC

clients are upscale, it’s also chic. Here in Beacon

(Continued on p. 61)

Boutique: At Eskridge’s studio, merchandise is displayed in an antique cabinet.

century Boston brownstone. With no signage,

“Open” flag to catch the eyes of passers-by and

advertising for this boutique portrait and

direct attention to her window. There, elegantly

commercial studio in Beacon Hill is a challenge,

arranged, is a display of Kimbra photo jewelry.

Strict historic neighborhood rules prevent Susan

as the studio sits among similar row houses in

Pedestrians take the bait. “Every week I’m

Symonds of Infinity Portrait Design from

a largely residential neighborhood.

outside cleaning with Windex,” says Symonds,

WINDOWS SELL Spur imagination with your displays

hanging a business sign in front of her 19th-

Symonds’ remedy? She hung a brightly colored

ridding the glass of smudges and nose prints. Display windows are a critical part of

©Infinity Portrait Design

advertising, says retail design consultant Linda Cahan. “Whether it’s the photographs, frames or merchandise, something in the window must be bright to attract attention.” Because portraits hanging in the studio are visible from the street, Symonds coordinates them with the window displays. “Part of my spring ad campaign is helping people decorate their homes with portraits of the ones they love, especially on the walls,” says Symonds. “I want my displays to stir the imagination.” Absolutely right, says Lynn Switanowski, president of Boston-based retail consulting company Creative Business Consulting Group. “Window displays must be engaging, inspiring and all about family. And they must change often.” Studio portraits coordinate with the window display.

58 • www.ppmag.com

STUDIO DESIGN

THE PRESENTATION ROOM Outfit the most important space in your studio l

BY RON NICHOLS, M.PHOTOG.CR., API

ments. An apartment-size dishwasher makes cleanup more convenient. The whole idea is to have a room where clients relax as they do at home, and view the images onscreen. The goal is for them to imagine sitting in their favorite chair, looking up at a portrait of their family on the wall. Having the right size room is important. You want to create a natural viewing distance so the client can see and understand the best size for the heads in the portrait. You want to be able to enjoy the expressions on children’s faces. People often want to use a plasma or LCD HD/TV television set rather than a digital projector. But because HD/TV screens are a wide format, the vertical dimension is limited. A 50-inch TV can display a vertical image at only 20x24 inches, horizontal images at only 24x36 inches. It’s been proven that people tend to buy one size down from the maximum, so with a TV, they’d buy mostly 20x24s and 16x20s, whereas with projection, they’d buy 30x40s and 24x30s. Your projection screen can be an actual screen or a designated area on a wall. There

©Ron Nichols

are many affordable powered drop-down Editor’s Note: Excerpted from a chapter in an upcoming book compiled by Damon Tucci, Cr.Photog., tentatively titled “Step-by-Step Wedding Photography,” scheduled for release in 2010. www.damontucci.com.

2. The furnishing should look like living room furniture in a private home. 3. Properly sized wall portraits should be displayed in appropriate areas. 4. A digital projection system needs to be installed.

The place where you sit down with your clients

5. The control console should be invisible

and showcase your work will be one of the most

to clients, and positioned so that the operator

valuable pieces of real estate in your studio. This

can maintain eye contact with the viewers.

presentation room will give you a private place to meet with clients, project and display images and place orders in a comfortable and relaxed environment. A well-designed presentation room will allow you to glean even greater profits. When you’re allocating space for this room, think of it like designing a living space for yourself. You want to create a warm, comfortable space that looks like a living room, where clients can see images properly displayed, in appropriate sizes. Some key points to keep in mind when creating your design: 1. Ideally, the size of the space should be similar to your primary clients’ living rooms.

60 • www.ppmag.com

6. Install a computer with a dual-output video cards. 7. Hardwire network communications rather than depending on wireless. 8. You should be able to project horizontal images at 40x60 inches.

screens that work from a wireless remote. The mechanism can be concealed in the ceiling or hidden behind a decorative soffit. If the screen is positioned away from the wall about 6 inches to 8 inches, a framed portrait can be displayed on the wall in the same area. When you are ready to make a presentation, the screen will drop-down in front of the portrait. When ordering a screen (and a projector for that matter), it’s best to work with the standard 4:3 format ratio rather than the newer widescreen (16:9) ratio. Because you need to project both vertical and horizontal images, 4:3 gives more equality in sizing, without taking up a lot of extra projection room.

9. Include a wall display of 8x10s to 20x24s.

Once you decide the location for the screen,

Larger prints should be displayed individually.

I recommend positioning it above a sofa, sofa

10. The room should include a highquality sound system. 11. Lighting needs to be dimmer-

table or loveseat. If clients can see the image in relation to something familiar, it’s easier for them to make an educated buying decision.

controlled. A separate lighting circuit with

Projecting an image at the desired actual size

spotlights for the images is preferable.

above the furniture helps the client visualize

12. A small wet bar helps for serving refresh-

how it will look in her home.

Selecting the right projector for your room will play heavily in the success of projection sales. You need a projector capable of presenting a high-quality image under moderate lighting. You don’t want the room too dark when you show your images; it’s important for the client to see the surroundings to make a well-informed decision. Look for a projector with about 2,000 lumens. You’ll want LCD rather than DLP technology. The LCD is better at showing subtle highlight and shadow detail. For resolution, a minimum of XGA (1,024x768 pixels) is required. You can plan on spending about $1,000 for the projector. You’ll see lower priced models at the “big box” warehouse stores, but chances are these will only lead to disappointment. You’ll need a software program that affords simple and creative presentations. ProSelect by Time Exposure is a great option. The software allows you to sort, edit, manage and create slideshows and take print orders. It allows accurate sizing of projected images. These images can be shown within a frame design. You can

©Jeff & Julia Woods

Show and sell: At Jeff and Julia Woods’ studio in Washington, Ill., products are displayed in a living room setting.

create your own or download frame design files from frame suppliers. The pro version also manages workflow, integrates with Adobe

(Continued from p. 58)

chocolate-and-blue polka dot tissue paper.

Because the customer experience is crucial,

For expensive sales, I use gold tissue paper.

you must make merchandise available to

When someone spends $1,000 on a little

touch. Offer products customers cannot get

bag, I want them to leave the studio feeling

slideshow. Next, to edit the selections, project

anywhere else. You build value by offering

what they have in that bag is fabulous. —SS

the images one-by-one and let the client

services and products that big-box retailers

judge each image on its own merit. After you

can’t. Never try to compete on price; you

4. SOLVE YOUR CUSTOMER’S

have a final selection of images, sell the wedding

can’t win. Instead, sell an experience. —LS

PROBLEMS—VISUALLY.

Photoshop and includes an album builder. The sales and presentation session can be enjoyable and profitable. Start the presentation with refreshments and a fun and emotional

In today’s economy, the way to make money

album first, then the wall and gift prints. For portraits, concentrate on selling the wall

I display merchandise all over our reception

is to solve a problem for someone. For

size first by showing the images at actual sizes.

area: on the fireplace mantel, on the glass

example, everyone is looking for a deal these

Then move on to gift portraits (5x7, 8x10, wallets,

tables and on the ionic columns. One table

days, so display affordable gifts. —LC

etc.). Last, discuss specialty products like

holds my great-great grandma’s Tiffany

composite image mats and portrait albums. Making a well-organized presentation will give your customers the opportunity to make educated decisions and make you more money. Ron Nichols, M.Photog.Cr., API, the current president of PPA, has been a wedding and portrait photographer for more than 25 years. He owns Ron Nichols Digital Solutions, a software maker for the professional photographer’s workflow. For more resources, visit www.ronnichols.com.

lamp. It sets the right tone. Because we’re a

We offer products that work well in our

boutique studio in an upscale neighborhood,

current economy. One is storyboarding,

I want to show only classy items, things my

which maximizes my ability to tell a story and

customers cannot get anywhere else.

increases the perceived value of the product.

Our corporate colors are chocolate and

I recently worked with a couple struggling to

blue, so we wrap purchases in chocolate-

narrow down the selection of images of their

colored bags with our logo embossed in

family; they liked them all, but simply couldn’t

gold. For family and children’s items, I use

afford them. So I suggested a storyboard. It

April 2009 • Professional Photographer • 61

STUDIO DESIGN

MERCHANDISE LIKE A PRO Retail consultant Linda Cahan on visual merchandising

solved their problem and made the sale. We

coffee, drinks and something to nibble on.

typically sell a storyboard for every family sitting.

I have one client who likes Tab, so I always

We also sell wrought-iron easels that hold

have it on ice when she comes. It’s the little

eight 8x10 prints mounted on styrene and

things that people notice most. —DP

stacked behind one another. For variety, you FIRST LOOK. If don’t have windows, try this

simply pull a print from the stack and place it

A pleasant scent subtly encourages people

simple exercise. Walk through your front door

in front. Our customers really like this product

to buy more expensive things, but avoid

and write down the first five things you notice.

because they feel they get more bang for their

floral. Make sure a visit to your studio is a

Ask four or five people to do the same thing,

buck. It’s the same with slideshows on DVD—

full-sensory experience. —LC

then compare notes. Those five areas must have

it’s all about perceived value. Customers feel they

color and product display.

are getting more images for their dollar. —SS

SELL WITH COLOR. The color red stimulates

We serve everyone lemon water, and if a client wants coffee, we run to the Starbucks on the

people to buy and buy quickly, but it also

5. CREATE AN ENTERTAINING

corner. We find out what kind of music our

motivates people to rush. Softer, warmer

ENVIRONMENT.

clients enjoy, including music for their chil-

colors—green especially—encourage people

Like it or not, you’re in the entertainment busi-

dren, and play it when they visit. We use aro-

to linger.

ness. That’s what it’s about today. Engage your

matherapy, most often eucalyptus with cedar,

CLEAR THE CLUTTER! Not just on the floor,

customers and they’ll keep coming back. —LS

which is a clean and grounding fragrance. I

but also in the attic, basement and closets—

—SS

every square foot impacts the overall energy of

When customers enter our studio, they see

your space. Keep energy flowing so your studio

their names on a welcome sign. People love

feels good to your workers and customers.

it because it makes them feel special. There’s always fresh-brewed Starbucks

©Jeff & Julia Woods

PPA WEBINAR Wondering whether a freestanding studio is right for you? Sign up for PPA’s upcoming May Webinar, “Are You Really Ready for Retail Space?” INSTRUCTORS: Julia Woods & Scott Kurkian GO TO PPA.COM FOR INFO.

Cahan recommends using soft, warm colors, particularly greens (seen here in the Woods’ studio), to encourage clients to spend time in your environment.

FINDING YOUR

BLUE OCEAN

IN 2009

KEVIN CASEY Collages.net CEO

“An informative and dynamic speaker, Kevin’s presentation taught me how to focus on my goals, gain a competitive edge, and discover how to develop my studio’s business strategy.” Robert J. Trenske, RJT Pictures LLC, Bridgeport, CT Tough economic times call for action. This workshop is designed for you to take a hard look at your studio. You will walk away with a clear idea of what changes you can make tomorrow. This interactive workshop, led by Kevin Casey, CEO of Collages.net, is designed for studios that are committed to being successful.

SCHEDULE: APRIL 16 MAY 3 MAY 11 MAY 18 MAY 27 JUNE 8 JUNE 10 JUNE 15

CHICAGO PHILADELPHIA TAMPA HOUSTON BOSTON LOS ANGELES SAN FRANCISCO NEW YORK

Come learn the basic business strategies that allowed Kevin to start Collages.net, a rapidly growing multimillion dollar company, from his kitchen table. YOU WILL LEARN: 1. What Profitable Studios are Doing: Understand what is working in the most successful professional photography studios across the US. 2. What to STOP: Conquer your fear of change and see the most common things that studios have stopped doing in order to increase their profitability. 3. What to START: Take away at least three new ideas that you will be able to implement immediately. 4. What your Finances Really Mean: Hear highlights from PPA’s benchmark survey of 250 studios to help you measure your studio’s financial strength right from Kevin, a PPA board member.

REGISTER TODAY: www.collages.net/BLUE $19 online ($39 at the door). Every attendee will receive a $50 Collages.net product credit. Limited to 75 participants per city.

You want to look marvelous, but lavish design isn’t in the budget. Luckily, being economical doesn’t mean tossing out style. Follow these tips for frugal decorating without sacrificing your goal. STUDIO DESIGN

By Lorna Gentry

All images ©Kay Eskridge

T

hese days everyone is trying to keep costs low, even people in high places. Before moving into the White House, Barack and Michelle Obama hired California interior designer Michael Smith to redecorate the first family’s residential quarters, but on a

budget. Smith shopped for furniture and accessories at stores like Target, Kohl’s and Ikea, he told FoxNews.com, because they offer great design at affordable prices. Being economical doesn’t mean tossing out style. All it takes is creativity, some thought, and a willingness to roll up your sleeves and do a little of the work yourself, says Kay Eskridge, M.Photog.Cr., CPP, of Images by Kay in Phoenix. When Eskridge built her studio, she looked for ways to economize on decorating without sacrificing her goal: to create a chic, warm environment that would remind her clients of home. Here are some innovative ways to frugally bring new luster to any studio. 1. Repaint. A new coat of paint is a lowcost, instant room freshener, especially if you do it yourself. Use your corporate colors to reinforce your brand. 2. Add rich detailing to inexpensive items for a designer look. For example, buy lowpriced drapes at a discount store, like Bed Bath & Beyond, and add custom trimming, such as piping or fringe. 3. Barter for services. Trading services is one of the most economical ways to redecorate. Ask vendors or your clients if they would be interested in trading their

Cheap tricks 20 Affordable design ideas sure to put customers in the buying mood 64 • www.ppmag.com

services for photographs, or check for bartering partners at www.craigslist.com. 4. Get creative about cabinetry and

storage. Instead of under-the-sink cabinets

9. Build a faux projection screen to go

in the bathroom, attach a fabric skirt to the

with your projector. Have a custom frame

counter (top right).

made and mount it on the wall. Paint the

5. Buy second-hand furniture. Or consider

inside of the frame white, and voila! you

a short-term furniture exchange with another

have a projection screen for the price of a

studio for a new look that costs nothing.

quart of paint and an empty frame.

6. Rearrange your furniture. Try floating

10. Turn a flat-screen TV with a DVD

it away from the walls or angling it.

player into a dynamic slideshow display of

Slipcovers are an economical way to remake

your photography. Mount the TV on the

a chair or couch, and sometimes all it takes

wall and build a frame around it. Burn a

are a few colorful throw pillows.

DVD with your most recent images and set

7. Paint a tired, scuffed piece of furniture for a completely new look. 8. Stencil. Reinforce your brand by displaying your tag line on the wall. Check

it on a loop to play continuously. Not only does it save framing costs on individual prints, it’s also an entertaining way to show your most recent work to your clients.

out www.wisedecor.com.

(Continued on p. 68)

Opposite page: At Eskridge's studio, a custom frame mounted to the wall helps create a faux projection screen. Below: Fresh flowers add a special touch. Arrange a trade out with a favorite florist. Above right: An under-sink skirt is an inexpensive alternative to cabinetry. Right: The men's dressing suite makes points with amenities like disposable razors and shaving gel. Below right: There's nothing like reinforcing the brand by displaying your tag line right on the wall.

economical style willingness work

“Being doesn’t mean tossing out . All it takes is creativity, some thought, and a to roll up your sleeves and do a little of the yourself.” —KAY ESKRIDGE

SMALL SPACE, BIG BUSINESS Maximizing a mini space For the past two of the five years she’s been

as props, and the baskets that hold baby

in the children’s portrait business, Raye Law has

blankets can also cradle newborns. A box

been operating a studio out of a roughly

that sometimes holds magazines can also

210-square-foot room at the back of her

be used as a posing perch for a child.

home in Charleston, Ark. The space had been a patio until she decided to wall it in. To open up the one-room haven, she raised

Law keeps her cameras, gear, small props and “bribes” in a leaning bookshelf along the wall, along with her merchan-

the ceiling to create a cathedral effect, and chose

dising items, such as sample albums and

rustic hickory for the floor. “I love the warmth

photo purses and jewelry. A few antique

and texture it adds to my images,” says Law.

cameras add to the studio’s ambience.

Rolls of seamless paper hung above the

The small room works well for photo-

windows of the west wall unfurl to become

graphing newborns, who need to be warm

instant backdrops. “I keep a few of my

and cozy to stay sleepy and quiet. Law

favorite neutral-color papers up there, both

closes the glass door that connects the

dark and light, and change them out for each

studio to her house to warm it up quickly

season,” she says. Along the window-less

with a space heater.

south wall, Law uses thumbtacks to hang various fabrics as faux wallpaper. For lighting, she relies on natural light

Clients have access to an always-

All images ©Raye Law

pristine half-bath, as well as the family kitchen. “They make themselves at home

from the windows on the north side of the

and use my kitchen to heat up a bottle, or

Law’s average sale has more than doubled.

room, or a soft box on either side of the room.

get a drink. I try to be really laid back.

She believes her intimate one-room studio

Law’s sessions aren’t necessarily confined to

“I change the room around every so often

actually helped boost perceived value of her

the indoors. “I have outdoor locations near

trying to perfect the layout,” says Law. At

photography. “Of course, I would love to

the studio, including old barns, natural prairie

the moment she’s picking out paint colors to

have a huge multi-room studio,” she says.

flower fields, a lake, my neighbor’s yard and tree

match her redesigned website. “I like

“But for now, this cozy and humble one

swing, and a few downtown allies,” she says.

keeping them in tune with each other and

suits me well.”

the branding of my look.”

See more of Raye Law Photography at www.rayelawphotography.com.

Law decorated the room only with objects that can multitask. The furniture can serve

Since the studio has been completed,

ENTER YOUR BEST WORK IN THIS WORLD-RENOWNED COMPETITION! Your print could become part of the International Print Exhibition at Imaging USA, where thousands of your peers will behold your unique talent. Your image might even get published in PPA’s Annual Loan Collection book. You’ll be earning merits and getting the recognition you deserve! www.PPA.com/competitions

Don’t Forget About the Judges Workshop Join PPA-approved jury chairpersons Dennis Craft and Dave Huntsman as they demystify the world of image judging. Held in conjunction with the International Print Competition in Atlanta, Georgia, this class will explore the ins and outs of what makes a print “merit-worthy” and will provide students with the opportunity to observe competition process and protocol. You’ll leave this course feeling confident in your ability to identify merit images. PPA members with ten exhibition merits will receive PEC credit for attending the workshop. This workshop fulfills one of the requirements for becoming a PPA-approved affiliated juror. Each attendee should bring four competition-quality prints. Register at www.ppa.com

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

STUDIO DESIGN DRESSING SUITES Don’t forget your bathrooms When it came time to design and decorate our new studio, we focused on the little things that can make a big difference to our clients. Two important spaces from this standpoint were the men’s and women’s restrooms, or as we call them, “dressing suites.” Both suites have images on the walls, but not portraits. They are photographs I’ve taken on trips. We felt our guests would be more comfortable if they weren’t being “watched” by the people in our portraits. This also gives us the opportunity to show clients other kinds of photography we do. On the counter of each room there’s a bowl filled with snacks and breath mints, as well as hairspray, hair gel, lotions and hand sanitizers. In the men’s hospitality cabinet we provide disposable razors, shaving lotion, lint brushes, toothpaste, disposable toothbrushes, shoe polish and deodorant. The most popular item in our men’s suite is the mini-refrigerator, fully stocked with beer and wine. The ladies’ hospitality cabinet holds nail polish remover, cotton balls, Q-tips, deodorant, Advil, tampons, first aid and sewing kits, static guard spray, sanitized combs and brushes, makeup (for them to apply), and a variety of hair-styling products. In this room there’s also a changing table for babies, complete with a variety of diapers and baby products. This inexpensive piece of furniture has made such an impact on our

(Continued from p. 65) 11. Keep it fresh by rotating your stock. Different lighting, colors and furnishings can give a new perspective to visual art.

effect for less with silk flowers and greenery. 16. Mount a small ledge to a wall to display awards or petite frames. 17. Invest in satellite radio. With its wide

12. Watch for coupons and discounts.

selection of music, you can effortlessly cater to

among the local moms. This simple but

These days you can get great discounts that

individual clients’ tastes. (You must get an

thoughtful mommy amenity shows we really

save hundreds of dollars. Look for coupons

XM or Sirius business subscription at xm4biz./

care about them.

online and for sales on company websites.

com/default.aspx or sirius.com/business.)

harried mothers that it’s created a buzz

Our clients are appreciative that we’ve

13. Shop online. Look for deals on

taken the time to think about things they

www.overstock.com, and check out resales

might have forgotten. It makes their

on www.craigslist.com.

experience with us comfortable, memorable and truly cared for.

14. Burn candles for a warm, cozy atmosphere. Some scented candles will

—Kay Eskridge www.imagesbykay.com.

make your clients calm and content.

such as gallery wraps or floating frames. 19. Hang wallpaper. It’s an economical and beautiful way to update any room. 20. Scatter throw rugs to define separate spaces, or group them to pull it all together. I

15. Display fresh flowers. See if you can do a trade out with a florist, or achieve the

68 • www.ppmag.com

18. Try new kinds of image presentation,

Lorna Gentry is a freelance writer in Atlanta.

See how we save images www.PhotoshopUser.com/SaveAnImage images courtesy of iStockphoto

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Dean McDermott and Stella

All images ©Elizabeth Messina

star children Elizabeth Messina launches into the world of celebrity baby portraits BY JEFF KENT

Tori Spelling and Stella

or Elizabeth Messina, professional photography is the union of art and emotion. The Southern California photographer has a background in fine art and personal photodocumentary, but she found her groove professionally about 10 years ago when she began shooting weddings. With weddings and new beginnings come

day sideline to her high-end wedding business.

Kate Walsh, Wes Craven, Kevin Garnett,

With numerous publications of her images

Elton Brand, Jeri Ryan and Tori Spelling

new families. Messina, like many photographers,

in People, InStyle, OK, Us, Grace Ormond

called her for their weddings. Later, happy

followed the natural progression of her clients

Wedding Style, Elegant Bride and others,

wedding clients like Brand, Ryan and

into parenthood. When her first wedding

Messina is recognized as one of America’s

Spelling dialed her up to schedule preg-

clients started to call about baby portraits, she

top wedding photographers. Not surpris-

nancy or baby portrait sessions. The high-

accepted the challenge with relish. Before long,

ingly, her reputation has drawn ever higher-

profile work led to bookings for pregnancy

baby and child portraits became a busy week-

end, higher-profile clients. Celebrities like

or baby portraits by more famous faces,

Samantha Harris and Josselyn

“The only real difference when photographing a celebrity is that often there are more people involved— art directors and magazine editors, managers and publicists. It doesn’t change the shooting for me, it’s just another aspect of the experience.”

Jason Priestly and Ava

Marissa Winokur, Judah Miller and Zev

including Brooke Shields, Samantha Harris, Jason Priestly, Angela Kinsley and others. Mindful of the unique circumstances surrounding photo shoots with celebrities, Messina keeps it in perspective. “There is no real difference between a celebrity mom and any other new parent,” she says. “No matter who the subject is, I try to focus on the nuances of light and connect with the emotion of the moments as they unfold. A new parent holding a newborn baby is so sweet. The human experience of love and life transcends what a person does for a living. “The only real difference when photographing a celebrity is that often there are more people involved—art directors and magazine editors, managers and publicists. It doesn’t change the shooting for me, it’s just another aspect of the experience.” Messina has no great secrets about developing a celebrity clientele, in part because it’s not what she set out to do. Her success and acclaim grew over time in stages, beginning with high-quality images, smart self-promotion, the diligent pursuit of magazine publication, culminating with a discerning clientele who seek her limited engagements. “My clientele has evolved over time,” she states. “Word of mouth has been invaluable to the growth of my business, as well as the magazines publishing my images. The more my images are seen, the more people know who I am and are familiar with my work.” Familiarity is critical to Messina’s way of working, both with bridal couples and parents and children. Messina goes for providing a relaxed, enjoyable experience and putting clients at ease. If she earns their trust during the intimate moments of their wedding, it logically follows that the couple trusts her to work with their budding families. “My baby photography business has evolved rather naturally, when you consider

that a wedding is really the beginning, the

growing public perception that their own

start of a new family,” says Messina. “As that

families can and should be documented

family grows, many couples want the

with the same combination of art and photo-

her passion for the miracle of childhood into

pregnancy and the children’s lives documented

journalism given to upper-echelon weddings.

her work. “No matter who the client is, I try

with the same care as their wedding day.” Messina describes her work as a mixture

While these forces are certainly shaping

will burst with love. It’s a wonderful experience.” Regardless of the client Messina transfers

to do the best work I can. I make images

the market around her, Messina concentrates

that convey emotion, that capture the

of art and lifestyle. Focusing on the capture of

mainly on her love of photography and her

beauty of life,” she says. “I feel that whatever

emotion in the still frame, she imbues the

pure enjoyment in working with young families.

type of photography you do, it’s important

images with an intimate sensibility. Her style

Her inspiration comes from her pride in her

to be the best you can be, to be authentic

is exactly what lifestyle art directors are seeking,

own three children, her great delight in mother-

and kind. If your images make you happy,

as well the Southern California in-crowd.

hood. “When I’m around a newborn, I’m trans-

it’s likely others will feel the same.” I

In both editorial and advertising contexts,

ported back to when my children were infants,”

magazine editors have been expanding the

she says. “It’s such a magical and vulnerable

traditional sense of child portraiture. There’s

time. It’s humbling. You feel as if your heart

Tori Spelling, Dean McDermott, and Stella

See more from Elizabeth Messina at www.elizabethmessina.com and her new site launch, kissthegroom.com.

All images this page ©Brittany Woodall

Carrie Sandoval & Brittany Woodall take a unique approach to newborns

All images this page ©Carrie Sandoval

art Baby as

BY STEPHANIE BOOZER

arrie Sandoval’s and Brittany Woodall’s images of newborns are enchanting. It’s the way they juxtapose creamy newborn skin with the rougher textures of treebark or antique wooden bowls or other unexpected elements. These photographers have carved a new niche in a market that seemed to be saturated. raphing children for awhile. She bought her first digital SLR with babysitting money, and earned a reputation by simply photographing her charges. A good babysitter’s name spreads like wildfire through a community of moms, and so does the name of a talented photographer of children. Woodall was soon booking enough portrait sittings to reconsider her plans to go into nursing and pursue photography instead. Sandoval had discovered a passion for photography when her twins were born. Before long, her skills—and her vision— outgrew the limited capacity of her consumer model digital camera.

©Carrie Sandoval

“At first I had to mull over the cost,” says They bring an almost earthy sophistication to a genre otherwise defined by sweet softness. Sandoval and Woodall met four years ago

Three months later, Sandoval called Woodall

Sandoval. “But then I realized how much

to announce she was expecting her fourth

money I’d saved on formula by nursing

child, who just might arrive in time for

these twins for 10 months—and I bought a

through an online children’s photography

Woodall to photograph on her next spring

professional camera.”

forum. At the time, Woodall lived in Atlanta,

break. “That second trip escalated everything,”

Sandoval in San Diego. They became fast

says Sandoval. “We were working with my

just the nudge she needed to get serious

friends, despite not only the distance that

baby, and we really loved shooting together.”

about photography. Sandoval and Woodall

separated them, but also the 16-year differ-

At the trailhead of a career path and not

Upgrading her camera gave Sandoval

were at a similar point in their career decision

ence in their ages; Woodall was just

tied to Atlanta, Woodall packed up and

when they met online, and have helped each

finishing high school.

moved across the country last year to work

other grow through honest criticism and

with Sandoval. Now they’re sharing their

plain old experience.

“We hit it off online, and suddenly she asked if she could visit over her spring break,”

passion for photographing newborns. “We’re

laughs Sandoval, who was busy with her young

both such perfectionists,” says Woodall.

attention of San Diego moms, but also led

twins. “I kept wondering what I was going to

“Together, we’re so much more creative,

her to participate in a few of Nikon’s Look

do to entertain this 17-year-old, but it was a

always pushing to come up with new ideas.”

Good In Pictures how-to webisodes with

blast. From then on, she was like my little sister.”

Young as she is, Woodall had been photog-

82 • www.ppmag.com

Sandoval’s artistic eye not only caught the

TV style guru, Carson Kressley.

©Carrie Sandoval

Working by myself, my poses were a lot more conservative, but shooting together, we’re able to get a lot more risky and creative. I can’t imagine working without her now. —CARRIE SANDOVAL

and Woodall prefer to photograph babies when

moment, the bundled baby in the branches,

they’re just days old, and routinely book sessions

being emulated by other photographers.

well in advance of the mother’s due date. “We can control every aspect with a

“Doing it by myself, my poses were a lot more conservative,” says Sandoval. “Working

sleeping baby,” says Woodall. “It makes such a

by myself, my poses were a lot more

huge difference when you have that level of

conservative, but shooting together, we’re

control over art.”

able to get a lot more risky and creative. I

That’s how you get images of a soundly sleeping infant suspended from a tree branch

can’t imagine working without her now.” Both photographers maintain a personal

in a gauzy cheesecloth hammock, or snoozing

website, but are jointly represented at

and blissfully unaware of being suspended

babyasart.com, where their two creative

from an antique scale.

minds merge. They’re working together on a

“We’ve definitely mastered handling newborns,” says Woodall. “We know how to keep them sleepy—a lot of parents are so surprised at that.” Both Sandoval and Woodall have a set of images to shoot of every baby, but they’re

coffee table book, “Baby as Art,” which they hope to publish by year’s end. “Things are on fire right now,” says Sandoval, and Woodall agrees. It’s a unique partnership and collaboration that so far seems as smooth as a baby’s—you know the rest. I

continually spinning new ideas to keep things interesting. “My style is always evolving, but it’s still pure and simple,” says Sandoval. They’ve already seen the hot pose of the

©Brittany Woodall

“In the beginning, my attention to detail was not quite as keen. I look back at old pictures and ask myself ‘What was I thinking?’ How easy it would have been to perfect the shot. I learned a lot just by experimenting with light and realizing what I would have changed about the pose the next time I did it,” says Sandoval, whose background was graphic design. Today, Sandoval runs a home-based studio in a 20x20-foot room off of her garage. The room has big glass doors that let in plentiful natural light. She limits her sessions to about two a week, to keep her creative mind fresh. “I don’t want to pump babies through here like a factory,” she says. “I would rather feel like I’m looking forward to the next session.” Both Sandoval and Woodall shoot during sessions, often taking turns posing the baby while the other one is shooting. With two cameras, two different lenses, and two very individual mindsets, the pair ably documents all of the tiny details that new parents love. Sandoval

84 • www.ppmag.com

©Brittany Woodall

To view Sandoval’s and Woodall’s individual portfolios, visit capturedbycarrie.com and bwphotos.net or their joint site, babyasart.com.

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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: Marisa Pitts, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected].

August 15-18 S: PP of Louisiana, Westin Hotel, New Orleans, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net August 21-22 C: PP of California, South San Francisco Conference Center, S. San Francisco, Calif.; Roger B. Daines, [email protected]; www.prophotoca.com August 28-31 S: PP of Oklahoma, Reed Center, Midwest City, Okla.; Ken Helt, 405-372-2670; [email protected]

PPA-Approved Continuing Education Seminars PPA members receive both merits and the best published prices. May-December C/E: Oregon Photo Safaris, Dwon Guvenir, 503-999-4321; www.oregonphotosafaris.com

Septemer 18-22 C: Texas PPA, Arlington, Texas; Doug Box, 979272-5200, [email protected]; www.tppa.org

May 3-4 C/E: Spirit and the Soul Workshop—Zen of Photography, Dillon Beach, Calif.; 925-4629364; [email protected]

Septemer 19-21 C: PP of Nebraska, Midtown Holiday Inn, Grand Island, Neb.; Teri Funk, 402-991-4413, [email protected]

May 10-12 C/E: Spirit and the Soul Workshop— Transformations, Dillon Beach, Calif.; 925462-9364; [email protected]

September 20-22 S: PP of Michigan, Crystal Mountain, Thompsonville, Mich.; Scott Green, 248-3185182; [email protected]; www.ppm.org

May 23 C/E: Overlays, Textures and Layers, Oh My!; Batavia, Ill.; 630-761-2990 www.indigophotographic.com

May 17-19 S: PP of Louisiana, Paragon Casino Resort, Marksville, La.; Dayna Ponthieu, 318-3596633; www.ppla.net

October 4-6 S: PPA of Pennsylvania, Radisson Hotel and Conference Center, Camp Hill, Pa.; Scott Weldon, 610-641-9025; [email protected]; ppaofpa.org

June 6-7 C/E: Spirit and the Soul Workshop—Zen of Photography, Dillon Beach, Calif.; 925-4629364; [email protected]

June 14-15 S: PPA of Pennsylvania, Radisson Hotel and Conference Center, Camp Hill, Pa.; Scott Weldon, 610-641-9025; [email protected]; ppaofpa.org

October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected]

June 15 S: PPA Massachusetts, Crown Plaza, Natick, Mass.; Steve Meier, [email protected]

October 18-21 C: Wisconsin PPA, Chula Vista Resort, Wisconsin Dells, Wis.; 866-382-9772; www.wppa-online.org

August 8-12 C: Tennessee PPA, Marriott Cool Springs, Franklin, Tenn.; Ernie K. Johnson, 615-5095737; [email protected]; tnppa.com

November 1-2 S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; [email protected]; www.ppiowa.com

Current Events May 17-18 C: Arizona PPA, Phoenix, Ariz.; Rick Reynolds; 623-680-1744; [email protected]; www.arizonappa.com

July 12-16 C/E: Spirit and the Soul Workshop—Five Day Retreat, Dillon Beach, Calif.; 925-4629364; [email protected]

November 1-2 S: Northern Light/MPPA Fall Seminar, St. Cloud, Minn.; Nicole Bugnacki, 763-390-6272; [email protected]; www.mnppa.com November 6-8 C: PP of Indiana, Marriott East, Indianapolis, Ind.; Terry Bateman, 317-253-6245; [email protected]; www.ppofi.org

PPA EVENTS, EXAMS & REVIEWS 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. June 8-10, 2009 Studio Management Services, Atlanta August 24-26, 2009 Studio Management Services, Atlanta November 9-11, 2009 Studio Management Services, Atlanta

86 • www.ppmag.com

January 10-12, 2010 Imaging USA, Nashville

Certification Exam May 8, August 7, October 9, 2009: Certification image submission deadlines online For a complete list of exam dates, go to www.ppa.com and click on Certification.

Future Events January 23-25, 2010 C: PP of Nebraska, Grand Island, Neb.; Bob Alberts, 308-284-6471; www.ppofn.org February 6-9, 2010 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; [email protected]; www.ppiowa.com February 7-8, 2010 S: PPA of Pennsylvania, State College Days Inn, State College, Pa.; Scott Weldon, [email protected]; ppaofpa.org

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February 18-21, 2010 C: Mid American PPA, Marriott East, Indianapolis, Ind.; Terry Bateman, 317-253-6245; [email protected]

February 29-March 5, 2012 C: PP of Ohio, Dayton Convention Center, Dayton, Ohio; Carol Worthington, 614-228-6703; [email protected]; www.ppofohio.org

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

February 19-23, 2010 C: PP of Michigan, Troy Marriott, Troy, Mich.; Scott Green, 248-318-5182; [email protected]; www.ppm.org February 26-March 2, 2010 C: Wisconsin PPA, Radisson Hotel, Green Bay, Wis.; Donna Swiecichowski, 920-822-1200; Carl Caylor, 906-779-1535; wppa-online.com April 10-13, 2010 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620624-4102; [email protected]; www.hoappa.com April 11-13, 2010 C: PPA of Pennsylvania, State College Ramada Conference Center, State College, Pa.; Scott Weldon, [email protected]; ppaofpa.org June 20-21, 2010 S: PPA of Pennsylvania, State College Days Inn, State College, Pa.; Scott Weldon, [email protected]; ppaofpa.org Septemer 17-21, 2010 C: Southwest PPA, Arlington, Texas; Michael Scalf, Sr., 405-485-3838; [email protected]; www.swppa.com September 25-27, 2010 S: PP of Nebraska, Grand Island, Neb.; Jes Galaska, 402-517-1436; [email protected] October 3-4, 2010 S: PPA of Pennsylvania, State College Days Inn, State College, Pa.; Scott Weldon, [email protected]; ppaofpa.org November 14-15, 2010 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected] February 23-28, 2011 C: PP of Ohio, Dayton Convention Center, Dayton, Ohio, Carol Worthington, 614-2286703; [email protected]; www.ppofohio.org March 4-9, 2011 C: PP of North Carolina, Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888404-7762; [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

88 • www.ppmag.com

2009 PPA-AFFILIATED SCHOOLS PPA members receive merits and the bestpublished prices. May 3-6 Carolina Art & Photographic School, Randolph Community College/Archdale Campus, Creekside Park, N.C.; Bob Henderson, 336-288-1132; [email protected]; www.capsartschool.com May 3-8 Texas School of Professional Photography, University of Texas, Arlington, Texas; Donald Dickson, 806296-2276; [email protected]; www.tppa.org/school.htm

June 7-11 Illinois Workshops, Grafton, Ill.; Bret Wade, 217-2455418; [email protected]; www.ilworkshops.com June 14-17 Winona International School of Photography, Brown County State Park, Nashville, Ind.; Janell Spencer, 800-310-3460; [email protected]; www.ppofi.org June 14-19 Great Lakes Institute of Photography, Northwestern College, Traverse City, Mich.; Greg Ockerman, 313-318-4327; [email protected]; www.glip.org

May 3-8 MARS (Mid-Atlantic Regional School), Grand Hotel, Cape May, N.J.; Adele Bastinck, 888-2676277; [email protected]; www.marsschool.com

June 21-26 West Coast School, University of San Diego, San Diego, Calif.; Kip Cothran, 951-696-9706; [email protected]; www.prophotoca.com

May 5-8 & May 10-13 Wisconsin Professional Photographers School at Treehaven, UW Stevens Point-Treehaven, Tomahawk, Wisc.; Phil Ziesemer, 715-536-4540; [email protected]; www.wiprophotoschool.org

June 28-July 2 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla., Glenn Cope, 580-628-6438; [email protected]; www.pposchool.com

May 10-13 Golden Gate School of Professional Photography, Belmont, Calif.; Julie Olson, 650-548-0889; ggs@ goldengateschool.com; www.goldengateschool.com May 17-21 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.coloradoworkshops.com May 17-22 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-272-3711; [email protected]; www.gppaschool.com May 31-June 4 Florida School of Photography, Daytona Beach College, Daytona Beach, Fla.; Teri Crownover, [email protected]; 800-330-0532; Marybeth Jackson-Hamberger, Director, mhamberger @comcast.net; www.fpponline.org May 31-June 4 Mid-America Institute of Professional Photography, University of Northern Iowa, Cedar Falls, Iowa.; Charles Lee, 641-799-8957; [email protected]; www.maipp.com; Al DeWild, Director, [email protected] June 7-11 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 913-2427710; [email protected]; www.kpps.com

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

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Read Jed and Vickie’s story at successware.net/success_stories.

PPAtoday APRIL 2009 President’s Message Ron Nichols, M.Photog.Cr., API :: 2009-2010 P PPA President Back in the “early days,” we had a small print competition mentor group. We (Dennis Craft, Steve Bohne’, Duaine Brenner, Rod Gleason, and myself) belonged to our local PPA affiliate, Michigan Triangle Professional Photographers Association. In those days, preparing your prints was a tremendous task. My mentor group worked with a local custom printer who first produced a work print, on which we noted color and density changes and burning and dodging. Sometimes it took the printer several tries to get the “perfect” print. Then we did positive enhancement. Sometimes we did it ourselves with pencils and dyes, but we often sent it to Helen Yancy. We used to call her magic touch “getting the Helen Yancy eyes” because the eyes just sparkled. After getting prints back from her, we physically trimmed the image to the final crop, mounted it to an underlay, trimmed that to just a sliver of color, and mounted the print to the final mount board. Finally, we added sealer coats of lacquer until we could flood the print to get the high gloss sheen. Sometimes we would have over ten coats of lacquer on a print. It seemed that the night before the prints were due, my studio looked like a bomb hit. Everything happened there because, at the time, I had the most room and the tools we needed. The whole studio reeked of lacquer as we worked. Toxic fumes kept us going to the wee hours of the morning—perhaps that’s why Dennis is a little odd now! When Dennis and I traveled to various conventions to speak, judge, or just have fun, we always carried a stack of 4x5 proofs. We’d look for someone with a yellow ribbon and have them quickly go through the stack. They wrote their initials on the backs of the ones they liked, so we had a start on making competition print selections. Those Masters were always willing to share and help us newbies with valuable, one-on-one training. That alone was worth the PPA dues! Print competition really became a ritual—a rite of male bonding—and it taught us to be better photographers. It forced us to critically look at our images, understand exposure and lighting, control eye flow, and pull the presentation together with

color harmony. It forced us to learn. Above all, it was a lot of fun. Four of our five earned Master of Photography degrees. Between us all, we can take credit for a few hundred print merits. Times have changed and so have the technologies. You no longer chance lung cancer because a beautiful laminate can make your prints shine. There’s no need to mount an underlay—it can be done with a 15 pixel stroke. Carrying prints around is not needed—you can post images to the OurPPA forums and wait for comments. In many ways, print competition is easier now; in other ways, it’s harder. Many new to the industry seem to have a fear of failure, so they don’t enter. But what’s nice about print competition is that whether you earn the merit or not, you’re still a winner because you tried and you learned. The next time you enter, you’ll learn more and likely do better. There’s no magic bullet in print competition. I earned my Master’s in 1990, but I don’t merit every image I submit…not even close. But because I enter, it hones my skills. In February, PPA’s Photographic Exhibition Committee (PEC) launched a series of four Webinars to teach you about print competition—what’s involved, how to do it, and what you can gain from it. Even if you missed the series, you can still take advantage of the archived versions on PPA.com. It will either get you going strong, or will make you better. Take the leap: gather your images, post them on the OurPPA forums (you can do it anonymously), and get some feedback. Watch the Webinars and pack your case. You’ll need to hurry…the 2009 deadline is May 1! It will be fun; you’ll learn a whole lot in the process; and you won’t have to smell the lacquer! Follow Ron’s travels this year… visit http://blog.ronnichols.com.

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

news from Professional Photographers of America — the world’s largest non-profit association for professional photographers | www.ppa.com

PPAtoday | April 2009 | news from Professional Photographers of America

2008 AN-NE Marketing Award Spotlight: BARRON & BAR

RON PHOTOGR

APHY

by Angie Wijesinghe, PPA Marketing Specialist Many photographers just want to go where their creativity takes them. But as you’ll see with our featured AN-NE Marketing Award winners, a plan can help you take that creativity to new levels. In fact, the plan and resulting entry by Barron & Barron Photography, owned by David and Bonnye Barron of Texas, took home the top prize in both of our new categories: Best Individual Marketing Piece and the 2008 Emerging Pro Award (awarded to a rising marketing star in business 5 years or less). Their entry was a single pricelist. That’s it. However, it wowed the judges with its simple elegance, readability, and more. And it didn’t happen with luck. As the Barrons say, “You can’t just open up a blank page in InDesign and start tinkering around. You need a plan.” For example, the Barrons form plans around these thoughts: Who will look at the marketing piece, what kind of design would appeal to them, and how to make the piece as readable as possible. Before designing, the Barrons put themselves in their brides’ shoes. That thinking helped them realize the numerous decisions made before a wedding day…and the importance of making their booking process simple. After studying comparable photographers’ pricing, they saw how confusing all the options could be. In addition, the research showed them the need to walk the bride through her decision step by step. “We figured if we were confused—and we know what to look for—the bride must be really confused!” noted David.

Thanks to their market research, the Barrons had a strong plan in place to design an effective pricelist (and their graphic design backgrounds came in handy). The best way they found to present their pricing in simple steps was a series of postcards, backed with gorgeous samples of their work. To keep a consistent look, they used the turquoise and chocolate color scheme and design elements already on their Web site and business cards. Originally, though, they e-mailed a pricelist PDF to those who inquired. The problem was that they had no control over what it looked like printed out, and they didn’t want their business image tied to a bad impression. To combat this, the Barrons decided to print and ship the pricelists. But they ran into a problem with the binding of the postcards. Luckily, a talented scrapbooking friend suggested using a binder ring and tying three narrow ribbons (all with different textures and opacities) and a dangling “jewel” to it. “In a world where full-color, glossy printed postcards are a dime a dozen, we wanted to create something that looked professional but handcrafted,” the Barrons said. And it’s easy to say they accomplished that goal.

Board Member Spotlight Michael Gan, M.Photog.Cr., CPP :: PPA Member since 1979 :: Location: Pleasanton, California During his years in photography, Michael Gan has learned that a change will come along about every eight to ten years. He’s also learned what it takes to keep your head above water. As with many, Gan found his calling in a zig-zag way. Working for the University of California’s publication as a features writer, he was told, “Here’s a camera; we’ve run out of photographers.” He

got hooked, decided fashion photography was his goal, and became a sought-after roommate (women came into the room to pose for his portfolio). But a magazine internship soon taught him to stay home and become a portrait photographer. Six months out of college, Gan started his own studio. He bought his first storefront studio in a year…and promptly ran out of money

the first day. But it didn’t stop him. In what he calls a leap of faith, he networked, marketed, and survived. “You have to fine-tune the core of your business,” reflects Gan. One thing he’s learned from his thirty years of experience is that slower economies mean you need to focus on exactly what your demographics are and what they want. For instance, his studio takes in many

news from Professional Photographers of America — the world’s largest non-profit association for professional photographers | www.ppa.com

“You can’t just open up a blank pa

ge in InDesign and start tinkering around. You need a plan”

To help your marketing stand out, here is some of the Barrons’ advice: » Decide on your design elements and use them on all marketing pieces to create unity. » Research color palettes. They highly recommend Jim Krause’s Color Index books—great for inspiration and learning how certain colors work together to convey moods. » Keep it simple and readable (and don’t overuse script fonts). » Don’t use the default spacing between lines of text in a paragraph. Include a bit more space in between lines, adding to the readability. » Separate your pricelists for different markets. » Don’t vary your logo. You can create one that works in a horizontal space and one for a vertical space, but it should not change otherwise. » Watch the trends in both design and photography to know when certain elements start to go out of style, preventing your marketing from looking dated. The Barrons read How magazine and visit stock art Web sites (like www.istockphoto.com) for design trends and color palettes. They visit the Digital Wedding Forum online, flip through Vanity Fair, and “read Professional Photographer from cover to cover, literally” for photographic trends.

statistics. They’ve found that many of their families with high school students can’t really afford their products. With that knowledge, they’ve focused on families with younger (and grown-up) children, making above their sales averages there. In addition, Gan stresses the importance of understanding how your brand differentiates you. “Marketing yourself during a recession is essential because many competitors

aren’t,” he adds. “You need to grab as much of the market share as you can while you’re in the recession.” To Gan, though, probably the most important advice is simply to become a leader in your craft and business, not a follower. “There seems to be less distinction between professionals and amateurs now, and certification and degrees are the last bastions keeping us separated from the masses” he explains. He believes that Master

As you can see, there are many small steps that go into creating an individual marketing piece. The Barrons were able to seamlessly integrate those steps, turning a boring, confusing pricelist into a devastatingly effective selling tool. David & Bonnye Barron Barron & Barron Photography – League City, TX http://barronandbarron.com/ 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. Learn more on the Competitions page at www.ppa.com

Photographers and Certifieds need to focus their leadership on ”creating a standard of excellence the public can’t match or disregard.” Innovation and leadership are the keys to that vision for the future. For his part, Gan teaches workshops and stays involved with his local associations to innovate his new ideas, and he has risen to the PPA Board to “effect change on a national level.” For instance, he wants to funnel the education

that PPA is known for, strengthening the local and regional affiliates. Why? Well, as Gan says, “A hallmark of PPA is to educate members to survive and do better.” In addition, local associations can be like the old-time salon meetings—where like minds work together on ideas. Those kinds of unique ideas—and excellence in producing them—are the hope of the professional photographic industry to Gan.

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PPAtoday | April 2009 | news from Professional Photographers of America

PPA Council: Pick Your Nominee & Get Ready to Vote Don’t forget to make a difference in PPA and the photographic profession this spring: elect a representative to PPA’s Council. This kind of member involvement helps set us apart from other national photographic organizations. Important Information: » Five PPA members (Professional Active, Life, or Retired members of PPA) can nominate a qualified member in writing, including the signature of the five members making the nomination. » PPA Affiliated organizations may nominate a qualified member in writing. » Nominations should be sent to PPA Council Elections, 229 Peachtree St, NE, Suite 2200, Atlanta, GA 30303. (Fax 404-614-6400.) For questions, please contact the Membership Department. » PPA must receive nominations no later than May 1, 2009. » The election will take place between May 15 and June 15.

» Councilors take office on July 1, 2009, for the 2009 - 2012 Council. Visit www.ppa.com/about/council.php for a Councilor job description, requirements, and more. Council Election Voting Council election voting will take place May 15 – June 15. As the preferred voting method is e-mail, one ballot per e-mail will be issued. If you currently share an e-mail, we encourage you to create your own address and add it to your PPA member record as soon as possible, or call customer service at 800-786-6277. Only Professional Active, Life & Retired PPA members (not additional associate or aspiring) can vote. If you prefer a paper ballot, please e-mail Marisa Pitts ([email protected]). The 2009 PPA Council Meeting was held January 12 in Phoenix, Ariz. A record of attendance is available: www.PPA.com/my-ppa/.

Affiliate School Spotlight CAROLINA ART & PHOTOGRAPHIC SCHOOL May 3 – 6, 2009 Creekridge Park, NC Randolph Community College, Archdale Campus Contact: Bob Henderson; 336-288-1132; [email protected] Web site: www.CapsArtSchool.com Tuition: Varies by class Course Information: Join us for a hands-on school with small class sizes and personal instruction by some of the premier instructors in the nation. More classes are planned: check online. » Seeing Beyond: Don’t Forget to Turn Around – Chuck Hill » Painter for the Photographer and Artist – Heather the Painter (Heather Michelle Bjoershol) » Photoshop for the Photographer – Instructor TBA

» Segment I or II classes - $370 / $295 with early enrollment » Early enrollment is April 30 Course Information: ALL WEEK CLASS » Big Bang Theory of Digital – Jeff Locklear & Bentley Skeie

» Intermediate Photoshop – Fred Taylor »Advanced Photoshop – Steve Attig » Background Painting Plus – Susan Treft » Basic Environmental Portraiture – T. Michael Stanley

SEGMENT 1 CLASSES (JUNE 7-9) » Become the Coolest Studio in Town with Senior Portraits – Kirk Voclain » Making Dough in a Photographer’s World – Lisa Crayford » Hollywood-Style Lighting: The Lost Art – Lou Szoke » Basic Studio Portraiture – Charlie Rees » Beginning Photoshop – Fred Taylor & Steve Attig » Background Painting Plus – Susan Treft » Basic Wedding Photography – Don & Joyce Brent

KANSAS PROFESSIONAL PHOTOGRAPHER SCHOOL June 7 – 11, 2009 Newton, KS Contact: Ron Clevenger; 785-242-7710; [email protected] Web site: www.kpps.com Tuition: »All-week classes - $570 / $495 with early enrollment

SEGMENT 2 CLASSES (JUNE 9-11) » Business-Building Tips – Tamar London & Tammy Wolfe »Artistic Photoshop – Thom Rouse » Basic Studio Portraiture – Charlie Rees »Art & Business of Children’s Photography – Michael & Kathleen Bishop

ILLINOIS WORKSHOP June 7 – 11, 2009 Grafton, IL Contact: Bret Wade; [email protected]; 217-245-5418 Web site: www.ilworkshops.com Tuition: $595 (includes daily lunch, 3 dinners, and School Party Night) Course Information: » Environmental, Location, In-Home Portraits & Twin Lighting at Weddings (Plus: Marketing, Sales, & Making Money in the Digital Age!) – Doug Box »The Best of Both Worlds – Jamie Hayes & Mary Fisk-Taylor » I Want It All! – Don & Nancy Emmerich » I Want You to Want Me, I Need You to Need Me – Monica Sigmon & Michael Taylor »Adapt or Die: Today’s High School Senior – Kalen Henderson

»The Famous Shootout – Professional models are teamed up with instructors and students for an all-school extravaganza WINONA SCHOOL June 14 – 17, 2009 Nashville, IN Contact: Janell Spencer; 812-384-3203 Web site: www.winonaschool.org Tuition: $499 (includes all meals, grand opening picnic and program with Don Emmerich, and bonus program with Joe Craig – Beyond Art: Photography as Philosophy) Course Information: » Find Your Niche in the Children’s Market – Janet Boschker » Elements of Artistic Portraiture – Carl Caylor » Photoshop and Digital Design – Don Emmerich » High-Glamour, High-Fashion Weddings – Doug Gordon »A Sales & Marketing Crash Course: Making Money in the Digital Age – Mitche Graf ______________________

UPDATE Florida School of Professional Photography’s location has changed its name to Daytona State College.

news from Professional Photographers of America — the world’s largest non-profit association for professional photographers | www.ppa.com

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

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LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

Buyer’s Gallery ad specs:

Ad size: 21⁄4” x 43⁄4

12x rate: $575.00 gross per month 6x rate: $625.00 gross per month Contact your advertising representative: Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information.

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GO TO PPMAG.COM TO ENTER

April 2009 • Professional Photographer • 97

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab ad specs: Ad size: 31⁄2” x 21⁄2 12x rate: $425.00 / 6x rate: $525 per month Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge. Contact Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information.

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LabTab

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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

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

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PROFE SSI O NAL

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

DIGITAL

LAB SERVICES

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.

Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd., Beverly Hills, CA 90211 310-274-3445 • www.goldencolor.com

SCHOOL PHOTOGRAPHERS—Kessler Color’s digital units start at $.90 each. Beautiful color and great value! Call 800-KES-LABS.

DIGITAL TEMPLATES 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.

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

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

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

COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800-593-3767 or visit our Web site www.SuccessWare.net.

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PHOTOSHOP TEMPLATES AND DIGITAL BACKGROUNDS. Delmiaco.com has fully customizable Photoshop templates sold in layered .psd format. Collections include: Christmas, Holidays, Weddings, Birth Announcements, Birthday, Graduation, Calendars and more. Also available are high quality digital backdrops. Visit www.delmiaco.com for more details.

EDUCATION/WORKSHOPS *BOOK* DAVE NEWMAN’S “PROFESSIONAL PORTRAIT LIGHTING.” New 2nd Edition $45. “. . . simply the Best. . .” R. Day. Now shipping: www.portrait-world.com “The Art of Digital Photo Painting: Using Popular Software to Create Masterpieces” book is now available on Amazon. Join Corel Painter Master Marilyn Sholin in Asheville, NC and other locations at a workshop. Free tutorials and registration at the Digital Paint Shop. www.digitalpaintingforum.com/shop WALL PORTRAIT CONFERENCE. April 26-May 1, 2009. 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

EQUIPMENT FOR SALE DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW & USED, FACTORY AUTHORIZED. INSTALLATION AND TRAINING. FINANCING—$600 UP. DELIVERY— INSURED. WWW.DIRECT-RESOURCES.COM; 877318-3015.

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April 2009 • Professional Photographer • 105

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. ©Tim Ryan

causes receive the pro-quality imagery they need to promote their organizations’ work.” Project Exposure raises money through donations and the sale of photographs at special events. For each sponsored photographer, Project Exposure helps arrange three gallery exhibitions: one hosted by the photographer; one by the charitable organization; and one by Project Exposure. These exhibitions promote both the charitable cause and the work of the photographer, while raising funds through print sales and auctions. The proceeds are divided between Project Exposure and the featured charity. “I’m always interested in using images in as many ways as possible,” says Ryan.

Project Exposure BRINGING PROFESSIONAL PHOTOGRAPHY TO NONPROFITS

“Project Exposure exists to promote both the featured charity and the photographer. It’s a winning combination for everyone involved.” Noting the power of the still image to influence people and affect change, Ryan

T

hopes Project Exposure will help provide proim Ryan knows all too well the

photographers can plan better, and the organi-

fessional images for charities around the globe.

difficulties of shooting abroad for

zations can be sure they get what they need.”

“So many great organizations have sub-par

nonprofit organizations. The Denver-based

Strapped for cash and spread thin, many

images because they can’t afford a profes-

commercial and editorial photographer is

nonprofits need professional images for docu-

sional photographer,” he says. “At the same

on the board of directors of International

mentary and promotional purposes, but they

time, there are a lot of professional photog-

Peace Initiatives (IPI), and is an active partici-

have difficulty allocating the appropriate funds.

raphers who are willing to donate their time

pant in the global nonprofit, Water for People

So Ryan launched his own nonprofit, Project

and images, but they can’t afford the inter-

(WFP). He’s traveled to Kenya three times to

Exposure, to help fund the vital work of photog-

national travel expenses. Project Exposure

document the work of IPI, and journeyed to

raphers on international charity assignments.

bridges the funding gap between the organi-

Guatemala and Malawi to photograph WFP

“It is a significant financial commitment

zations and the photographers, helping the

projects. In each case, funding shortfalls and

to send a photographer overseas,” says Ryan.

organizations gain recognition and the pho-

logistical problems threatened the trip.

“Even if the photographer donates his or her

tographers get publicity for their efforts.” I

“With my last Water for People trip, it

time, it’s tough for many nonprofit organizations

was touch and go right up until I left. The

to absorb the costs of airfare, lodging, food

funding was there, and then it wasn’t. It was

and ground transportation. That’s where

uncertain whether or not the trip would

Project Exposure comes in. We provide a

even happen,” says Ryan. “I want to instill

funding vehicle to help photographers conduct

more stability into the process so that the

these projects, while making sure that worthy

106 • www.ppmag.com

For more information about Project Exposure, visit www.projectexposure.org. You can see Tim Ryan’s work at www.timryanpictures.com.

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

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