DECEMBER 2008 | WWW.PPMAG.COM | $4.95
©Jerry Kobalenko
Isn’t it Time to Start Saving Money? “Received my prints today, and they are beautiful. Thank you, thank you.” — Lancaster, OH “I will never print locally again. Your work is fantastic. The photos are carefully packaged and color, exposure and clarity of the images astounds me.” — Wasilla, AK “Your company saved me time and money without sacrificing quality and my integrity! My customer loved his portraits. I look forward to a long relationship with Meridian, you truly are Pros!! Again Thank you.” — Lake Worth, FL “Just received my 2nd order and I am so pleased with the results. Simple to order, fast delivery and perfect prints! Thanks for doing things right.” — Blackwood, NJ
This is just one example. We offer over 60 print sizes, up to 30x40, along with professional mounting, texturing, and a growing line of press printed cards, calendars, and books.
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EDITORIAL
director of publications
CAMERON BISHOPP
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Good at math
senior editor
art director/production manager
JOAN SHERWOOD
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DEBBIE TODD
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RIGHT AND LEFT BRAINSTORMING
features editor
A behavioral concept hatched in the 1960s hypothesized that humans
LESLIE HUNT
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manager, publications and sales/strategic alliances
have two ways of thinking: The right-brained among us tend to
editor-at-large
think visually and process information intuitively; the left-brained contingent tend to think verbally and lean toward the analytic. If you gesture when you speak, love music, and rely on gut instinct in making important decisions, you’re likely right-brained. If you read the directions first, adhere to a schedule, and can’t leave home without a watch, you’re likely left-brained. Accountants are rarely great poets, and vice versa. And as poets of the visual, a great number of photographers could be deemed right-brained—in other words, not so good at math. Enter PPA’s Studio Management Services (SMS). Started in 2002 by the association’s chief financial officer, Scott Kurkian, SMS is no half-hearted venture. Staffed by a team of accountants, bookkeepers and gentle left brains, SMS offers member photographers one-onone consulting, workshops, Webinars and online resources, all custom-designed to help the visual poets of the world understand
sales and marketing assistant
JEFF KENT
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CHERYL PEARSON
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technical editors
circulation
ANDREW RODNEY, ELLIS VENER, DON CHICK
MOLLIE O’SHEA
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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;
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SHELLIE JOHNSON 404-522-8600, x279;
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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
how simple it can be to run a successful business. You know how natural it feels to read your clients’ emotions? It’s that natural for the SMS team to assess the financial health of your photographic enterprise. (They even enjoy it, but then they are accountants.) Running a thriving business isn’t so much about making mountains of money (though we’re not against the idea). It’s about achieving the financial buoyancy to help you create a balanced, richer life for yourself. What could be more appealing to the right-brained? As this economically tumultuous year draws to a close, do something both sides of your brain will thank you for. Call the SMS coordinator, Beth Moore, at 800-339-5451, ext. 244, and ask how to take the first step toward your financial goals. Or simply go to PPA.com for more information. � Cameron Bishopp Director of Publications
[email protected]
4 • www.ppmag.com
KARISA GILMER
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PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail:
[email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:
[email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at 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.
© John Emerson
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. . .*$1,349.00 . . . .*$649.00 . . . .*$960.00 . . . .*$749.00 . . . .*$559.00 . . .*$1,575.00 . . . .$1,024.00 . . . .$1,870.00 . . . . . .$355.00 . . . . .$1400.00 . . . .
12-24mm f/4.0G ED-IF-S (Digital) . . .(77mm) . . . . . . . .$914.95 14-24mm f/2.8 ED-AF-S . . . . . . . . . .(77mm) . . . . . . . . . . .Call 16-85mm f/3.5-5.6G ED VR AF-S . . .(67mm) . . . . . . . .$579.00 17-35mm f/2.8D ED-IF AF-S . . . . . . .(77mm) . . . . . .$1,494.95 17-55mm f/2.8G DX IF-ED (Digital) . .(77mm) . . . . . .$1,199.95 24-70mm f/2.8 GED AF-S . . . . . . . . .(77mm) . . . . . .$1,699.00 70-200mm f/2.8G ED IF S VR . . . . . .(77mm) . . . . . .$1,629.95 85mm f/1.4D . . . . . . . . . . . . . . . . . . .(77mm) . . . . . .$1,024.95 85mm f/1.8D . . . . . . . . . . . . . . . . . . .(62mm) . . . . . . . .$394.95
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10000
9900
$
STORAGE VIEWER P-5000 . .80GB . . . . . . . . .$540.00 P-6000 . .80GB . . N. e. w . . . . .$579.00 P-7000 .180GB . N. .e.w. . . .$759.00
LIGHTING Compact Plus 600 Pro Value Pack Simplest and most economical way to get the best quality of light $ 00
1729
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760
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189900
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5,6-contents
11/7/08
8:25 AM
Page 1
CONTENTS PROFESSIONAL PHOTOGRAPHER DECEMBER 2008
Features 86
TOP OF THE WORLD For Jerry Kobalenko, the Arctic inspired a compelling career in photography by Jeff Kent
72
BUSINESS: HARD TIMES
A depressed local economy spurred Bob Hawkins on a new path By Stephanie Boozer
76
MARKETING: MOMMY TRENDS
Kay Eskridge shares four popular programs today’s parents are sure to love By Kay Eskridge
80
NETWORKING: GROUPS OF SUPPORT
Live, laugh and learn better with peer photographers By Dave Huntsman IMAGE BY JERRY KOBALENKO
CONTENTS PROFESSIONAL PHOTOGRAPHER | DECEMBER 2008 | WWW.PPMAG.COM
14
FOLIO
55
IMAGING USA
92
CALENDAR
97
PPA TODAY
114
GOOD WORKS
©Bob Hawkins
Departments C O N TA C T S H E E T 20 Picture 2008: A look at some of the
best photography books of the year by Lorna Gentry
PROFIT CENTER 33 What I think: Rob Van Petten 34 To S-corp. or not to S-corp.
by Scott Kurkian 36 Sales from the start
by David McKay 38 Pro talk: Trim and battle-ready
by David Ziser
THE GOODS 41 What I like: Michael Costa 42 Pro review: Nikon D90
by Joan T. Sherwood 46 Pro review:
Epson Stylus Photo R2880 by Mark Levesque 50 Lighting essentials 4:
Background lighting by Don Chick 52 Pro review:
72
The Ultimate Light Box by Sara Frances
Financial hardship, a shrinking middle class, and a general consumer
malaise seem to have settled in across the country, but don’t lose hope, says Bob Hawkins,
of Newton, Iowa. He’s taking action to change with the market.
8 • www.ppmag.com
ON THE COVER: “I have a real excitement for shooting what hasn’t been shot before,” says photographer and adventurer Jerry Kobalenko. The far reaches of the Arctic fuel Kobalenko’s creative spirit, but, he cautions, it’s not for everyone. “It has to be more important than anything else ... it’s not a business decision. You are doing it to support a lifestyle.” Kobalenko's story begins on p. 86.
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chairman of the board *JACK REZNICKI Cr.Photog., Hon.M.Photog., API
[email protected]
Professional Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400 www.ppa.com
2008-2009 PPA board president *DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP
[email protected] vice president *RON NICHOLS M.Photog.Cr., API
[email protected] treasurer *LOUIS TONSMEIRE Cr.Photog., API
[email protected]
directors DON DICKSON M.Photog.Cr., CPP
[email protected]
DOUG BOX M.Photog.Cr., API
[email protected] DON MACGREGOR M.Photog.Cr., API
[email protected] industry advisor KEVIN CASEY
[email protected]
SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI
[email protected]
legal counsel Howe and Hutton, Chicago
RALPH ROMAGUERA, SR. M.Photog.Cr., CPP, API, F-ASP
[email protected]
PPA staff DAVID TRUST Chief Executive Officer
[email protected]
CAROL ANDREWS M.Photog.Cr., ABI
[email protected]
SCOTT KURKIAN Chief Financial Officer
[email protected]
SUSAN MICHAL M.Photog.Cr., CPP, ABI
[email protected] TIMOTHY WALDEN M.Photog.Cr., F-ASP
[email protected]
CAMERON BISHOPP Director of Publications
[email protected] DANA GROVES Director of Marketing & Communications
[email protected]
SCOTT HERSH Director of Sales & Strategic Alliances
[email protected] J. ALEXANDER HOPPER Director of Membership, Copyright and Government Affairs
[email protected] WILDA OKEN Director of Administration
[email protected] LENORE TAFFEL Director of Events/Education
[email protected] BING ZENG PPA China Managing Director
[email protected] SANDRA LANG Executive Assistant
[email protected] *Executive Committee of the Board
Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! • Web Exclusives: Fresh stories, tutorials and reviews you’ll ONLY find online! • Archived features,organized relevant to your specialty. • Photo Gallery • Profit Center • An in-depth product review library • Online Classifieds • Buyer’s Gallery FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter: http://ppmag.com/email.php 12 • www.ppmag.com
CA M
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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.
©Bruce Boutet
BRUCE BOUTET Always on the lookout for “the unsuspected fleeting moment I know will melt any mom’s heart,” Bruce Boutet, CPP, of Bruce Boutet Photography in Ada, Mich., was not disappointed when he captured “Baby Bloomers.” Shooting with a Canon EOS 20D digital SLR and Canon 17-85mm f/4.5-5.6 EF-S IS USM lens, Boutet exposed the image for 1/60 second at f/11, ISO 100. A 1,000WS White Lightning Zap 1000 flash behind a 3x4-foot Photoflex Litedome 293 provided the main lighting, while a 1,600WS White Lightning Ultra Zap 1600 flash and a 4x5-foot Aurora Lite Bank bounced by a 3x5-foot Aurora reflector provided fill light. Two 10,000WS White Lightning WL10000 flash units firing at 1/3 power lit the background.
14 • www.ppmag.com
“When you’re photographing kids, you’ve got one shot at it. You have to be ready for the serendipity that kids do. It’s terrible to try to get great shots with a camera in front of your face. That’s why I use the PocketWizards all the time. They free me…not just from tripping over wires, which you have to be very careful about with kids… they let me have the interaction that gets the natural poses I want. I have a PocketWizard built into my strobes. I have a Plus II on my camera. And I can fire both from the PocketWizard in my hand.” Jack Reznicki on the PocketWizard Plus II Transceiver
© Jack Reznicki
See Jack Reznicki’s photo shoot > PocketWizard.com
0OCKET7IZARDCOM s Distributed by MAC Group
©Kevin Jairaj
KEVIN JAIRAJ “The doors almost look like angel wings and the light above her head gives her a sort of angelic glow,” says Kevin Jairaj of KJImages Photography in Keller, Texas, of this dramatic bridal image. Jairaj captured “Almost Angelic” with a Canon EOS 5D digital SLR and Canon 16-35mm f/2.8L II USM lens, just as the bride started down a hallway to meet her father. Jairaj performed minor retouching in Adobe Photoshop, enhancing the saturation with the Soft Pop action from his own actions set. JOHNNY SUNDBY Johnny Sundby, of Johnny Sundby Photography in Rapid City, S.D., captured “Swallow Cave” in nearby Spearfish Canyon. Using a Nikon F4 35mm camera and Nikkor 28mm f/2.8 D AF lens, Sundby exposed Fujichrome Velvia 50 Professional film for 1/8 second at f/2.8. Sundby positioned himself inside the mouth of the cave, facing outward from the entrance, which was blanketed in ice. He titled the image for the swallow population living in the cave. ©John Sundby
16 • www.ppmag.com
Cody Clinton & Mike Fulton | TriCoast Photography KODAK PHOTOGRAPHERS TO WATCH 2008
7E !RE 4RI#OAST 0HOTOGRAPHY 7E !RE !RTISTS It takes two or three photographers to make one great image. We do not worry about who captured the image. We do not worry about who created the final product. When we and our clients are happy, then we have succeeded in doing our job and our art correctly. Teamwork is truly the foundation of TriCoast, just as it is with Miller’s. 7E !RE 6IVID #OLOR. Without a doubt, TriCoast is about color and unique angles. We LOVE color. When we see it, we grab it, absorb it, and create something out of it. We push every color to the point of breaking.
7E !RE 5NIQUE. We try to create an enjoyable environment in everything we do and plan on making lifelong friends with our clients. Believing that the more information a client has about us, the better he or she can decide if we are the right artists for them. If TriCoast is not the “right” artist, we gladly share a cup of coffee and do everything in our power to find what is right.
7E !RE #HANGING And that’s what is so great about Miller’s. They are doing the same thing. Always growing, always changing, always helping the professional photographer, even if they are not a client of Miller’s. By leading the market, in many aspects the other labs follow with the products which Miller’s develops, making the entire professional photography world stronger and better for everyone. 7E !RE -ILLER´S Our lab is Miller’s Professional Imaging because we Expect More.
%XPECT -ORE
To see how Cody & Mike use Miller’s to grow their studio, please visit www.millerslab.com/TriCoast.
CONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.
Picture 2008 A look at some of the best photography books of the year BY LORNA GENTRY
Photography book publishing has turned a new chapter, thanks to ever-improving technologies.
Advances in traditional printing technology used by illustrated book publishers are producing exceptional results. Stochastic and tritone technology give printers the control to virtually sculpt the ink to the photographs for a truer, richer representation of the original— music to the photographer’s ear. The graceful and cunning black-and-white photography of New York photographer Rosalie Winard benefits greatly from the tritone printing of her new book, “Wild Birds of the American Wetlands” (Welcome Books). A combination of two black inks and one gray gives these photographs a warm, even, luscious tone. For more than a decade, Winard traversed wetlands from Florida to California, Louisiana to North Dakota by foot, canoe and airboat, photographing the great blue heron, snowy egret and rosette spoonbill, among other bird
Above: “Wild Birds of the American Wetlands,” by Rosalie Winard (Welcome Books). Left: “Passion,” Volume 1 in the Hasselbald Masters Series
20 • www.ppmag.com
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WWWZENFOLIOCOM Mpix has partnered with Zenfolio to bring you the best in online hosting and e-commerce. 5PLOAD PRESENT AND SELL YOUR PHOTOS ON :ENFOLIO AND HAVE THEM PRINTED BY -PIX WHILE USING ONE CONVENIENT SERVICE 4HROUGH THIS EXCLUSIVE PARTNERSHIP YOU GET THE SAME QUALITY TURNAROUND AND PRICING WHETHER YOU ORDER THROUGH -PIX OR THROUGH YOUR :ENFOLIO ACCOUNT )F YOU ARE LOOKING FOR A ONE STOP SERVICE TO SHOW AND SELL YOUR WORK ONLINE THIS IS AN UNBEATABLE COMBINATION
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CONTACT SHEET
L.A. photographer Randee St. Nicholas and the musician Prince collaborated on “21 Nights” (Atria Books).
in New York through January 3, 2009. In her first retrospective, Joyce Tenneson reveals herself in “Joyce Tenneson: A Life in Photography 1968-2008” (Bulfinch Press).
species, in their endangered habitat. Concurrent
Many of her well-known photographs from
with the publication is a traveling exhibition
previous books, including “Wise Women,”
of Winard’s photographs, on view at the
“Light Warriors” and “Transformations,” are
Utah Museum of Natural History through
included here, but Tenneson doesn’t spend all
March 2009.
her time looking back. In the final chapter, “The Road Ahead,” she investigates her role
INFLUENCE AND INSPIRATION
as crone as she deepens her photographic
Another book with an accompanying exhibi-
investigation of spirituality. Tenneson’s 13th
tion is “Performance: Richard Avedon,” by
book also includes never-before published
John Lahr (Abrams), senior drama critic at
images taken over her four-decade career.
The New Yorker. Moving memoirs of Avedon,
Publication of this year’s “Hasselblad
who died in 2002, written by Mike Nichols,
Masters Books” was launched at Photokina
Twyla Tharp, Andre Gregory and Mitsuko
in September. Five editors of international
Uchid accompany more than 200 photo-
photo magazines selected 10 photographers
graphs, including some never before published.
from 1,700 contestants. Hasselblad gave
Photographs from the book are on view at
the winning photographers top-of-the-
the Fraenkel Gallery in San Francisco until
line equipment and asked each to visualize
December 27, and at Pace/MacGill Gallery
the theme “passion.” The resulting 170 photos
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22 • www.ppmag.com
CONTACT SHEET by both established and rising talent is a fas-
Mukherjee and New York photographer
adventurer-photographer George Steinmetz
cinating study in contemporary photography.
Eric Meola (Welcome Books), is a vivid
sailed over the African landscape shooting
study of Indian culture and landscape. The
pictures in a motorized paraglider, a tiny
COLORING EAST AND WEST
book contains over 200 images taken over a
winged aircraft with a backpack motor. This
Several books published this year are notable
decade of travel.
aircraft gave Steinmetz the ability to fly into
for their saturated, bold color photography. “India: In Word and Image,” by Bharati
Two photo books about Africa offer different perspectives. For “African Air” (Abrams),
remote areas where larger vessels could not go. Earthly patterns and human design are
Top, left: Photographer Jon Ortner’s stunning coffee table book “Canyon Wilderness of the Southwest” (Welcome Books). Top: “Still: Cowboys at the Start of the Twenty-first Century,” by Rob Kendrick (University of Texas Press). Left: “African Air,” by George Steinmetz (Abrams). Above: “Natural Fashion: Tribal Decoration from Africa,” by Hans Silvester (Thames & Hudson).
24 • www.ppmag.com
CONTACT SHEET
Below: “Equus” by London photographer Tim Flach (Abrams). Right: “India: In Word and Image,” by Bharati Mukherjee and New York photographer Eric Meola (Welcome Books). Bottom: Joyce Tenneson reveals herself in “Joyce Tenneson: A Life in Photography 1968-2008” (Bulfinch Press).
fascinating from this bird’s eye view. In “Natural Fashion: Tribal Decoration
and desert of the Colorado Plateau. Ornter’s
from Africa” (Thames & Hudson) Hans
sweeping photography conveys both the
Silvester immerses himself in the culture of
vastness and the minute beauty of the
Surma and Mursi tribes of the Omo Valley,
terrain. He traveled to 60 locations across a
on the borders of Ethiopia, Kenya and
130,000-square-mile area bordering Utah,
Sudan. Fascinated by the tribes’ vivid body
Arizona, Colorado and New Mexico,
art, he spent years photographing men and
including national parks and Native
women who use pigments made from
American tribal lands. Included in “Canyon
powdered volcanic rock to draw designs on
Wilderness” are 10 gatefolds that open to 4
their skin and adorn themselves with
feet, and a limited edition, signed print.
natural materials such as shells and plants.
L.A. photographer Randee St. Nicholas
“Natural Fashion” is a lushly colored and joyful
and the musician Prince collaborated on “21
record of artistic expression.
Nights” (Atria Books). This handsome book
Photographer Jon Ortner’s stunning
26 • www.ppmag.com
taking panoramic portraits of canyons, rock
is a sleek nexus of fashion, portrait and concert
coffee table book “Canyon Wilderness of the
photography. St. Nicholas photographed
Southwest” (Welcome Books) holds breath-
Prince on and off stage during his sold-out
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©2008 Collages.net Inc. All rights reserved. Photos ©2008 Forever Photography.
With PPA and Studio Management Services, you won’t have to do it alone. OUR PRIMARY GOAL, AS A NONPROFIT ASSOCIATION, IS YOUR SUCCESS. Now more than ever, you need relevant, business-critical information and ideas to sustain your business. Register now for upcoming workshops and Webinars—the best investment you can make right now for the future of your business.
SMS WORKSHOP: DOUBLE OR TRIPLE YOUR SALES AND NET PROFITS
WEBINARS: START 2009 WITH A SOLID FINANCIAL PLAN
Studio Management Services clients experience incredible financial growth, and so can you. This 3-day workshop teaches you how to set the course for your own success.
December 8, 2008 : Income Tax Strategies
2009 Dates: s &EBRUARY s -ARCH
s !UGUST s .OVEMBER
s *UNE Questions? Call Beth Moore at 800-339-5451, ext. 244. Register now at www.ppa.com/education-events/SMS.php
with Scott Kurkian, PPA’s CFO & founder of SMS Special price exclusively for PPA Members – just $19.95 (reg. $49) Learn ways to reduce your 2008 tax liability.
January 5, 2009: Get Out of Debt – Dave Ramsey Style! with Frank Donnino, Cr.Photog. Special price exclusively for PPA Members – just $19.95 (limited to the first 500 registrants)
EVEN MORE WEBINARS IN 2009: How to Triple Your High School Senior Averages – Eric & Shawna Anundi s It’s Your Money – Keep More of It – Scott Kurkian s BIG Marketing on a Small Budget – Carol Andrews s Viral Marketing – Jeff & Allison Rodgers s
s Turnaround: Changing a Floundering Photography Business into a Goldmine – Ed Zemba s The Ultimate Portrait Sale – Julia Woods s Effectively Hiring & Managing People – Tamara Lackey
Complete details and a calendar of Webinars are online at www.ppa.com/education-events/webinars.php.
Professional Photographers of America | www.PPA.com | 800.786.6277 |
[email protected]
CONTACT SHEET of the modern photography book movement,”
Garden” is an impressive portfolio of large
will no doubt give professional photog-
platinum-palladium photographs of land-
raphers pause, especially those looking for
scapes so highly groomed they look unreal.
marketing ideas.
The silvery softness of the platinum-
In addition to a $25,000 cash prize, Dow won the rare opportunity to put her work in
palladium process itself adds to the book’s otherworldly look.
front of a panel of judges comprising visual editors, publishers and curators. “In the
“In the Garden,” by Beth Dow, Photography.Book.Now.
Lorna Gentry is a freelance writer in Atlanta.
The owner of this RAID storage device heard some really good news
21 concerts in London’s O2 arena in 2007. The book comes with the CD “Indigo Nights” of Prince’s live after-show jam sessions. Two books out this year are devoted to two universally loved icons, horses and cowboys. “Equus” by London photographer Tim Flach (Abrams), takes an artful look at the noble beast photographed in his studio and around the world. “Still: Cowboys at the Start
DriveSavers rescued thousands of files from their towering inferno
of the Twenty-first Century,” by Rob Kendrick (University of Texas Press), shows Kendrick’s mastery of one-of-a-kind tintype photography. You can find fine examples of 19th- and 20thcentury tintypes in Steven Kasher’s “America and the Tintype” (Steidl/ICP). Introduced in 1856, tintypes were an affordable, portable and popular form of photography well into the 20th century. “America and the Tintype” is a rare assemblage of 200 images from the permanent collection of the International Center of Photography in New York. Among the outstanding 2008 releases is a grand prize-winning book with a unique publisher—the author herself. “In the Garden,” by Minneapolis photographer Beth Dow, won the grand prize in the first self-published book competition sponsored by Photography. Book.Now. The international juried competition is an offshoot of Blurb, a Web site that enables anyone to create, market and sell books. Photography.Book.Now’s slogan, “Be part
We can save it!
What’s the number one fear of professional photographers around the world? The unexpected, sudden loss of irreplaceable images due to a crashed or damaged camera, computer or other digital device. DriveSavers understands, and we know how to help. We’ve recovered more data for photographers and other creative professionals than any other company in the world. We offer special benefits to PPA members plus free return shipping and direct access to our data recovery engineers. And, if we don’t retrieve the data, you don’t pay. So, what’s our advice for getting rid of that fear? Easy. Back up today...or call us tomorrow.
800.440.1904 drivesavers.com ©DriveSavers, Inc. 2008 DriveSavers Data Recovery, We can save it! and the life ring logo are registered trademarks of DriveSavers, Inc.
December 2008 • Professional Photographer • 29
White House Custom Colour, Your Professional Photographic and Press Printing Partner
www.whcc.com
White House Custom Colour is a full service, professional photographic and press printer. In addition to the showcased products on these pages, we offer a full line of photographic prints printed on Kodak Professional Papers. For a complete view of our products and services visit our website, www.whcc.com
Gallery Wrapped Canvas WHCC offers both inkjet and photographic paper Gallery Wraps. With three different paper options, three protective laminates, two depths and mix and match sizing, WHCC offers all the options you need. All Gallery Wrap pricing includes free UPS ground shipping and orders typically ship in two days.
Finishing Services WHCC offers a variety of traditional mounting substrates including matboard, styrene, masonite, and foamboard. For a more contemporary mounting option, order Standout. With its thick, lightweight, nished black edges, Standout allows the mounted print to be hung right on the wall without a frame.
Proong
Proofbooks
Proofs are available in 3.5x5, 4x5, 4x6, 5x5, and 5x7 sizes. Enhance your proofs with borders, texture, or binding. Select binding for your proofs and receive all of your proofs bound with a spiral coil. Bound proofs are perfect for sample ip books for your studio or as a brag book for your clients.
Proofbooks are multiple image contact sheets spiral bound together with an acetate cover and card stock back. They make it easy for your clients to view their images and use the custom book as an ordering tool. Proofbooks are available in 8.5x11 or 11x14 sizes with 4, 6, 9, 12, or 20 images per page.
Visit pro.whcc.com/go/Start today to open your WHCC account.
Professional Photographer
P R E S E N T S
Business, Marketing and Sales Strategies
What I think Rob Van Petten trusts his instincts and shoots from the heart What do you wish you knew when you were starting out? Everything I’ve learned in 35 years can be summed up in a simple piece of advice: Trust your instincts and shoot from your heart. If you love it, someone else will, too, and that person will hire you to do it. What’s the biggest business risk you’ve ever taken? I took on a project from a great client and fronted a six-figure job without getting an advance. Nice job, but the anxiety wasn’t worth it. I couldn’t sleep for worrying about how I was going to pay the model agencies, the crew and the locations. All the while, I imagined I was getting ripped off by the client, this big corporation. Next day I went into the deli next door, and the owner said, “Some guy came by a couple of days ago and left this envelope for you.” It was a deposit on the job for $150,000. Can I get some cream cheese with that? What do you consider your big break—the turning point? I was pretty lucky starting out. A few art directors with sizable projects took a risk and hired the young guy. I was at an award ceremony when one of these art directors stood up on a table and screamed, “Rob Van Petten is the best [expletive deleted] photographer in the world!” Then I think they adjusted her medication. What’s the secret to running a successful photography business? Being successful is being happy at what you do. It’s that simple. IMAGE BY ROB VAN PETTEN WWW.ROBVANPETTEN.COM
December 2008 • Professional Photographer • 33
PROFIT CENTER
B Y S C O T T K U R K I A N , P PA C H I E F F I N A N C I A L O F F I C E R
Operating as an S-corporation could save you thousands in taxes, or not. Now is the time to figure it out.
Consult your qualified tax professional or the accountants at PPA’s Studio Management
To S-corp. or not to S-corp.
Services (SMS) for more information.
Do you currently operate as an S-corporation,
more beneficial to become an S-corporation
If you are currently operating as an S-corpor-
or have you wondered when would be the
than others. For example, Georgia requires
ation, there is a big chance you may not be
ALREADY AN S-CORP? GET THE REFUND YOU DESERVE
right time to switch to one? If either is the
S-corporations to pay NO corporate taxes,
maximizing your tax reductions. It takes
case, there are some things you need to know
so it is very advantageous. Tennessee,
only a few minutes to make sure you’re not
to make the right decision, as well as to maxi-
however, charges S-corporations a very high
paying too much in Social Security and
mize the benefits of being an S-corporation.
6.5 percent tax on net profits, which greatly
Medicare taxes.
The following criteria should help you decide if the S-corporation business model is right for you: 1. YOUR NET PROFIT. As a sole proprietor, or an LLC, when your net profit (sales
reduces the net tax savings that an Scorporation will provide your business. If you are currently an LLC, you do not
SMS has helped studios reduce payroll tax liabilities by as much as $5,000 to $10,000 per year. (And if past years have not been
have to legally switch to an S-corporation to
prepared properly, they can be amended and
be taxed as one. You can simply make an
refunds received of past taxes paid.)
less expenses) reaches $30,000, becoming
election on your tax forms, even retroactive
an S-corporation can reduce the amount of
to the beginning of the year, and enjoy the
TAKE THE SMS TEST—FREE
self-employment taxes—Social Security and
tax benefits of an S-corporation immediately.
There is a quick diagnostic test to determine
Whether you decide either to become, or
whether you are paying too much, and SMS
Medicare taxes—you’re required to pay. If you generate more than $200,000 net
just file as, an S-corporation, make sure you
can assess it for you. SMS will review your tax return free of
income, an S-corporation is not as beneficial.
and your accountant are on the same page
However, it still can be beneficial if you have
about how much salary you must take and
charge to make sure you’re receiving all the
not yet made the switch, and depending on
how much Social Security and Medicare
benefits you should as an S-corporation.
what happens in 2009, being an S-corpora-
taxes you will be required to pay the federal
Just call Beth Moore at 800-339-5451, ext.
tion may be more beneficial than ever to
government. Some accountants are more
244, to make an appointment with an SMS
small businesses of all sizes.
conservative than others and may not allow
accountant to review your tax return.
2. LEGAL SEPARATION. An S-corporation, as well as an LLC, also provides you a
you to be as aggressive in dealing with the IRS as SMS recommends.
But act fast; it’s not too late to fix this for 2008, but time is running out. �
degree of legal separation between your personal assets and your business, in the case of a lawsuit against your business. However,
SPECIAL DISCOUNTED PPA WEBINAR!
this legal separation is no guarantee that some-
INCOME TAX STRATEGIES
one legally cannot get at and take all your personal assets in a worst-case scenario lawsuit. (No matter how your company is formed legally, you need to make sure you have adequate liability insurance in place at all times. Contact your insurance agent, or call PPA’s insurance specialists at 800-503-9230. PPA members can visit www.seaburychicago.com/plans/ppa.) 3. YOUR STATE. In some states it is
34 • www.ppmag.com
Scott Kurkian, PPA’s Chief Financial Officer December 8, 2008 Discover income tax strategies that will lower your taxes. Learn what affects you taxwise. See how your business entity type affects the amount you pay, and learn more about retirement, home office deductions, and other crucial information for small business owners like you. Register online now at ppa.com or call 800-786-6277.
PROFIT CENTER
DAV I D M C K AY, C P P A N D A L LY M C K AY, M . P H O T O G .
Creating a sales foundation that steadily builds as your relationship with your client grows.
Sales from the start
client about portrait art and proper dimensions during our first phone conversation. We also discuss places in their home where the portrait should be hung. We are prepping the client from the start, but without pressuring. In fact, we’re helping them visualize the perfect
Several factors must come together for great
Show only what you want to sell in
place for their one-of-a-kind McKay portrait.
sales to happen. The client’s first impression
exhibits and public displays. We specialize in
of you and your studio is a significant factor in
brown-tone portraits on canvas to be hung
for what you’re doing so that it becomes con-
the amount of the purchase he or she will make.
on walls. That’s all we ever put on display,
tagious. Give that client and her family an
and only portraits measuring 24x30 or larger.
emotional experience with you. If they feel
you should have educated him about your
If potential clients see your 8x10s, they
what you’re feeling, they’ll be truly excited to
portrait creation and selection process, and
assume that’s what they should purchase.
see what you create for them. That emotion
By the time your client is selecting images,
given him a good idea of the cost of owning a beautiful piece of art from your studio. However your client learned of you, from
The second stage begins when a potential client calls for information. Find out how she heard of you, and use her answer to begin
In-session, you must display your passion
will translate into sales—provided, of course, your work is moving and technically beautiful! Following the session, we hold a pre-
that moment on, you and the client are
her education about your photography.
selection consultation, another opportunity
building a relationship. That’s when you
Our studio’s minimum order is one 16x20-inch
to educate them. This is usually when they
start to create excitement over what you can
print. We want to sell at least one wall portrait
realize how inadequate a 16x20 portrait would
do for that client.
to every client, so we educate every potential
look over a fireplace or couch. We hand clients a brochure with images of our work hanging in previous clients’ homes. It’s a fabulous selling tool to show how wonderful our work looks prominently displayed in a home. Then we send clients home with a letter about how to select their images. It answers many typical questions in positive terms, such as why we do not offer online proofs and ordering. The letter also reiterates what we’ve discussed about displaying the portrait, and encourages them to pick the spot before next we meet. We want clients to be prepared to make their selection at the scheduled viewing. If you help prepare your clients, the selection process will be much smoother for everyone. Remember, the moment a prospective client hears of your work, the sales process begins. Every step is so important to your sales that it literally means the difference between a $400 sale and a $4,000 sale. � For images by McKay Photography, visit www.mckayphotography.com. For info on the McKay Mentoring series on DVD, visit www.myspace.com/mckaymentoring.
36 • www.ppmag.com
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
A recent tour of the Naval Academy brings insights about business, pride and discipline.
Trim and battle-ready
when an employee has been onboard for six months, when you shoot your first fivefigure wedding, mark an anniversary, win a print competition, earn a PPA degree. Such milestones are a big deal because they mean the system is working.
Touring the U.S. Naval Academy in
the rigors of training, I saw how the staff and
Annapolis, Md., with my wife, LaDawn, I
students together support the entire learning
HONOR, SUPPORT AND RETURN.
saw an institution governed by tradition,
experience. The system was working. If the
Honoring those who have helped you is
discipline, honor and excellence. Observing
principles at work here were incorporated
profoundly evident at the Naval Academy.
into running a business, I thought, surely it
We, too, can honor the people who shared
would enhance the business’s chance for success.
their knowledge and expertise, who helped
©David Ziser
us achieve success, by doing the same for WORK HARD AND LEARN DAILY,
others, including our employees and
LIKE EVERY MIDSHIPMAN AT
aspiring photographers.
ANNAPOLIS. Practice your craft. Understand your equipment, from camera to flash
NO ONE DOES IT BY HIMSELF. Create
to computer. Know the rules of composition.
your own support system among the
Study the work of the photographic masters.
photographers in your community. You
In an ocean of mediocrity, the photogra-
make friends at Imaging USA, see them
phers who take their craft seriously and
again at workshops during the year. Why
practice it daily are the ones whose work
not gather regularly with these like-minded
stands the test of time.
photographers to discuss, demonstrate,
Your photography business might be a
share all things photographic?
tiny fish in the big blue sea of corporate America, but you can invest in your business’s
GIVE BACK TO YOUR COMMUNITY. If
future the same way the big fish do. Learn
you get a chance to volunteer for a local
some new aspect of Photoshop or Lightroom,
fundraiser, say yes. It’s a rich and rewarding
and research other applications and auto-
experience. (Yes, as it turns out, it’s good for
mations that could speed and enhance your
business as well.) For any of my clients who
workflow and simplify your life. Continue to
are involved with charities in my community,
be curious and seek new solutions.
I offer my services for the charity at cost or gratis.
MARK THE MILESTONES AND
Practicing them builds character and
CELEBRATE SUCCESS. As the cadets
strengthens the bonds of loyalty and pride
move through the academy, they mark the
of accomplishment. �
Such principles are the soul of a business.
milestones of the individual, the class, and the school. That practice instills every cadet with the pride of being an integral part of a venerable institution. We can cultivate and reinforce the pride of accomplishment in our business by marking the milestones—
38 • www.ppmag.com
David Ziser is an internationallyrenowned wedding photographer and educator. His new touring digital photography seminar, “Digital WakeUp Call: A New Dawn,” launches in 2009. Look for details and Ziser’s popular daily blog at DigitalProTalk.com.
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y 4 da ur S To O C ! in et p e Jo d G o su an osh s Is ot nu Ph Bo
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Professional Photographer
P R E S E N T S
Products, Technology and Services
What I like Michael Costa’s equipment is the means to a distinctive end What’s the best equipment investment you’ve ever made? I wanted to set my style apart, so I switched back to film, specifically Fujifilm Fujicolor Pro 400H and Neopan 100 Acros. Buying film is an investment, and like many investments it’s given us returns. Clients don’t know what I’m doing technically to achieve the look, but they love it and will pay a premium for it. Little thing, big difference … A GPS for our car. It’s a traveling wedding photographer’s saving grace! Specific to photography, I’d have to go with Photo Mechanic software by Camera Bits. I no longer wait forever to view a large folder of images. What hot new product are you going out of your way to use? We recently dropped $10,000 for the latest Apple Mac Pro and a 30-inch screen. It’s the first computer I’ve ever had that didn’t slow down after a few months. Has a piece of equipment ever changed the way you approach photography? My Contax 645 medium-format camera. I use only the Carl Zeiss 80mm f/2 lens with it. I’ve defined my style with the near-perfect color fidelity and the zero optical distortion I get with the Zeiss lens. IMAGE BY MICHAEL COSTA WWW.MICHAELANDANNACOSTA.COM
December 2008 • Professional Photographer • 41
THE GOODS: PRO REVIEW
The Nikon D90 introduces HD motion picture capture to digital SLR technology. BY JOAN T. SHERWOOD
In motion NIKON D90
The most exciting feature of the Nikon D90
personality, and how you work with clients.
subsequently edited into a 4-minute movie
DSLR is the movie capture. With two or three
Having a DSLR with video capability makes
in the iMovie HD program. It took a little
button presses, in D-movie mode, you can
doing that more than easy, and fun to boot.
studying of the program at Lynda.com to
begin recording video of up to 1,280x720
You can hand off the camera to a partner to
learn how to do what I wanted, but after
pixels (16:9), at 24 frames per second. That’s
capture footage of you on the job, working
that, the editing went pretty quickly. After
not a resolution I’d want to pull still images
hard, coaxing out the best from your subject,
just a couple minutes of keyword searching
from, but it’s great to use on your blog or
who is clearly having fun being in front of
at TripleScoopMusic.com, I found the
Web site, and a good size for viewing
your lens.
directly on your computer display. It’s becoming evident that one of the best
The first day I had the D90 in my hands I couldn’t stop coming up with ideas for the
ways to attract new clients is to put yourself
clips I wanted to shoot. Setting out the next
in front of the lens for a change, and show your
morning, I took a set of 36 clips, which I
©Joan T. Sherwood
42 • www.ppmag.com
The Nikon D90 maintains smooth color gradients at native ISO 1600 (left, with 100-percent inset area). Digital noise gets significantly noticeable at the Hi 1 (ISO 6400) setting (below).
THE GOODS: PRO REVIEW
specs:
Nikon D90
perfect music to accompany the video. The
you’ll need some capture room and speed.
most difficult part was figuring out the
The D90 will shoot a maximum of 5
settings and format to use to export the
minutes of video at that frame, and about
video for Web sharing. (Professional
20 minutes at smaller frames.
Photographer will cover that topic in a future issue.)
SENSOR: 15.8x23.6mm CMOS RESOLUTION: DX-format, 12.3 effective megapixels (4,288x2,848 pixels) D-MOVIE: HD 1,280x720, 24fps; VGA 640x424, 24fps; QVGA 320x216, 24fps; creates AVI files LIVE VIEW: Face priority AF, normal area AF, wide area AF; remote using PC and optional Camera Control Pro 2 software METERING: 420-pixel RGB sensor 3D Color Matrix Metering II, center-weighted, spot; 0 to 20 EV (matrix or center-weighted), 2 to 20 (spot) ISO EQUIVALENTS: 200 to 3200 native, with additional Lo 0.3, 0.7 and 1 (ISO 100) and Hi 0.3, 0.7 and 1 (ISO 6400) WHITE BALANCE: Auto TTL white balance, seven presets with fine-tuning, manual preset SHUTTER: 1/4,000 second to 30 seconds, bulb LCD MONITOR: 3-inches, 920,000 dots, 170-degree viewing angle VIEWFINDER: SLR optical-type with fixed eye-level pentaprism, -2.0 to 1.0m diopter adjustment, about 96 percent coverage, 0.94X magnification with 50mm lens at infinity; Type-B BriteView Clear Matte screen Mark II with superimposed focus brackets and on-demand grid lines LENS COMPATIBILITY: All functions available with all AF Nikkor lenses, including AF-I, AF-S, DX, VR and D-/G-type. MSRP: $999.95 body only, $1,299.95 with AF-S DX Zoom-Nikkor 18-105mm f/3.55.6G ED VR lens; GPS unit price TBD
44 • www.ppmag.com
To take video with the Nikon D90,
Lv is great for dialing in your focus with the camera on a tripod. Simply go to Lv and press the magnify/qual button to zoom-in
choose the frame size and sound options in
deep and check focus. Lv also features face
the Movie settings menu, select a white
priority, normal area and wide area autofocus
balance setting, and 3-D Color Matrix
for still shots. Face priority tracks the subject’s
Metering II will handle the rest. Nikon VR
or subjects’ faces, and will focus on the nearest
image stabilization kicks in automatically,
face when you halfway depress the shutter.
which helps in low light situations. Lock
Normal area focus is good for tripod-mounted
exposure by holding down the AE-L/AF-L
shots, allowing you to select the specific area
button while you shoot. Autofocus is not
for focus with the multi-selector control.
available with movie recording; you can
The Nikon D90 has many more great
focus manually while recording, but the
features, though not all are geared to pro
sensitive in-camera microphone will pick
photographers. The 12.3-megapixel DX-
up the sound of the moving focus ring. You
format CMOS sensor is new, yet has the
could elect to turn off the sound recording
same specs as the Nikon D300’s sensor. The
and capture a silent movie.
raw capture format is 12 bits.
To begin recording, press the Lv (live
As with other Nikon DSLRs, you can fine
view) button, press the shutter halfway
tune any white balance setting if the default
down to focus and meter if needed, press
isn’t to your liking. If the daylight setting is
OK and hold it steady. Press OK to stop
too blue, simply go to the WB menu and use
recording and Lv to leave the live view
the multi-selector to choose a warmer point
mode. You can stay in live-view mode and
on the amber-blue (A-B) and green-
press OK whenever you want to start and
magenta (G-M) axis grid.
stop recording. You can use Lv for up to an
With Nikon’s Expeed image processing
hour, but extended use can heat up the
system, high ISO captures look smooth with
internal circuitry. The camera is designed to
acceptable noise levels up to ISO 1600.
automatically shut off Lv before the heat
Above that, noise becomes visible and
causes damage.
problematic, though likely tolerable up to
You can even record movies with Picture
the native ISO 3200 if you needed it. The
Control settings like Vivid, Monochrome or
ISO levels include Hi and Lo settings, but
Portrait. I recorded my first clips at a 640x424
the image quality gets a little too gritty there.
frame (3:2), and my Kingston 120X 2GB
The beautiful 3-inch, 920,000-dot, high-
SDHC card handled the load just fine. For
resolution LCD display is the same as the
longer clips in the largest frame size, I tried
one on the Nikon D3, D700 and D300.
the new SanDisk Extreme III 30MB/s
On the downside, the D90 flash synch is
SDHC card, which is optimized for the
at 1/200 second, not fast enough for some
Nikon D90. One 10-second, 1,280x720 AVI
pros. The maximum frame rate is 4.5 per
video clip becomes a 20MB file; a 24-second
second, barely faster than the D80’s (which
clip becomes a 65MB file. You can see that
Nikon says will not be discontinued).
©Joan T. Sherwood
The battery is the same as the D80’s. The new in-camera image enhancement features include distortion control to adjust for lens aberration, straightening, and a fisheye effect, which could be used for an unusual look. I really can’t find much to complain about with this camera. The body weighs just 22 ounces, so it’s highly portable for a DSLR of its caliber, and easy on the neck or shoulder. The grip is big enough to hold onto securely, even with heavy lenses attached to the camera. All-in-all the Nikon D90 is a fun camera with excellent capture quality, and it really may, as Nikon claims, push your creative boundaries to the limit. � Go to www.nikondigitutor.com/ eng/d90/index.shtml for videos explaining all of the Nikon D90’s features. Look for Nikon D90 video clips posted in Web Exclusives at www.ppmag.com.
The Nikon D90 performed remarkably well with skin tone and smooth gradient in this 1/40 second capture at f/4.8, ISO 1600 (no sharpening or color correction applied). Model: Devon Diep, Agency: Bella Agency NYC.
December 2008 • Professional Photographer • 45
THE GOODS: PRO REVIEW
The Epson Stylus Photo R2880 shines as a midsize color printer, and it positively sizzles on monochrome and toned prints. BY MARK LEVESQUE, CPP
Exceptional black & white EPSON STYLUS PHOTO R2880
long for a print head design similar to the Stylus Pro 11880, with its separate ink channels for photo- and matte-black inks. The sleek R2880 design incorporates advanced, flexible paper handling options.
The Epson Stylus Photo R2880 represents
magenta, yellow, photo black, matte black,
Accepting paper up to 13 inches wide, it has a top feeder for multiple sheets, a single-sheet
the latest evolution in midsize printers
light black and light light black. The Vivid
designed to produce superior black-and-
Magenta inks, first used in Epson’s wide-format
rear feeder for thicker or rigid papers, plus a
white prints as well as excellent color prints.
printers, sport a wider color gamut than the
straight-path rear feeder for the stiffest and
Replacing the Stylus Photo R2400, the
original UltraChrome K3 inks. Sadly, you
thickest media. A roll paper attachment is
R2880 has improved print quality, color
still need to swap between the matte and
provided, as is a CD/DVD print tray, all of
accuracy, and ink efficiency.
photo black cartridges when changing paper
which making the R2880 a highly versatile
types, but according to Epson, the ink loss
printer with a modest footprint. The R2880
uses nine pigmented inks based on the
inherent to switching is less with the new
has dual USB 2.0 ports so two computers
UltraChrome K3 Vivid Magenta ink set:
R2880. Nevertheless, the mess and hassle of
can be plugged in simultaneously. That’s
cyan, light cyan, vivid magenta, vivid light
changing out half-full cartridges makes me
better than having just one USB port, but
Like the Epson Stylus Pros, the R2880
All images ©Mark Levesque, 2008. All Rights Reserved
having an Ethernet connection would be far better—a curious design decision in a printer of this quality. New in the R2880 (and the color-optimized R1900) is Radiance technology in the printer software to optimize color transitions and grain. Co-developed with the Rochester Institute of Technology, the technology improves shadow detail and highlights and reduces the effects of metamerism for more color consistency under different light sources. Like Epson’s Stylus Pro models, the R2880 has the award-winning Micro-Piezo
The Epson Stylus Photo R2880 has CD-printing capability to personalize disks for clients or your own studio. Model: Meredith Balkus.
46 • www.ppmag.com
AMC (Advanced Meniscus Control) print head, for sharp and accurate ink drop placement. The ink nozzles have an ink-repelling coating to reduce clogging, and a sensor in the print head periodically checks the nozzles and maintains the head alignment. According to Epson, every R2880 print head undergoes precise color calibration at the factory, in theory providing optimal
specs:
Epson Stylus Photo R2880
PRINTING TECHNOLOGY: Advanced MicroPiezo AMC print head with inkrepelling coating NOZZLES: 180 nozzles per cartridge
agement options. In our print tests, a fully
INKS: Epson UltraChrome K3 with Vivid Magenta pigment ink (cyan, vivid magenta, yellow, light cyan, vivid light magenta, light black, light light black, and matte or photo black)
custom printer profile created with Datacolor
MAXIMUM RESOLUTION: 5,760 x 1,440 optimized dpi
Spyder3 Studio hardware and software
PAPER SIZES: 4x6 to 13x19 inches, user definable, plus 8.3- and 13-inch wide panoramic roll paper
color output right out of the box. The printer offers a variety of color man-
rendered the best match, but the ICC profiles that ship with the printer did nearly as well. Printer-managed color provided pleasing output, albeit somewhat more saturated than with the more hands-on methods. If you use ICC profiles in another
MAXIMUM PAPER THICKNESS: 1.3 mm SIZE: 26.9 pounds; 24.3W x 31.4D x 16.3H inches in printing configuration INTERFACE: Two Hi-Speed USB 2.0 ports, one PictBridge port MSRP: $799.99
December 2008 • Professional Photographer • 47
THE GOODS: PRO REVIEW
Figure 3
This versatile printer can output stunning
Figure 1
prints on a variety of media. Ink usage is significantly less than with prior models, application (like Photoshop) to manage
and print speed is reasonable at all but the
color, you’ll have to search the Epson driver
slowest settings. In our testing, I encountered
dialog a bit to find where to turn off the
two glitches. On occasion, multiple sheets
printer’s color controls, which is crucial.
would feed in together, which was frus-
You want the color mode to be custom, off,
trating. Significantly more irritating, after
no color adjustment, in order to make use
changing from photo-black to matte-black
of ICC profiles for the targeted paper
ink, the driver insisted that the photo-
(Figure 1). One helpful feature in the driver
black cartridge was still installed, and
dialogue is the summary view, an at-a-
resisted many of my attempts to convince it
glance display of all the current settings (Figure 2).
otherwise. I was finally able to print with Figure 2
Epson recommends using the Speed print
matte black and the results were terrific. But this hassle would have been completely
quality mode for glossy, semi-gloss or luster
eliminated had the R2880 been designed
paper. The driver defaults to this mode
transitions. The driver has options for
to hold both black cartridges. Aside from
when you select an Epson-made paper of
making fine black-and-white prints
that, this is a fantastic printer. Maximum
those types. In side-by-side comparisons of
directly from color images. For ultimate
quality prints on the Epson Exhibition
prints on these papers, prints made in the
control over tonal mapping, Photoshop or
Fiber paper are particularly stunning.
Quality mode are nearly indistinguishable
Lightroom conversions are optimal, but it’s
from prints made in the Speed mode—or
so convenient to have a high-quality
R2880 might be ideal for producing
they are to the naked eye, anyway.
conversion available at the click of a
outstanding archival prints of modest sizes
mouse. Another great driver feature is the
in low to moderate volumes. For bigger
a very capable color printer, its greatest
toned-print options. Several presets are
studios, it probably makes more sense to
asset is its monochrome capability. The
provided, but you can also dial in the
jump up to the next tier and get the
gray inks (light black and light light black)
toning, create your own favorites, and save
advantages of a wider format and more
make for exceptionally smooth tonal
them as custom presets (Figure 3).
economical ink usage. �
While the Epson Stylus Photo R2880 is
48 • www.ppmag.com
For a lone professional photographer, the
THE GOODS: LIGHTING ESSENTIALS 4
A thorough understanding of lighting fundamentals is vital to your growth as an artist. Proper background lighting contributes depth and drama to the image.
light in harmony with the direction of my main light, above and on the same side of the subject, and off to the side. In this position, the light falling on the background comes from
B Y D O N C H I C K , M . P H O T O G .C R . , C P P
A sense of space BACKGROUND LIGHTING
the same direction as the main light falling on the subject. When you’ve draped the background, the shadows cast by the overhead light will look natural. Light coming from several directions confuses viewers. The quality of the light itself matters as well. Do you want shadow detail in the back-
Editor’s note: This is fourth in a series on
background makes it difficult for the viewer
ground of the image, or do you want to mini-
the fundamentals of studio portrait lighting.
to discern the distance between foreground
mize the folds and wrinkles of the background
and background, so the image looks flat. If
with even illumination across it? A small
The background light completes a four-light
the effect you’re going for is a minimal
light source will produce hard light on the
setup for basic studio portrait lighting. You
sense of depth and space, leave out the
background and emphasize the wrinkles; a
could create a portrait without adding this
background light.
large, diffused light source will produce soft
light (Figure 1), but the portrait would lack several key components. In addition to illuminating the background,
Lighting the background can be accomplished in many ways. For business portraits,
shadow detail and minimize them. I generally rely on three methods of
I often use a strobe on a short light stand posi-
illuminating the background from above. In
this light makes the image appear more
tioned directly behind the subject with a Photo-
the first, I use a 30- or 40-degree honeycomb
three dimensional by separating the subject
genic Background Reflector ($39, Figure 3).
grid on the flash unit (Paul C. Buff sells a
from the background (Figure 2). An unlit
Usually, I prefer to have the background
four-piece grid set for $99). Grids are rated in degrees of coverage, so the smaller the
All images ©Don Chick
Figure 1
Figure 2
degree, the less the light will spread across the background. With the honeycomb grid on your flash unit (Figure 4), aim the brightest spot of the light below the top of your subject with a bias toward the shadow side, making the background slightly brighter behind the shadow side of the subject. Allow the light to feather off from the center, darkening toward the edge of the scene. Figure 4 illustrates this natural “in-camera” vignette on the background. In the second method I use a Photogenic Deep Conical Background Reflector ($65, Figure 5) or a set of four-way barn doors ($49, Figure 6) on the White Lightning. I always attach a set of barn doors to the conical background reflector to keep the light from striking the subject, but a flag would also work. I point the brightest part of the light toward the opposite side of the
50 • www.ppmag.com
background and allow the light to fall off Figure 4
gently across the background. This reflector works especially well with a draped background when I want to create highlight and shadow detail. As a small light source, it casts harsh shadows, creating exactly the harmony of light I want in the image. In the third method, I illuminate the background with a 32-inch Larson Starfish ($399, Figure 7). The large size of the Starfish creates a diffused, soft quality of light. I’m most likely to use this method
Honeycomb grid shown installed inside the reflector.
with a scenic muslin behind my subject, to get soft light evenly illuminating the background.
•
The scenic muslin itself rather than fancy draping provides the interest here. Due to
The reflector is mounted on a White Lightning X1600.
• 4-way barn door also attached to the reflector.
the size of the starfish, you’ll always need a flag of some kind to block the subject from extraneous light. When I use my 4x6 Larson
Figure 3
Figure 5
Soff Box as the main light, it becomes a flag when I tuck the Starfish behind the edge. These are just three possible solutions. If you have an extra soft box, consider using it as a background light. Once you have your portrait lighting setup in place, photograph each light individually to determine if it’s providing light only in the desired location. I once photographed a subject with only the hair light turned on, and discovered it was spilling light onto the background. A few
Figure 6
Figure 7
corrective measures kept it from further contaminating the background. If you’re not currently incorporating a background light in your portrait setup, consider adding one. Done properly this additional light will contribute dimension and drama to the final image. �
Model: Claire Bougie Background: www.superlitebackdrops.com Equipment: Photogenic & White Lightning (Paul C. Buff)
December 2008 • Professional Photographer • 51
THE GOODS: PRO REVIEW
Deliver us from convention hall lighting. A new flash modifier with the capacity for soft, subtle, directional light is a blessing for location and event photographers.
Light Box looks larger than, but similar to other strobe light modifying devices. But the difference in effect amazed me. This rectangular chalice-like attachment combines the
B Y S A R A F R A N C E S , M . P H O T O G .C R .
best features of studio soft boxes, diffusion
The Ultimate Light Box
covers and bounce techniques. On-camera or off, it can transform the light to be directional, reflected, diffused or bounced. For a fast on-camera lighting application,
The ultimate test of the location and event
I’ve used them all: a tiny built-in diffuser,
photographer is his ability to control strobe
pop-up bounce card, bare bulb, mini soft
in hard, fast, changing light conditions.
boxes, and sophisticated devices affectionately
whole system of compatible parts that you
Available light just isn’t viable for sharp
known as Tupperware. Each has its points,
can combine and re-combine in various
focus, stopped action, low noise or accurate
but all of them reduce the effective light
ways to suit your style and the conditions at
color in contrasty or low light conditions.
output, and therefore your exposure options.
hand. The 10-piece professional kit contains
Neither is the deer-in-the-headlights, inky
The effect should be seamless, almost
the Ultimate Light Box gets my vote. It’s not actually a single device, but a
the entire Light Box System and all
background look of punchy straight-on flash.
invisible, just a kiss of light for details, color
accessories: strobe attachment adapter;
Maintaining consistency and accuracy is a
and enhancing the subject. I demand one
small translucent dome; large translucent
constant juggling act with unpredictable
thing more. Smooth illumination is the
light box with detachable cover lens and
results, especially with E-TTL metering.
basic starting point for competent exposure,
diffusion filters for extra softening like
Enter the Ultimate Light Box. This adapt-
yet often the image becomes flat, dull,
able light modifying system surpasses all
uninteresting and lacking in dimension and
others in providing soft, beautiful and easily
direction. I strive for a rounding of the face
achievable on-camera lighting. Any on-
with subtle shadows and highlights, rather
camera strobe modifier will soften light,
than a straight-on, floodlit uniformity.
diminish harsh shadows and lower contrast. All images ©Sara Frances
52 • www.ppmag.com
At first, the translucent-plastic Ultimate
I photographed Steve and Laura Moses of Vantage Point Productions speaking at two different videographers conventions. Compare the best soft box available at that time (bottom, left), where the background competes for attention, to the far more natural, real and subtly dimensional result of the Ultimate Light Box (bottom, right).
than scintillating and with little action. The
filters and translucent cover lens. Plus,
background for the speakers is usually a
it delivers the most sought-after result
black curtain. Halls are dimmed for presenta-
of all: directional light. Showing almost
tions and then the walls suck up light like
unbelievable qualities of subtle rounding,
black holes. Straight-on flash blinds the
a single, bounced on-camera strobe can
speakers, annoys the attendees, and looks
look like a multi-light portrait studio
amateurish. Soft light is better, but it’s still
setup with the Ultimate Light Box from
just flat. Not with the Ultimate Light Box.
Harbor Digital Design. �
The system delivers all the desirable aspects of soft, shadow-free strobe, and you can control the degree of softness with the system’s small dome, diffusion
For more information on the Ultimate Light Box, visit www.harbordigitaldesign.com.
The 10-part kit gives you everything you need to meet any lighting conditions. The Ultimate Light Box combines the best features of all other strobe light modifiers.
inside a studio soft box; large black light box that works like a snoot; large reflector; minireflector, sensor shield for strobes without TTL; and colored filters. Diffusion attachments often break or fall off the camera. The Ultimate Light Box assembles with a decisive snap and won’t fall off. The secret is the molded attachment collar customized for specific brands and models of strobes. I carry my Canon 5D on a strap over one shoulder, and the Ultimate Light Box doesn’t brush off in crowds or fall off embarrassingly when bouncing against my hip. And it’s a great bargain, too, because every optional piece is included in the Pro Pack, street price $104.95. If you damage a part, you can order a replacement a la carte. If you get another brand of strobe, your can order the appropriate attachment collar alone. The Ultimate Light Box surpasses its competition in convention photography, one of the photographer’s most difficult assignments. The subject matter is usually less
Capturing a model, a projected screen image and the audience was something I found virtually impossible until I discovered the ULB. Adam R. Mancini, videographer presenter, pictured.
All images captured with a Canon EOS 5D with a Canon Speedlite 580EX on camera, the translucent ULB bounced without the cover lid, minimal color optimization applied in Adobe Lightroom. Images by Sara Frances shown with permission of the WEVA 18th Annual Wedding & Event Video Expo (www.weva.com).
December 2008 • Professional Photographer • 53
© Sandy Chick
Think about it: if you learn to see light in a certain way now, how will you see it next year? You can’t stop learning. Early on, I was intent on being the next Ansel Adams. But I found that I truly love creating character studies. I love bringing out a person’s beauty—whatever kind it is—in a photograph. And the education (from PPA, NEIPP, competitions, and mentors), my insatiable curiosity, and a desire to excel turned my love of photography into a successful business and art form.
IT’S A CONSTANT PURSUIT OF EXCELLENCE Don Chick, M.Photog.Cr., CPP Chick Photography PPA Member since 2000
ONE OF THE MANY FACES OF PPA
Professional Photographers of America | www.PPA.com | 800.786.6277 |
[email protected]
It pays to be on guard and proactive when the economy is slumping, says Bob Hawkins. He's reining in expenses, shoring up his business, and remaining optimistic about the future. BUSINE SS
A
By Stephanie Boozer
All images ©Bob Hawkins
s the reality of financial hardship, a shrinking middle class, and a general consumer malaise seems to have settled in across the country, what’s a photographer to do? “Don’t lose hope,” says Bob
Hawkins, M.Photog.MEI.Cr., CPP, of Bob
Hawkins Studio in Newton, Iowa. With over 30 years in the business, Hawkins has weathered many an economic storm. But with America’s suffering economy, and locally, a major spike in unemployment in Newton,
Hawkins is in the midst of one of the worst yet. For about a century, Newton was the headquarters of Maytag Corp. and home of its largest factory. Fred L. Maytag’s thriving company propelled the small town into a happily employed, self-sufficient entity. That is, aside from the famous workers strike of 1938, when the governor of Iowa declared martial law and the National Guard surrounded the factory with tanks and machine guns at the ready until the dispute was resolved. But in the spring of 2006, change was in the air. Whirlpool Corp. bought out Maytag, and Newton residents were anxious about the plant’s fate. To Hawkins and his wife, Sari, the merger was a black cloud on the horizon. “It couldn’t be good for Newton in the short run,” says Hawkins. The merger could mean layoffs or worse, plant closure, and that could make a big impact on their business. The Hawkinses brainstormed over
Hard times A depressed local economy spurred Bob Hawkins on a new path 72 • www.ppmag.com
what precautions they could take if the worst should happen. They looked at their expenses for problem areas, and focused on belt-tightening and resolving their debts.
“You get your business rolling along, then all
gradual. The customer count hasn’t changed,
and the high school senior class numbers only
of a sudden you see the environment
but those customers are spending less. It’s
200 this year, and fewer in classes behind.
changing,” says Hawkins. “I decided I could
not a drastic reduction in average sales. A
Newton’s market has changed,” says
either ride on top of the wave or go under
senior portrait session might include five or
Hawkins. “It used to be much easier to throw
wishing I’d done something. We chose to be
six poses now rather than 10. Or parents
a shingle out and get people in the door, but
proactive and it’s paying off.”
might pass on team sports accessories like
customer loyalty is different these days. People
photo buttons and trading cards. “Fortunately,
have more choices. So the question becomes,
atically laid off upper management, before
we can’t say that business is bad,” says Hawkins,
what do you do to create new business?”
announcing the plant’s impending closure.
thanks to rethinking the cost of sales.
The worst did happen, as Whirlpool system-
Roughly 4,000 Newtonians lost their jobs in
But staying afloat isn’t Hawkins’ only chall-
Constant evolution is crucial to a studio’s survival, says Hawkins. With new competitors
2007. And health insurance. And pensions.
enge. The town of Newton is aging, and the
on the field in the form of just about anyone
In a town of just over 15,000 residents,
demographics are changing. Hawkins describes
with a digital camera, and an increasingly
that’s a massive hit.
it as a “gray community,” where the average
savvier consumer base, photographers need
age of the residents is about 50. Births are down,
to adapt. A major component of adapting is
The effects on Hawkins’ studio have been
BUSINE SS
a good sense of customer service and the
Before assuming a role in the studio, Sari
ability to build a strong relationship with
Hawkins had been a McDonald’s store man-
every client—the rising number of boutique
ager. “She actually went to Hamburger
studios and other businesses is solid evidence.
University back in the ’70s,” says Hawkins.
The Hawkinses started with a redesign of
“It means she gained a strong focus on cus-
their Web site, which is still in progress, to
tomer service. It may be clichéd, but I really
appeal to a new generation. They’ve found
feel you should treat people the way you want
that people will drive over 100 miles for
to be treated. We try to smile a lot, and most
senior portraits and wedding photography,
important, listen to our customers.”
and they are avidly working that angle as well. “We’re looking at every aspect of what we
The Hawkinses are still exploring marketing approaches and business strategies for
do, from pricing to style, to do the best we
surviving the soft economy, but the most
can to be appealing to a new demographic,”
important part of their story is that it pays
says Hawkins. “It’s obvious in this business
to be on guard and proactive. Knowing what
climate that we need to make changes. Those
you’re spending, where your money is going,
of us who’ve been out here for a while really
and most important, planning for the future
need to recognize that the market is different.”
is key to survival, says Hawkins.
As for the town of Newton, good news is on the horizon. A manufacturer of wind power generators is moving to town within the next year, creating possibly 400 to 500 jobs. There are also rumors that another maker of wind generators is scoping out Newton, and murmurs of other potential employers. Diversified employment makes a stronger town that’s resistant to economic downturns. A new runway has been added to the Newton Municipal airport, and the recently built Iowa Speedway hosted its first Indy last year, so there are definitely signs of new life around town. “In the long run, this change in the community will be for the better,” says Hawkins. “I sense that everything’s going to be okay. As the employers come back, the community will rally and younger people move in. The evolution of the town is just beginning.” �
Stephanie Boozer is a photographer and freelance writer in Charleston, S.C.
74 • www.ppmag.com
“SuccessWare is the single most important tool for keeping my business on track. It allows me to see and understand all the many facets of my business and is the key ingredient in the creation of our annual business plan. SuccessWare is the only way I can objectively know that I am making the right decisions about my studio’s growth.” Sandy Puc’ Expressions | Littleton, Colorado
Read Sandy’s story at successware.net/success_stories.
SuccessWare is the only studio software that manages your clients, prices your products, pays your bills, and helps you plan for more profit. All this…plus financial reports that actually make sense!
© 2008 Expressions
“SuccessWare opened my eyes to what business is all about.”
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PURCHASE OR LEASE | WINDOWS & MAC GET YOUR FREE DEMO AT WWW.SUCCESSWARE.NET | 800.593.3767
There are some offers that a mom can’t refuse. Give her lots of expressions and poses in a smartly designed package that serves a purpose. Kay Eskridge shares four of her most popular ideas. MARKETING
By Kay Eskridge, M.Photog.Cr., CPP
Mommy trends
O
Programs today’s parents are sure to love perating under the adage “remarkable things get
friends, family and coworkers about them. MOMMY PLAY DATE CARDS. Our
remarked about,” we’ve
favorite—these are hot, hot, hot! We’ve
created a variety of
updated the social tradition of the once fash-
photography programs
ionable calling card for today’s busy families.
that today’s moms are
We photograph mother and child portraits
sure to love—love so
much that she’ll tell her
and print the images on personalized Play Date Cards, with the family’s contact info
Anything goes for our Birthdays Rock package. The child gets to have tons of fun, and the parents get a fantastic set of images.
All images ©Kay Eskridge
printed on the other side and room enough to jot down a date. The Play Date session is a mini version of our regular portrait sessions and part of our special 50-card package price. These are our best new marketing ploy. We have our Play Date Cards printed by White House Custom Colour (www.whcc.com). We like the variety of papers they offer, and we don’t have to order huge quantities at a time. BIRTHDAYS ROCK. Mom can bring in whatever colorful, zany clothing and props she likes for a session where just about anything goes. Birthdays Rock sessions focus on fun, even if it means jumping on the furniture or standing on one’s head. This is about celebrating the spirit of one special child on his or her big day. FACES OF ME. A child can make a million faces and a mom knows them all—
item, we recommend bringing in a few
surprise, joy, bored, sad, silly, angry, thoughtful.
clothing changes. We vary the background
Our Faces of Me program aims to capture
to coordinate. Mothers love getting to par-
and preserve the special expressions that
ticipate in creating this session by bringing
mean so much to a mother. We keep the
in all manner of props for her child.
session simple with one background and
To keep things simple for our moms, we
one outfit and concentrate on the child’s
made the price the same for the last three of the
face. Getting mom to interact with her little
sessions described above. That price includes
one is a great way to get the faces she loves,
a special portrait fee and photo items
while giving her a memorable experience.
available only in these program packages.
WHEN I WAS 1, 2, 3 … A mother
These programs were created for our
can’t help but associate a special time in her
target market—mothers. They give moms a
child’s life with the things her child’s attached
way to participate in the sessions and share
to. A favorite toy, a particular book, a silly
in the excitement of creating the portrait
hat, a dress-up cape, all of these have come
from the very start. And you better believe
into play at our studio. Along with the special
they’re motivated to spread the word! �
The Faces of Me program preserves the special expressions that mean so much to a mother.
Kay & Co. Photography is in Phoenix. See her Web site at www.imagesbykay.com.
Setting a play date becomes a chic event, not to mention a marketing opportunity for the studio, with Mommy Play Date Cards. We offer an extra touch of style with the optional card holder from Kimbra Studios as an add-on sales opportunity (www.kimbrastudios.com).
December 2008 • Professional Photographer • 77
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Digital Lenses 16/2.8 Fish-eye ............. 799.99 20/2.8 (72ø) .....................559.99 28/2.8 (49ø) .................... 249.99 35/1.4 (55ø) ..................1399.99 50/1.4 (55ø) .................... 349.99 50/2.8 Macro (55ø) .....449.99 85/1.4 Carl Zeiss (72ø)1299.99 100/2.8 Macro (55ø)...639.99 135/2.8 STF (72ø) ..... 1199.99 135/1.8 Carl Zeiss (77ø) .1399.99 300/2.8 G APO ........... 5999.99 500/8 Reflex ....................699.99 11-18/4.5-5.6 DT (77ø) ... 649.99 18-70/3.5-5.6 DT (55ø)..... 199.99 18-200/3.5-6.3 DT (62ø) ...................................................................499.99 70-200/2.8 G APO (77ø) ................................................................1799.99 24-105/3.5-4.5 D (62ø) ... 469.99 75-300/4.5-5.6 (55ø)........229.99
Pentax SMCP-DA Lenses for Digital Only 14/2.8 ED IF (77ø)........ 614.95 35/2.8 Mac Limited (49ø)..599.95 21/3.2 AL Limited i1BODBLFw(49ø) ................................................439.95 40/2.8 Limited i1BODBLFw(49ø) .......................................................269.95 70/2.4 Limited i1BODBLFw (49ø) .......................................................479.95 200/2.8 ED IF .................. 949.95 10-17/3.5-4.5 ED IF (77ø) ...429.00 300/4.0 ED IF SDM (77ø)...............................................................1299.95 12-24/4 ED AL IF (77ø) 719.95 16-45/4 ED AL (67ø) .........399.95 16-50/2.8 ED AL IF SDM (77ø) ......................................................699.95 18-55/3.5-5.6 AL II (52ø) ...................................................................149.95 18-250/3.5-6.3 ED IF AL (62ø) .......................................................449.95 50-135/2.8 ED IF SDM (67ø) ..........................................................749.95 50-200/4-5.6 ED (52ø) . 219.95 55-300/4-5.8 ED (58ø) .....399.95 AF Lenses for 35mm & Digital SLRs 31/1.8 Limited (58ø) .. 869.95 50/1.4 (49ø) ........................199.00 43/1.9 Limited i1BODBLFw(49ø) .......................................................469.95 50/2.8 Macro (52ø) with Case ......................................................394.95 77/1.8 Limited (49ø) ..... 679.00 100/2.8 D FA Mac (49ø)...524.95
Zuiko AF Lenses for Digital Only 8mm f/3.5 Fish-eye .... 659.95 35/3.5 Macro (52ø) .....189.95 50/2.0 Macro (77ø)..... 490.95 150/2.0 EP (82ø) ........2199.95 300/2.8 ED .................... 5894.95 7-14/4.0 ED (72ø) ......1594.95 11-22/2.8-3.5 ED (72ø) ......................................................................649.95 12-60/2.8-4 ED SWD (72ø)..............................................................799.95 14-42/3.5-5.6 EZ (58ø) . 239.95 14-54/2.8-3.5 (67ø) .....424.95 18-180/3.5-6.3 ED (62ø) ...................................................................409.95 35-100/2.0 ED (77ø).........................................................................2199.95 40-150/4.0-5.6 (58ø) ...........................................................................249.95 90-250/2.8 ED (105ø) ......................................................................5199.95 EC-14 1.4x T.C. ............... 384.95 EC-20 2x T.C.....................479.95 MF-1 OM Lens Adapter #260231 ..................................................99.95
“D-SLR” Digital SLR Camera t.FHB1JYFMTt%*(*$****NBHF1SPDFTTPS t-$%.POJUPSXJUIMJWFWJFXNPEF t7JFXmOEFS'SBNF$PWFSBHF t6TFT$BOPO&'-FOTFT YGBDUPS t4%$'$BSE4MPUTtGQT4IPPUOH4QFFE t+1&(3"8*NBHF#VSTU3BUF t4&$4ZOD4QFFEt*40 t $ZDMF4IVUUFS6OJUt6TFT-1&#BUUFSZ t%JNFOTJPOTYYt8FJHIUP[#PEZ0OMZ
Nikon DX ED-IF Lenses for Digital Only 10.5/2.8 Fish-Eye.......................................................................................CALL 12-24/4 G AF-S (77ø) .............................................................................CALL 16-85/3.5-5.6 G AF-S VR (67ø) .........................................................CALL 17-55/2.8 G AF-S (77ø)..........................................................................CALL 18-55/3.5-5.6 G AF-S (52ø) .................................................................CALL 18-55/3.5-5.6 G AF-S VR (52ø) .........................................................CALL 18-70/3.5-4.5 G AF-S (67ø) .................................................................CALL 18-135/3.5-5.6 G AF-S (67ø) ..............................................................CALL 18-200/3.5-5.6 G AF-S (72ø) ..............................................................CALL 55-200/4-5.6 G AF-S (67ø) ..................................................................CALL 55-200/4-5.6 G AF-S VR (52ø) ..........................................................CALL Nikon D-Type AF Lenses 14/2.8 D ED...........................................................................................1419.95 16/2.8 D (39ø) with Hood ...............................................................769.95 20/2.8 D (62ø) ........................................................................................489.95 24/2.8 D (52ø) ........................................................................................309.95 24/3.5 D ED PC-E (77ø) ........................................................................CALL 28/2.8 D (52ø) ........................................................................................234.95 35/2.0 D (52ø) ........................................................................................319.95 45/2.8 D ED PC-E Micro (77ø) ..........................................................CALL 50/1.8 D (52ø) ........................................................................................109.95 50/1.4 D (52ø) ............................................................................................CALL 60/2.8 D Micro (62ø) (1:1) ...............................................................399.95 60/2.8 G AF-S ED Micro (62ø) .......................................................479.95 85/1.8 D (62ø) with Hood ...............................................................399.95 85/1.4 D IF (77ø) ................................................................................1024.95 85/2.8 PC-E Micro (77ø) ......................................................................CALL 105/2.8 G AF-S ED-IF VR Micro (62ø).......................................759.95 105/2.0 DC D with Hood (72ø) ....................................................924.95 135/2.0 DC D (72ø) ..........................................................................1069.95 180/2.8 D ED-IF (72ø) ........................................................................749.95 200/4 D ED-IF Micro with Case (62ø) ...................................1339.95 200/2 G AF-S ED-IF VR (52ø)......................................................3999.95 300/4.0 D AF-S ED-IF (77ø)..........................................................1124.95 300/2.8 G AF-S VR (52ø-R) ..........................................................4499.00 400/2.8 G AF-S VR ED (52ø) ..............................................................CALL 500/4.0 G AF-S VR ED (52ø) ..............................................................CALL 600/4.0 G AF-S VR ED (52ø) ..............................................................CALL 14-24/2.8 G AF-S ED-IF ..................................................................1549.95 17-35/2.8 (77ø) ...................................................................................1499.95 24-70/2.8 G AF-S ED-IF (77ø) ............................................................CALL 24-85/2.8-4.0 D (72ø) .........................................................................564.95 24-120/3.5-5.6 G AF-S VR (72ø) ..................................................509.95 70-200/2.8 G AF-S ED-IF VR (77ø) ..........................................1629.95 70-300/4.0-5.6 G (62ø) ......................................................................134.95 80-200/2.8 D with Collar (77ø).....................................................924.95 80-400/4.5-5.6 D VR (77ø) ...........................................................1429.95 200-400/4 G AF-S ED-IF VR (52ø) ...........................................5199.95 TC-14E II (1.4x) Teleconverter....................................................... 409.95 TC-17E II (1.7x) Teleconverter........................................................419.95 TC-20E II (2x) Teleconverter ...........................................................429.95
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Canon EF-S Lenses for Digital Only Compatible with the 20D, 30D, 40D, 50D & Digital Rebel only * Price after 60/2.8 USM Macro (52ø)......................370.00* Rebate 10-22/3.5-4.5 USM (77ø)......................660.00* 17-55/2.8 IS USM (67ø) ........................960.00* 17-85/4-5.6 IS USM (67ø) ................................................................515.00 18-55/3.5-5.6 IS USM (58ø) ............................................................170.95 18-200/3.5-5.6 IS (72ø) ..........................................................$50 Rebate 55-250/4.0-5.6 IS USM (58ø) .............................................................CALL Canon EF Lenses 15/2.8 ................................. 610.00 20/2.8 USM (72ø) .........445.00 24/2.8 (58ø) .................... 305.00 28/2.8 (52ø) .....................180.00 28/1.8 USM (58ø) ........ 420.00 35/2 (52ø) .........................240.00 50/1.8 (52ø) ....................... 89.95 50/1.4 USM (58ø) .........325.00 50/2.5 Macro (52ø)..............................................................................250.00 MP-E 65/2.8 1x-5x Macro (58ø) ...................................................865.00 85/1.8 USM (58ø) ........ 355.00 100/2 USM (58ø) ..........410.00 100/2.8 USM Macro (58ø) ............................................................ 455.00* 400/4.0 DO IS (52ø rear) ...............................................................5500.00 24-85/3.5-4.5 USM (67ø)..................................................................322.00 28-90/4.0-5.6 III (58ø) ............................................................................99.95 28-105/3.5-4.5 II USM (58ø) ...........................................................229.95 28-135/3.5-5.6 IS USM (72ø) .........................................................409.95 28-200/3.5-5.6 USM (72ø) ...............................................................375.00 70-300/4-5.6 IS USM (58ø) .......................................................... 499.00* 70-300/4.5-5.6 DO IS USM (58ø) .............................................1190.00 75-300/4.0-5.6 III USM (58ø) ..........................................................200.00 Canon EF “L” Lenses 14/2.8 II........................... 2049.00 24/1.4 (77ø) ..................1170.00 35/1.4 USM (72ø) ..... 1180.00 50/1.2 USM (72ø) ......1400.00 85/1.2 USM II (72ø).. 1870.00 135/2.0 USM (72ø) ......935.00 180/3.5 Macro USM (72ø) ............................................................1300.00 200/2.8 USM (72ø)...............................................................................695.00 300/4.0 IS USM (77ø) ................................................................... 1125.00* 300/2.8 IS USM (52ø rear) ............................................................4100.00 400/5.6 USM (77ø)............................................................................1140.00 400/2.8 IS (52ø rear) ........................................................................6800.00 500/4 IS USM (52ø rear)................................................................5800.00 600/4.0 IS (52ø rear) ........................................................................7600.00 16-35/2.8 II (82ø) ............................................................................ 1350.00* 17-40/4 USM (77ø) ........................................................................... 650.00* 24- 70/2.8 (77ø) ............................................................................... 1110.00* 24-105/4 IS USM (77ø) ..................................................................1059.00 28-300/3.5-5.6 IS USM (77ø) ......................................................2300.00 70-200/4.0 USM (67ø) .......................................................................600.00 70-200/4.0 IS USM (77ø)............................................................ 1025.00* 70-200/2.8 USM (77ø) ................................................................. 1110.00* 70-200/2.8 IS (77ø)........................................................................ 1574.00* 100-400/4.5-5.6 IS USM (77ø) ...................................................1460.00 1.4x II Teleconverter......................................................................... 265.00* 2x II Teleconverter ............................................................................ 265.00*
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EOS-1D Mark III
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“D-SLR” Digital SLR Camera t'VMM'SBNFYNN%*(*$**$.04TFOTPS t.FHB1JYFMTt-$%.POJUPS t6TFT$BOPO&'-FOTFTt4-3WJFXmOEFS t$' .%$BSE4MPUXJUI1MBZCBDLmMFTJ[FEJTQMBZ BOE'MBTI4ZODt"VUPPS.BOVBM'PDVT t1SPHSBN "QFSUVSF 4IVUUFS %FQUIPG'JFME #SBDLFUJOH .BOVBMtGQT#VSTUSBUF t64#t*40t6TFT#1"#BUUFSZ t%JNFOTJPOTYYt8FJHIUP[CPEZPOMZ
nt
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12MegaPixels &04%#PEZ0OMZ .................................................... #CAE5D ,JUXJUINN“L” IS64. ...................#CAE5D24105
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t.FHB1JYFMTt4-3WJFXmOEFS t-$%.POJUPSXJUI-JWF7JFXt64# t6TFT$BOPO&'-FOTFT YGBDUPS
t$'$BSE4MPUti1JDUVSF4UZMFw4FUUJOHT t7FSTBUJMF&YQPTVSF.FUFSJOH4ZTUFNt#VSTUSBUFGQT t4JOHMF $POUJOVPVT PS.BOVBM'PDVTt*40 t&04*OUFHSBUFE$MFBOJOH4ZTUFNt6TFT#1"#BUUFSZ t%JNFOTJPOTYYt8FJHIUP[#PEZ0OMZ
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A700 Body Only .................................................. #SODSLRA700 Kit with 18-70mm............................................#SODSLRA700K Kit with 16-105mm..........................................#SODSLRA700P
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“D-SLR” Digital SLR Camera t4VQFSTPOJD8BWF'JMUFS t.FHB1JYFMTtTruePic III Digital Image Processing 4ZTUFNt3VHHFE8FBUIFSQSPPG.BHOFTJVNBMMPZ $POTUSVDUJPOt$'9%$BSE4MPUTt%VBMBYJT 'SFFBOHMF-$%t4-3WJFXmOEFSt-JWF7JFX'VODUJPO t'VMM'SBNF;VJLP4QFDJöD-FOTFT t*O$BNFSB#MVS3FEVDUJPOt64#tGQT#VSTU t4FMFDU*40t6TFT#-.-JUIJVNJPO#BUUFSZ t%JNFOTJPOTYYt8FJHIUP[#PEZ0OMZ
10MegaPixels &#PEZ0OMZ ................................................... #OLEE520 &,JUXJUINN;VJLP-FOT.......... #OLEE5201442
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MegaPixels
D40 Kit with 18-55mm DX.............................. #NID401855
12MegaPixels %#PEZ0OMZ ...........................................................#NID90 Kit with 18-105mm VR-FOT ........................ #NID9018105
“D-SLR” Digital SLR Camera t.FHB1JYFMTt-$%.POJUPSt4-37JFXmOEFS t"DDFQUT/JLPO"'-FOTFT YGBDUPS t4%4%)$$BSE4MPUt#VJMUJO4QFFEMJHIU t*OUFHSBUFE%VTU3FEVDUJPO4ZTUFNt64# t4UPQ.PUJPO7JEFPtGQT#VSTUt*40 t*O$BNFSB*NBHF&EJUJOH3"81SPDFTTJOH t%JHJUBM7BSJ1SPHSBN.PEFTt6TFT&/&-#BUUFSZ t/JLPO*ODMJNJUFEXBSSBOUZJODMVEFE t%JNFOTJPOTYYt8FJHIUP[
12MegaPixels %#PEZ0OMZ ...................................................... #NID300 Kit with 18-135mm DX ...............................#NID30018135 Kit with 18-200mm DX ...............................#NID30018200
“D-SLR” Digital SLR Camera t.FHB1JYFMTt-$%.POJUPSt4-3WJFXmOEFS t6TFT/JLPO"'-FOTFT YGBDUPS t4%4%)$ )JHI$BQBDJUZ $BSE4MPU t1SPHSBN "QFSUVSF 4IVUUFS #SBDLFUJOH .BOVBM &YQPTVSF $PNQFOTBUJPOt0QUJPOBM8JSFMFTT5SBOTNJUUFS t"VUPPS.BOVBM'PDVTt*40 tGQT#VSTUt64#t6TFT&/&-FCBUUFSZ t/JLPO*ODMJNJUFEXBSSBOUZJODMVEFE t%JNFOTJPOTYYt8FJHIUP[#PEZ0OMZ
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Superia Reala CS-100 ...............4.95...............— ..............— Superia CN-100.........................1.99...............— ..............— Superia CA-200.........................1.99...............— ..............— Superia CH-400.........................1.99...............— ..............— Superia CU-1600 ......................6.24...............— ..............— Press CZ-800 .............................3.39...............— ..............— Pro 160C ....................................5.95............ 3.79 ........... 7.70 Pro 160S ....................................5.70............ 3.70 ........... 7.70 Pro 400H ...................................6.15............ 3.95 ........... 7.99 Pro 800Z ....................................6.39............ 4.59 ........... 8.39
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12MegaPixels %#PEZ0OMZ ...................................................... #NID700 Kit with 24-120mm VR-FOT ......................#NID70024120
“D-SLR” Digital SLR Camera t.FHB1JYFMTt4FMG$MFBOJOH4FOTPS t-JWF7JFXt7("-$%.POJUPSt4-3WJFXmOEFS t6TFT/JLPO"'-FOTFTt'9GPSNBU$.04 GVMMGSBNF t$PNQBDU'MBTI$BSE4MPUt1JDUVSF$POUSPM4FUUJOHT t)%.*7JEFP0VUt%VTU8BUFS3FTJTUBOUt64# tQPJOU"'4ZTUFNt"DUJWF%-JHIUJOH.PEF tGQT#VSTUt*40t6TFT&/&-FCBUUFSZ t/JLPO*ODMJNJUFEXBSSBOUZJODMVEFE t%JNFOTJPOTYYt8FJHIUP[CPEZPOMZ
Digital Flash System '-3429.95 3'3JOHMJHIU229.95 43'3JOHMJHIU4FU479.95 5'5XJO'MBTI449.95 45'5XJO'MBTI4FU629.95
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2'MBTI5%3673.00 2'MBTI9%3769.00
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35mm
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Portra 160NC.............................5.49....(5) 20.75 ...(5)39.95
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35mm Roll Roll 36 Exp 120 220 Velvia RVP-50 Pro .....................6.89............ 4.99 ........... 9.99 Velvia RVP-100 .........................6.25............ 4.59 ........... 8.99 Astia RAP-100F .........................5.80............ 4.59 ........... 8.39 Provia RDP-100F .......................5.99............ 3.89 ........... 8.39 Provia RXP III 400X....................9.95............ 5.99 ..............— RTP 64 Tungsten........................8.95............ 4.95 ..............—
35mm 35mm Roll 24 Exp 36 Exp 120 FP4+ 125..................................3.95............ 5.50 ........... 3.95 HP5+ ........................................3.50............ 3.95 ........... 3.50 Delta Pro 100 ............................3.50............ 5.50 ........... 3.50 XP-2 Super 400 .........................3.95............ 5.50 ........... 3.59 35mm Roll Roll 36 Exp 120 220 Neopan Acros 100.....................4.50............ 2.95 ..............— Neopan 400 ..............................2.99............ 2.95 ..............— Neopan 1600 ............................4.50...............— ..............—
Kodachrome PKR-64 ..............12.95...............— ..............— Ektachrome E-100VS ................7.50............ 5.50 ...(5)51.95 Ektachrome E-100G ..................7.50............ 5.59 ..............— Ektachrome E-100GX................7.50............ 5.79 ..............— Ektachrome E-200 ....................9.95............ 5.99 ..............— Ektachrome EPP-100 ..............12.95............ 6.99 ..............— Ektachrome EPY-64T ..............11.99............ 6.95 ..............—
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D60 Kit with 18-55mm VR ............................. #NID601855 ,JUXJUINNNNVR ... #NID601855200
64
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D90
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Plus-X 125 (PX) ........................5.95....(5) 19.95 ..............— Tri-X 320 (TXP) ............................—....(5) 19.95 ...(5)37.50 Tri-X 400 (TX)............................3.95............ 3.95 ..............— T-Max 100 (TMX) .....................5.50....(5) 18.50 ..............— T-Max 400 (TMY) .....................5.50............ 3.95 ..............— T-Max 3200 (TMZ) ...................7.50...............— ..............— BW T400CN ...............................5.50....(5) 22.50 ..............—
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1000ws 2-Head Kit t841PXFS1BDLXJUI3BEJP4MBWF t'BO$PPMFE-BNQIFBE t)PVTFIPMEUP1$4ZODDPSE t*NQBDU-JHIU,JU#BH t:FBS8BSSBOUZ %:.8*71+ $1959.95
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Minimum Shipping USA (Except AK & HI) $7.95, up to 1 lb. Add 95¢ for each additional lb. For insurance add 50¢ per $100. © 2008 B & H Foto & Electronics Corp. Prices are valid thru December 9th 2008. Not responsible for typographical errors.
Find strength in numbers by pooling your experience and creativity with like-minded photographers who share your spirit of cooperation. You’ll build community, make new friends and maybe even learn something. N E T WO R K I N G
By Dave Huntsman, M.Photog.Cr.
Groups of support
R
Live, laugh and learn better with peer photographers ecently, I started thinking about how I’d gotten to this point in my photography career. Many people
have helped along the way,
color accents, then photographed the collage on medium-format transparency film. We split the cost of the color separation and printing, and cut them ourselves. While most everyone around us was doing black and
over the years. These photographers have
white, we were produced affordable custom
been mentors, counselors, cheerleaders and
color marketing pieces. That shared creative
close friends.
process was the startup of a marketing
Early in my career, several of us who were new to photography grouped our marketing
brainstorming group. I didn’t realize at the time that this group would be friends for life.
particularly a certain group
pieces to save money. This was pre-digital, and
Our meetings have sometimes been
of friends I’ve met at con-
offset color printing was expensive. We grouped
structured, sometimes informal and chatty.
our wallet images and copy four-up, applied
We meet monthly when we can, but always
ventions and seminars
©Jessica Vogel
80 • www.ppmag.com
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N E T WO R K I N G ©Dave Huntsman
stay in touch by phone and e-mail. We
elsewhere, too, for participants in local guilds.
gather at one another’s studios to see how
When experienced photographers encourage
things are done there. I’m always excited
newer members, you see a definite rise in
afterwards by what I’ve learned.
the number of people who attain the PPA
It’s amazing what baring your soul to
Master of Photography degree. You also see
your friends can do for your outlook. We
more photographers survive the transition
have so much fun laughing at our dumb
from hobbyist to professional because of the
mistakes and sharing our victories with
information learned from their peers.
people who understand. Our group is diverse. We have members
Forming a group is simple when you already have friends in the industry. We started out
with business skills, marketing know-how,
with about five photographers from different
technical knowledge, computer skills, print
market areas, at least 60 miles apart. We
competition advice, expertise in practically
could share without fear of tipping our hand
every area of photography. The new photog-
to the competition. We disclosed sales figures,
raphers keep me excited about trends, and
session numbers, profit and loss statements,
are happy to share info on blogging, photo
marketing ideas and personal data. You
forums, and marketing to the electronic
have to be able to trust the members of the
generation. We old dogs can teach skills and
group with intimate information.
knowledge to the younger pros, too The artistic and technical quality of the group’s individual work has grown incredibly
Our group now comprises eight to 12 members, some in overlapping market areas. Everyone may invite someone new to
in the past few years; members have won just
a meeting after clearing it with the others.
about every state and national photographic
We want to have a sort of probation period
print award. To me this is solid evidence of
to see how well the individual will fit in. We
the benefits of meeting with friends and
know after two or three meetings.
sharing knowledge. I’ve seen such evidence
©Dave Huntsman
82 • www.ppmag.com
Take your time at the start, and start small
N E T WO R K I N G
with friends you’re comfortable with. As you meet people at industry events, the group will grow organically. Keep things loose at first. It’s hard to see a group fly apart because of one member who doesn’t get sharing. Designate a day every month to get together; routine makes it more likely that everyone will show up. It’s a good idea to plan to discuss a general topic of interest so that every meeting doesn’t turn into a bull session —a good thing at times, but negativity quickly gets old and just plain defeats the purpose. Don’t wait for the perfect time, just go out and meet with some like-minded people. You’ll be surprised at what it will do for your business and your photography. � Huntsman Photography is in Versailles, Ky. (www.huntsmanphotography.com).
Dave Huntsman and Jessica Vogel present "Portraiture in Today's World" at Imaging USA in Phoenix, Jan. 11-13. Don't miss it! ©Dave Huntsman
84 • www.ppmag.com
©Dave Huntsman
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TOP OF THE
WORLD BY JEFF KENT
For Jerry Kobalenko, the Arctic inspired a compelling career in photography
All images ©Jerry Kobalenko
erry Kobalenko’s professional photography career began with a 350-mile mid-winter solo expedition across the Eastern Arctic. He was hoping to sell the story of his trip to a magazine and knew he’d need photographs to illustrate it. Along the way, Kobalenko discovered he enjoyed
the photography. The Canadian adventurer
published alongside the story in the widely
photography fervently. He learned the finer
found that photography, unlike writing, is an
distributed glossy. The magazine’s editor
points of the craft from the photographers
extroverted art form. It got him out and
loved the article so much, she asked
at the magazines. Good technique was
interacting with people and the environment,
Kobalenko to be a staff writer. He spent the
essential to capturing unique shots of the
while encapsulating the experience in frames.
next five years with Outdoor Canada, and the
farthest reaches of the globe. “I work very
On his return, Kobalenko sold the story
next five at Photo Life magazine as an editor.
hard at getting good images despite the
to Outdoor Canada magazine in Toronto. As luck would have it, his images were
Kobalenko arranged to work around his expeditions to the Arctic, where he practiced
physical demands,” says Kobalenko. “A lot of my images are deceptively simple. It might
“What I do is for people for whom work is play and play is work.”
“You can go to parts of the Arctic that humans have rarely walked on, if ever.”
be a basic shot of a landscape, but I’d had to walk 500 miles to get there. That’s why there are so few Arctic images—it’s a wonderful place but very difficult to access.” About 12 years ago, Kobalenko went freelance as a photographer and writer. He and his wife, Alexandra, who sometimes accompanies him on trips and does all their Photoshop work, settled in a town near Canada’s renowned Banff National Park. By now, Kobalenko had good relationships with a few stock agencies that were excited about his rare Arctic images. Magazine editors were eager to use him because he could provide both writing and photography, thereby conserving their travel budgets. Kobalenko built a business on writing, stock sales, magazine editorial assignments, photography books and speaking engagements, yet he cautions, “Doing something like this is not a business decision. “You are doing it to support a lifestyle.” That lifestyle revolves around an obsession with the Eastern Arctic, an area as remote and difficult to access as any place on earth. The size of Europe, the territory has no highways, few roads, no major airports, and is locked in ice much of the year. The airfare to Resolute, an isolated Inuit village on Canada’s Northwest Passage, is roughly equivalent to two round-trip tickets from New York to Australia. And that’s just to get to the jumping-off place. A charter plane from Resolute to interesting areas of the Arctic wilderness runs more than $22,000 —or else you could wait around for weeks to hitch a ride on a research aircraft. Out in the wilderness, Kobalenko travels hundreds of miles by whatever means he can beg, borrow or barter. “You either have to have a lot of money or a lot of time. I always go north with plenty of time,” he says. Why go to such lengths? For Kobalenko, it’s the connection he feels to the land and
its inhabitants. “The Arctic is a strange
As a photographer, Kobalenko enjoys the
“There are some of us who follow a master
place,” he says. “You either hate it and can’t
working conditions in the Arctic’s long
plan. Others of us are at the mercy of our
wait to get out, or you love it and can’t wait
summer days. There might be six or seven
obsessions. We pursue them regardless of
to go back. I have a real excitement for
hours of warm sunlight, with only one
the economics, regardless of the times,
shooting what hasn’t been shot before. You
f/stop’s difference between noon and
regardless of anything else in life. If we get a
can go to parts of the Arctic that humans
midnight. “It promotes a different way of
few breaks, we find ways to make it work.
have rarely walked on, if ever. And then
working. I often find myself working around
There’s no way to predict success when you
there’s the wildlife. The Arctic is a sort of a
the clock and going to bed when I’m tired,
start out. What I do is for people for whom
cold-weather Galapagos. With so few
not when it gets dark. It’s a strange and
work is play and play is work, and you never
human travelers, the wildlife is tolerant
energizing experience,” He says.
put down the ball.” �
of people. I was photographing some arctic
The Arctic drives Kobalenko’s creative
fox pups, and they kept running up and
spirit, but it’s not for everyone. “To do it, you
sniffing the legs of the tripod. It was
have to be driven by it, and it has to be more
actually quite irritating!”
important than anything else,” he says.
To see more from Jerry Kobalenko, visit www.kobalenko.com.
calendar Submit your organization’s convention, workshop, seminar or exhibition dates to Professional Photographer at least six months in advance. Editors reserve the right to select events to be announced on these pages, and to determine when announcements will appear. Editors are not responsible for conflicting or incorrect dates. For readers’ convenience, each event is identified by a code preceding its name: C=Convention, W=Workshop, S=Seminar, C/E=Approved PPA Continuing Education Seminar, E=Exhibit. Send all Calendar of Events additions or corrections to: Marisa Pitts, Professional Photographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404;
[email protected].
Future Events January 24-26, 2009 C: PP of Nebraska, Midtown Holiday Inn, Grand Island, Neb.; Jeff Funk, 402-991-4413,
[email protected] January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126;
[email protected] February 6-9, 2009 C: Maryland PPA, Columbia, Md.; John Stein, 240-344-1460;
[email protected] February 6-10, 2009 C: PP of Michigan, James B. Henry Center, Lansing, Mich.; Scott Green, 248-318-5182;
[email protected]; www.ppm.org
February 6-8, 2009 C: PP of West Virginia; Morgantown, W.V.; Tom Gilson, 304-232-3686;
[email protected]; www.ppwv.org
March 19-23, 2009 C: PP of California, Pasadena Conference Center, Pasadena, Calif.; Roger B. Daines,
[email protected]; www.prophotoca.com
February 6-10, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat, wilber@jeffcoatphotography; www.ppofsc.com
March 22-25, 2009 C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;
[email protected]
February 8, 2009 S: PP of Oklahoma, Stillwater, Okla.; Ken Helt, 405-372-2670;
[email protected] February 13-15, 2009 C: PP of West Virginia, Morgantown, W.V.; Tom Gilson, 304-232-3686;
[email protected]; www.ppwv.org February 15-16, 2009 S: PPA of Pennsylvania, Radisson Hotel & Conference Center, Camp Hill, Pa.; Scott Weldon, 610641-9025;
[email protected]; ppaofpa.org February 20-23, 2009 C: PP of Oregon, Embassy Suites Hotel, PDX, Portland, Ore.; John Alexander, 541-382-5587;
[email protected]; www.pporegon.com February 20-23, 2009 C: PP of Massachusetts; Steve Meier, 781-8294282;
[email protected]; www.ppam.com February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth, Va.; William Garrett, 434-836-2751;
[email protected] February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-4047762;
[email protected]; www.ppofnc.com February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Mary Gueller, 920-753-5302; Mary Mortensen, 262-754-8889; Deb Wiltsey, 866-382-9772; wppa-online.com
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. January 11-13, 2009 Imaging USA, Phoenix February 23-25, 2009 Studio Management Services, Atlanta March 23-25, 2009 Studio Management Services, Texas June 8-10 92 • www.ppmag.com
Studio Management Services, Atlanta August 24-26, 2009 Studio Management Services, Atlanta November 9-11, 2009 Studio Management Services, Atlanta
Certification Exam January 11-13, 2009, Imaging USA, Phoenix. Call 800-786-6277 to register. February 6, 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.
March 27-29, 2009 S: PP of Oklahoma, Post Oak Lodge, Tulsa, Okla.; Ken Helt, 405-372-2670;
[email protected] March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102;
[email protected]; www.hoappa.com March 28-31, 2009 C: PPSNYS, Desmond Hotel, Albany, N.Y.; Kelvin Ringold, 315-451-3716;
[email protected]; www.ppsnys.com March 28-31, 2009 C: PPA New Mexico, Albuquerque, N.M.; Jessica Lozoya, 505-243-1007;
[email protected]; www.ppanm.com April 3-7, 2009 C: PP of Washington Western States, Great Wolf Lodge, Grand Mound, Wash.; Lisa Lamping, 503-861-1200;
[email protected]; www.ppw.org April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783;
[email protected]; mnppa.com April 19-21, 2009 C: PPA of Pennsylvania, Radisson Hotel and Conference Center, Camp Hill, Pa.; Scott Weldon, 610-641-9025;
[email protected]; ppaofpa.org April 19-22, 2009 C: Northern Light, Breezy Point, Minn.; Jeff Fifield, 218-722-3777;
[email protected]; Nicole Bugnacki, P.O. Box 567, Ironton, MN, 56455; 763-390-6272; www.nlpp.org April 25-28, 2009 C: SEPPA, Athens, Ga.; Tom McCollum, 770-972-8552;
[email protected]; ww.4seppa.com April 25-28, 2009 C: New Hampshire PPA, North Conway, N.H.; Don Chick, 603-335-4448;
[email protected]; www.nhppa.com April 26-28, 2009 S: PP of Michigan, Inn at Bay Harbor, Bay Harbor, Mich.; Scott Green, 248-318-5182;
[email protected]; www.ppm.org
April 26-28, 2009 C: PPA New Jersey, Atlantic City, N.J.; Leslie, 866-985-4300;
[email protected]; www.ppanj.com June 14-15, 2009 S: PPA of Pennsylvania, Radisson Hotel and Conference Center, Camp Hill, Pa.; Scott Weldon, 610-641-9025;
[email protected]; ppaofpa.org August 8-12, 2009 C: Tennessee PPA, Marriott Cool Springs, Franklin, Tenn.; Ernie K. Johnson, 615-5095737;
[email protected]; tnppa.com
October 4-6, 2009 S: PPA of Pennsylvania, Radisson Hotel and Conference Center, Camp Hill, Pa.; Scott Weldon, 610-641-9025;
[email protected]; ppaofpa.org October 18-21, 2009 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;
[email protected] November 1-2, 2009 S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126;
[email protected]; www.ppiowa.com
November 1-2, 2009 S: Northern Light/MPPA Fall Seminar, St. Cloud, Minn.; Nicole Bugnacki, 763-390-6272;
[email protected]; www.mnppa.com November 6-8, 2009 C: PP of Indiana, Marriott East, Indianapolis, Ind.; Terry Bateman, 317-253-6245;
[email protected]; www.ppofi.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
August 21-22, 2009 C: PP of California, South San Francisco Conference Center, S. San Francisco, Calif.; Roger B. Daines;
[email protected]; www.prophotoca.com August 28-32, 2009 S: PP of Oklahoma, Reed Center, Midwest City, Okla.; Ken Helt, 405-372-2670;
[email protected] Septemer 19-21, 2009 C: PP of Nebraska, Midtown Holiday Inn, Grand Island, Neb.; Teri Funk, 402-991-4413,
[email protected]
Lighting Systems For Digital and Film Cameras
The New EXPLORER 1500 Digital Power Supply
September 20-22, 2009 S: PP of Michigan, Crystal Mountain, Thompsonville, Mich.; Scott Green, 248-318-5182;
[email protected]; www.ppm.org
• Uses one or two Speedotron Black Line Light Units and universal accessories.
PPA-Approved Continuing Education Seminars
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PPA members receive both merits and the best published prices.
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February 16-18, 2009 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com February 19-20, 2009 C/E: The Artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; www.artistrymag.com March 15, 2009 C/E: Advanced Outdoor Lighting Techniques with Jeff Dachowski; Alexandria, Va.; Stephanie Millner, 703-349-6269 March 15-20, 2009 C/E: Georgia Group I Mentoring Class; Paul Wingler, 800-483-6208;
[email protected]
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[email protected] 310 South Racine Avenue • Chicago IL 60607 • call us: 312.421.4050 • fax: 312.421.5079 December 2008 • Professional Photographer • 93
2009 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices.
February 8-12, 2009 Delta School, Hot Springs, Ark.; Gary & Kathy Meek, 501-624-3195;
[email protected]; www.deltaschool.com February 8-12, 2009 & August 16-20, 2009 Evergreen School of Professional Photography, Vancouver, Wash.; Sam Gardner; 360-961-2887;
[email protected]; www.ppw.org February 22-26, 2009 Bahamas International School of Professional Photography, Nassau Beach Hotel, Nassau, Bahamas; Kenneth Love, 242-393-5683;
[email protected]; www.bispp.com; Rick English, 508-595-0075;
[email protected] March 15-20, 2009 Triangle Institute, Crowne Plaza, Pittsburgh, Pa.; William Penberthy, 724-452-9200;
[email protected]; www.trianglephotographers.org March 29-April 1, 2009 California Photographic Workshops, Fisherman’s Wharf, San Francisco, Calif.; James Inks, 888-422-6606;
[email protected]; www.cpwschool.com March 29-April 3, 2009 New England Institute of Professional Photography, Resort & Conference Center Hyannis, Cape Cod, Mass.; Sal Genuario, 401-738-3797;
[email protected]; www.ppane.com May 3-6, 2009 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, 2009 Texas School of Professional Photography, University of Texas, Arlington, Texas; Donald Dickson, 806-296-2276;
[email protected]; www.tppa.org/school.htm
94 • www.ppmag.com
May 3-8, 2009 MARS (Mid-Atlantic Regional School), Grand Hotel, Cape May, N.J.; Adele Bastinck, 888-267-6277;
[email protected]; www.marsschool.com
June 14-19, 2009 Great Lakes Institute of Photography, Northwestern College, Traverse City, Mich.; Greg Ockerman, 313-318-4327;
[email protected]; www.glip.org
May 5-8, 2009 & May 10-13, 2009 Wisconsin Professional Photographers School at Treehaven, UW Stevens PointTreehaven, Tomahawk, Wisc.; Phil Ziesemer, 715-536-4540;
[email protected]; www.wiprophotoschool.org
June 21-26, 2009 West Coast School, University of San Diego, San Diego, Calif.; Kip Cothran, 951-696-9706;
[email protected]; www.prophotoca.com
May 10-13, 2009 Golden Gate School of Professional Photography, Belmont, Calif.; Julie Olson, 650548-0889;
[email protected]; www.goldengateschool.com May 17-22, 2009 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-272-3711;
[email protected]; www.gppaschool.com May 17-21, 2009 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson, 303-921-4454;
[email protected]; www.coloradoworkshops.com May 31-June 4, 2009 Florida School of Photography, Daytona Beach College, Daytona Beach, Flor.; Teri Crownover,
[email protected]; 800-3300532; Marybeth Jackson-Hamberger, Director,
[email protected]; www.fpponline.org
June 28-July 2, 2009 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla., Glenn Cope, 580-628-6438;
[email protected]; www.pposchool.com July 12-16, 2009 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604731-7225;
[email protected]; www.imageexplorations.ca/ July 19-24, 2009 PPSNYS Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-6563;
[email protected]; www.ppsnysworkshop.com August 2-6, 2009 East Coast School Photographic Workshops, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-5670775;
[email protected]; www.eastcoastschool.com
May 31-June 4, 2009 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]
August 2009 Long Island Photo Workshop; Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058;
[email protected]; www.liphotoworkshop.com
June 7-11, 2009 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 913-242-7710;
[email protected]; www.kpps.com
September 28-October 2, 2009 Lamarr Williamson School of S.C., Springmaid Resort, Myrtle Beach, S.C.; John Wrightenberr, 803-781-2130;
[email protected]; www.lamarrschool.com
June 7-11, 2009 Illinois Workshops, Grafton, Ill.; Bret Wade, 217-245-5418;
[email protected]; www.ilworkshops.com June 14-17, 2009 Winona International School of Photography, Brown County State Park, Nashville, Ind.; Janell Spencer, 800-310-3460;
[email protected]; www.ppofi.org
Send all additions or corrections to: Marisa Pitts, Professional Photographers of America, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303;
[email protected].
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TODAY
DECEMBER | 08
PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President
© Rod Gleason
Today, we have been hit by the technology train. Don’t get me wrong—I don’t want to go back, but it sure has changed the daily structure of my portrait studio. I still believe that our clients are the most important part of our business. But with the changing economy, it is
FRIENDS MET ALONG THE WAY
My goal with this column was to let you, as PPA members, meet someone my path has crossed during my journey in photography. This month, I’m sure most, if not all, will know the person I have chosen: Al Hopper, PPA’s Director of Membership. PPA has announced that Al is leaving the association to pursue other dreams, effective the end of December. But I still remember when Al joined PPA fourteen years ago. I met him at the July council meeting. It was his rst PPA convention, and already I was impressed with his enthusiasm, energy, and willingness to learn. Early on, my contact with Al was like most members: limited only to Council and
more important than ever that we become technologically savvy, while maintaining top customer service. How can we juggle our most precious commodity—time—so we can deal with all the new business “stuff” without forgetting our client in the process? PPA understands the issues facing photographers in today’s business climate and has made them the focus of our educational offerings. A good portion of Imaging USA will be devoted to helping nd solutions for our members. We have also devoted this issue of our magazine to the same, featuring the latest in software, workow, le management, and other issues. We hope it can be your resource for building a stronger business. As business people, it is important for us conventions. It wasn’t until I joined the PPA board that I really got to know him. It is easy to like Al, as he has a good sense of humor, is easy to talk to, and always has time for others. In fact, the only fault I see is that he’s a University of Georgia fan. All kidding aside, there are qualities of Mr. Hopper that set him apart, and he will be missed. Integrity means doing what is right when no one is looking. Today, with all the lying and deception going on for personal advancement, nding someone who still lives his life with integrity is rare. Al always put PPA rst and wanted nothing more than to do his job the best he could. When he told a member he would do something, he did it. Honesty is another trait I see
not to lose focus on our main objective (our clients), but it’s becoming equally important to make the correct moves in technology. We must continue to research and nd better ways to accomplish our daily operations. As we come to the end of the year, my family will be celebrating the holidays with our family and friends. My prayer is that—however you choose to celebrate—you will spend time with people you love. May we be thankful for what we have been given.
PPA News & Notes
Remember the good old days? Photograph the family, put the lm in an envelope, and get a collection of proofs a few days later. Then, we did the sale, put the negatives in a bag, and the color lab processed the order. Our studio did very little production in house, so our staff made our customers the number-one priority. I am convinced that is why our business was so successful: the client was the focus of our day-to-day operations.
© Michael Nichols
Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009 PPA President
in Al that, again, is sadly missing in today’s business place. I can’t recall a time when he placed blame instead of taking blame for others’ mistakes. I could continue, but I won’t. I know Al is part of the team, and he won’t feel right about being singled out above others. Sorry, Al, but you have been the face of PPA and such a great ambassador for us that not recognizing your efforts would be an injustice. Thank you for your friendship and giving of yourself for the last fourteen years to help make PPA the association it is today. We wish you well in all your future endeavors. God Bless.
news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
P1
TODAY BOARD MEMBER SPOTLIGHT Susan Michal M.PHOTOG.CR, CPP, ABI PPA Member since: 1998 Shoots: WEDDINGS
PPA News & Notes
Location: JACKSONVILLE, FLORIDA “I wanted this to be the year to push my business forward,” comments Susan Michal. “But we’re just hoping to maintain now. That’s just how business is.”
on. At a time when hiring a new employee might seem risky, it’s a risk I’m willing to take because I know how important it is to not just stay in the game, but to stay ahead of the game.”
In the end, these times will probably separate the people who know how to run a business from those who don’t. Luckily, Michal has never run her business just on credit. She continually put away funds for a rainy day, and ”that rainy day is here,” she says.
Why is going beyond the usual important? Well, besides giving Michal time to go and see vendors, create promotional pieces, and more, it is an essential bit of business. You can’t pull back completely during hard times if you want to be there when things turn around. You have to differentiate yourself even more from competitors. In Michal’s words, “YOU have to be the difference between a professional and an amateur.”
Yes, experience and business smarts count, and Michal has that in abundance. But that doesn’t mean it’s all sunshine and roses for her or any other established photographer! Now, she is working harder than ever. “We’re rethinking how we do everything…even how we talk to customers,” Michal explains. “I even hired someone specically for client services to combat what’s going
In addition, Michal’s studio is doing all they can with new technology to move forward. They are changing a lot of what they have inside, too. It may not be items that clients will buy right now, but it gives the WOW factor (and who knows, some might purchase it).
Yes, things are tougher. But consider this: Michal’s studio sold their weddings with a la carte pricing for four years. When less and less found that attractive, they experimented with a collection option that was actually $50 more expensive than the same choices a la carte. Customers overwhelmingly chose the collection. “Photographers make money with a tangible product,” Michal says. “We have to educate the client on that value. So before you change your pricing, change the way you say it.” Really, everyone has their problems and everyone’s solution is slightly different. Good education, solid business practices, and placing value on the work you do…all are critically important for photographers. We’ll all have to work even harder now.
PPA WAVES GOODBYE TO A FRIEND Professional Photographers of America (PPA) announces the resignation of J. Alexander (Al) Hopper, long-time Director of Membership, effective December 31, 2008. Hopper made the decision to leave PPA after fourteen years in order to pursue personal objectives, but he will play a consulting role once a replacement is hired, helping ensure a seamless transition. Since joining PPA in 1994, Hopper has become widely known to members
for his positive attitude and highenergy personality. Some might even remember his appearances in Professional Photographer magazine ads, dressed as “Crazy Alice.” In truth, though, his contributions have been far more than just fun and games. Under his stewardship, PPA saw membership growth surge, jumping dramatically from about 10,000 members when he arrived to more than 24,000 members today.
© Louis Tonsmeire
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news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
TODAY WORDS THAT HAVE A HAPPY ENDING Photographers tell stories every day with images. But let’s not forget that behind every artist is their own story. And we’d probably be surprised how often our personal stories resonate in the hearts of others… just as a beautiful image inspires. Horace Holmes, Jr., Cr.Photog., CPP, ABI,API, is not surprised, though. “If a picture paints a thousand words, Horace Holmes, Jr. should be considered a master storyteller.” So wrote Ed Grisamore in his September 7, 2008 article, “Words That Have a Happy Ending” in The Telegraph, out of Macon, Ga.
They have had no choice. Horace earned his high school diploma more than 40 years ago. He spent two years at a Bible college and was called into the ministry. He
Hopper was often part of the team working on Capitol Hill to defend photographers’ rights. And recently, he was assigned to spearhead the new Vital Signs e-newsletter, aimed at helping photographers weather today’s difcult nancial climate. “I’ve been fortunate to work at PPA with superior volunteer leaders and the world’s nest association staff. It has been a real privilege, and I will always cherish the friendships I have made,” says Hopper. “I now
He also has been carrying around a secret disability. That’s why Horace Holmes is learning to read... … “All my life, I’ve had to work four times harder,” he said. “But I never gave up…I’m a rm believer that we go through life not to benet ourselves but to help others.” Every picture tells a story. This is one where the words are on their way to a happy ending. -From “Words that have a happy ending” by Ed Grisamore -Published September 7, 2008 in The Telegraph (Macon, Ga.)
From growing up in a family of migrant workers to his introduction to photography, Horace shares the secret struggle to read that he faced and recently overcame. He made it
need to pay attention to some personal obligations and take advantage of new opportunities.” “Al always has been, and I suspect always will be, one of those largerthan-life people,” says PPA Chief Executive Ofcer David Trust. “He makes things fun—there’s never a dull moment when he’s around. More importantly, he’s a strong team player who has a genuine concern for other people. That is what made him so good at working with our members. I
© Woody Marshall/The Telegraph
through Bible college (where he met his wife, Yvonne), worked in a church, and even became the marketing director of Coca-Cola before opening his photography studio in 1982. But, as he says in the article, there was always a measure of shame and regret. It was Horace’s hope that his story (in author Ed Grisamore’s article) would help encourage others in literacy programs. More than that, though…it is a testament to human will and determination. Read the full article at www.ppa.com/ ppa-today-blog/community/wordsthat-have-a-happy-ending.php.
PPA News & Notes
He has trained his eye and pointed his camera at life. His shutter speeds have captured Kodak moments. He has photographed babies and brides, re hydrants and reghters. His lens has helped preserve mountains, athletes, sunsets and smiles for posterity. These images have stood on their own—without consonants and vowels, adjectives and verbs to support them.
preached sermons from the pulpit, pulling words from scriptures and the depths of his heart. He is a professional photographer and a well-respected citizen in Macon. He is personable and articulate. He is a member of a local Rotary Club and a longtime ambassador for the chamber of commerce.
don’t think anyone who has ever met Al could forget him…he will be missed.” As Hopper rounds the bend in this part of his life, he is looking forward to pursuing new dreams. But it is always sad to wave good-bye to a friend. It is even harder to wave good-bye to those people who truly make a difference with their lives. Al Hopper has earned both of those titles for many—if not all—of us here at PPA.
Best of luck, Al!
news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
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TODAY AFFILIATE SCHOOL SPOTLIGHT TRIANGLE INSTITUTE OF PROFESSIONAL PHOTOGRAPHY
March 15-20, 2009 | Pittsburgh, PA Contact: Becky Homich; 724-452-5455 Web site: www.triangleinstitute.org Tuition: $625 Members; $675 Nonmembers (fee includes meals) Course Information: Seniors – Colleen and Co. Business and Marketing – Jamie Hayes and Mary Fisk-Taylor Weddings – Hanson Fong Children – Dennis Craft Photoshop – Suzette Allen Fine Art – The Timmons
NEW ENGLAND INSTITUTE OF PROFESSIONAL PHOTOGRAPHY (NEIPP)
March 30 - April 3, 2009 | Hyannis, MA Contact: Sal Genuario;
[email protected]; 401-738-3797 Web site: www.neipp.com Tuition: $930 Members; $1015 Non-members Course Information: “Fly” Enlightenment & Enchantments – Arthur Rainville & Jennifer Hudson Basic Portraiture / Weddings – Doug Box High School Seniors – Ellie Vayo
Weddings: New York Style – Charles Maring “Dream High” Portraiture – Elizabeth & Tray Homan The Art & Business of Portraiture – Ann Monteith & Tim & Bev Walden Going For It with Corel Painter – Jeremy Sutton Jazz Photography & Fashion Portraiture – Bry Cox Advanced Photoshop – Suzette Allen The Power Of Three: High School Seniors – The Wacker Family
IN MEMORY EVANGELINE “VANGIE” CHASE PARKER, Cr.Photog.Hon.M.Photog. PPA News & Notes
to serve as PPA President in 1992. She served on the Winona International School of Professional Photography Alumni Association and was selected as the 1985 “Woman of the Year,” by the Columbus daily newspaper, for her service to the community.
© Marion Ward
Vangie said that she was born in a studio and had her rst bath in a hypo tray. Her father, Irving Chase, owned Chase Studio in Huntingburg, Ind., where she was born. She married Virgil Parker in l960 (they met at the 1959 PPA convention) and after moving to Boise and then Beverly Hills, they returned to Indiana in l963 and opened Parker Portraits in Columbus, Ind. In l999, the studio sold; and Vangie moved back to Huntingburg, Ind. after Virgil’s death in 2003.
Evangeline “Vangie” Chase Parker passed away on October 18, 2008 “It was evident that she was able to in Huntingburg, Ind. Loved and respected in the photography industry, balance three critical things: her family who loved her dearly, strong Vangie made her mark on history friendships that she made time for when she became the rst woman
1934 - 2008
and nurtured, and her profession… she was a greatly accomplished professional photographer and business woman,” comments Tim Walden, a PPA Board Member. Vangie and Virgil mentored and guided a generation of young photographers, and their kindness and generosity was legendary. She carried out her role as a leader in our industry with dignity and grace, and she will be truly missed. Memorial contributions may be made to the Huntingburg United Methodist Church‘s (HUMC) Maple Grove camp at 416 N. Main Street, Huntingburg, IN 47542 or to the Virgil and Vangie Philanthropic Fund for Friends of the Children at the Heritage Fund, PO Box 1547, Columbus, IN 47202-1547. Many thanks to Joyce Wilson, Tim Walden, and all others who helped provide information for this memorial.
HAVE YOU BEEN THANKED? Photographers stay informed and connected to local, state, and regional organizations with newsletters, magazines, or Web sites. But these publications don’t produce themselves! If you are in charge of these publications, you should enter the 2009 Afliate Communications Competition. All PPA Afliate Editors and Webmasters are invited to participate in this P4
competition, which encourages excellence in afliate publications and recognizes the individuals who spend their time and energy editing, designing, and maintaining these publications. To thank you for your contributions and skills, you’ll earn an achievement merit if your entry is accepted into the competition and an additional merit if you win!
You work hard to keep your fellow members informed. Get the recognition you deserve. Entry forms are at the Competitions page on www.ppa.com, and it is free to enter. Entries must be received at PPA no later than February 27, 2009. If you have additional questions, please contact PPA at (800) 339-5451, ext. 226, or e-mail
[email protected].
news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
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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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Buyer’s Gallery ad specs: Ad size: 21⁄4” x 43⁄4 12x rate: $550.00 gross per month 6x rate: $600.00 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. 108 • www.ppmag.com
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ClassifiedAdvertising ACCOUNTING CPAs FOR PHOTOGRAPHERS. Business set-up, tax planning and preparation, business valuations and consulting. Decades of experience. Darryl Bodnar, CPA, 410-453-5500,
[email protected]. Visit our website at www.nlgroup.com.
ALBUMS GP ALBUMS (formerly General Products L.L.C.) is focused on flush mount and digital offset albums along with our NEW extensive line of self-mount albums and folios. GP’s Optimus, Quick-Stick, Digital Vision, Tempus, and Eclipse albums are the products that will help take your photography business into the future. You will experience the same great quality with a whole new look. As a manufacturer, GP Albums also has the ability to create custom photo packaging products upon request. GP Albums continues to offer variety and flexibility allowing photographers to design the perfect product that will last a lifetime. For more information, please visit us at www.gpalbums.com or call 1-800-888-1934.
ARTISTIC ENHANCEMENTS MASTERPIECE PAINTINGS FROM YOUR DIGITAL FILE. Beautiful oil paintings and watercolor portraits created to your specifications with Corel Painter, allowing you to increase your profits and add to your bottom line. Learn more at www.whitakerpaint.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 31 years experience servicing the Hasselblad system exclusively. Previously with Hasselblad USA. Free estimates, prompt service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main Street, #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.
CANVAS MOUNTING CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. WWW.CANVASMOUNT.COM
COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800593-3767 or visit our Web site www.SuccessWare.net.
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Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business—even when you don’t! More professional photographers trust Photo One Software than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio, personalized phone training for you and your staff, 75 minute no-hassle guaranteed support call-back time, 365 days of unlimited support and usable upgrades and a 90-day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 ext. 101 now for your free working demo or visit www.photoonesoftware.com
DIGITAL DIGITAL PHOTOGRAPHERS—Kessler Color produces STUNNING images from digital files. Try our rapid FTP site and get a FREE 16 x 20. New Service—E-Vents from Kessler Color. Get 8x10 units for $.90.
[email protected]. 800-KES-LABS. SCHOOL PHOTOGRAPHERS—Kessler Color’s digital units start at $.90 each. Beautiful color and great value! Call 800-KES-LABS.
DIGITAL TEMPLATES 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 FREE DIGITAL PAINTING TUTORIALS. The Digital Paint Shop has FREE goodies from a variety of artists including Painter Master Marilyn Sholin. Tutorials for Painter and Photoshop, actions, brushes, textures, eyelashes and more. The Digital Paint Shop is about everything Digital Art. Register for one of the Painting Workshops in Asheville, NC and other locations; www.digitalpaintingshop.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; 877-318-3015. RETIRING—ITEMS FOR SALE: 2 Polaroid Passport Cameras 645, has 2 backs & 2 new rollers; Hydraulic Tripods; 2 Porta-Flex Conversion Cameras (German Lens); 4 Singer Roller Backs for the 120 film; 1 Vivitar 35mil camera XC4 with 50mil lens & 200mil zoom with automatic attachment and carry case; 1 automatic Vivitar electronic flash model 286; Pro 4 Reflex Hood; 1 Mamiya 330 twin lens wide angle; 2 Yashica Mat G twin lens; 1 Outdoor Bench; Big portable background (twistflex) with white draped lace background; 2 Reflector boards & stands; 4 metal stools; Tripods. Call MacAllister Professional Photography Toledo, OH 419-382-3423.
HELP WANTED PORTRAIT PHOTOGRAPHER. Company: Club Services of America. Description: Family portrait photographer with wanderlust. Great earning potential for excellent family photographer with quality portrait experience. Photograph and sell to Country Club members throughout the United States. Many assignments are where the weather is good: south in the winter and north in the summer. OK to travel with spouse. PPA Certified or Masters of Photography are preferred. See our website at: www.clubservicesofamerica.com. Email resume and sample portraits to
[email protected]. Requirements: Must have tools of the trade and a dependable automobile. Family portrait photographer. Some sales experience. Excellent knowledge of digital photography. HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at
[email protected].
INCORPORATION SERVICES INCORPORATE OR FORM an LLC today! Your art is a business. Treat it like one. The Company Corporation can help you incorporate or form a limited liability company in as little as ten minutes. We are fast, accurate and affordable. Provide additional credibility to your photography studio or business at the fraction of the cost of using an attorney. Call 1-800-206-7276 or visit www.corporate.com today!
INSURANCE Online Photography Insurance. Quotes. Tom C. Pickard Insurance. www.tcpinsurance.com 800-726-3701, ext. 117. Lic. 0555411
LAB SERVICES FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd., Beverly Hills, CA 90211 310-274-3445 • www.goldencolor.com ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com PLATINUM GICLEETM FINE ART B&W from your digital file or negative up to 40 x 60. New DuraFiberTM Media provides deep blacks and waterproof, non-scuff surface, great for hand-coloring. Also available in sepia, color, split-tone. Call for free sample. Jonathan Penney, Inc., Master Printmakers. 631-874-3409. www.jonathanpenney.com HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com “MYCLIPPINGPATH.COM—Get low cost, high speed help from our lab. Cut outs for catalog or background changes. Try us for FREE!”
MARKETING NEED BODIES IN YOUR DOOR NOW? Inexpensive MARKETING SOLUTIONS that produce a HUGE RESPONSE for seniors children, family, weddings. FRANK DONNINO; WWW.FRANKSBABYPLAN.COM
ONLINE PROOFING/SELLING NEATPICTURES.COM. It’s All About the Pictures Proof and sell your images Online.Simple.
PHOTO RESTORATION 1st PHOTO RESTORATION FREE! Try us, you’ll like us! Point & click easy. No sign up cost. 100% guarantee. Online leader since 1993. Wholesale only to professionals. www.hollywoodfotofix.com or call 888-700-3686.
PHOTOS WANTED VINTAGE PHOTOGRAPHS from 1860’s-1970’s: Movie Stills, Celebrity Candids, Music, Sports, Crime, War/Political, Wire Photos, Negatives, Glass Slides, and Transparencies. WILL BUY ENTIRE COLLECTIONS! FINDERS FEES PAID! Ralph 800-392-4050 or
[email protected]
PRESENTATION BOXES BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVE., NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com
PRESENTATION BOXES available for immediate shipment; 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800-861-4528. BUY DIRECT AND SAVE. NPD Box Company, 3000 Quigley Road, Cleveland, OH 44113. www.NPDBox.com
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H-B Photo E-Store Box Manufacturer, buy direct and save. Complete Line of presentation boxes, better quality at lower prices. Bags, Totes, Tissue, Ribbons, customize with your logo. WWW.H-BPHOTO.COM H-B PACKAGING GROUP CENTRAL FALLS, RI. Call 401-725-3646 for free samples.
RETOUCHING WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fast service, a retouch that looks like the photo was never altered and the lowest prices in the industry. If you demand the best log onto www.retouchup.com and your first 10 retouches are free just to prove our claims—the best—the fastest and the least expensive or call 888-700-3686.
SALES AIDS BOXES—FROM THE ORIGINAL BLACK BOX MANUFACTURE—FREE SAMPLE—Fast delivery, Finest quality 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”. AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com CREATIVE FRAMES…Designed frames for the professional wedding, portrait and school photographers. Our frames are manufactured here in the USA. Visit us at WWW.CREATIVEFRAME.COM to see our full line. 5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com • $10 off /with ad
STUDIO FOR SALE A WELL-ESTABLISHED, SUCCESSFUL TURNKEY PHOTOGRAPHIC BUSINESS IN A HIGH VISIBILITY, FASHIONABLE AREA OF NORTH FLORIDA. OPEN FIFTEEN YEARS, NOW WITH FULL FILM AND DIGITAL PROCESSING, WIDE FORMAT PRINTING, LUCIDIOM AND FUJI KIOSKS, SPACIOUSEQUIPPED STUDIO, LIGHTING, CAMERAS, BACKGROUNDS AND MUCH MORE. READY TO HAND OVER TO CONTINUE MAKING A PROFIT RIGHT AWAY. THE BUILDING, OVER 4000 SQ.FT., WITH LARGE PARKING LOT, IS AVAILABLE FOR LEASE OR PURCHASE. OWNERS ACCOMMODATION AVAILABLE ON SITE. THE BUILDING WILL BE WORTH $1,000,000. NOW OFFERING BUILDING AND BUSINESS TOGETHER FOR 900K. OWNER AVAILABLE DURING TRANSITION.
[email protected] OR CALL MON-FRI 904-399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST. LOS ANGELES PHOTOGRAPHY/Production Studio, located in the Artists District. Bldg. is 19,000 sq ft free standing on 22.000 sq ft of land. It is concrete tilt-up with dock high loading, built specifically for a photography and production studio in 1978. Exacta Photographers, Inc has been a successful business since 1970, grossing an average 1 million per year. Fully equipped w/hot lights for TV commercials and strobe equipment for fashion, etc. 7 air conditioned sets (10,000 sq.ft.) a fully equipped color lab/computer stations/executive offices, huge inventory of backgrounds for sets, cameras, lens, etc. Owner retired. A great opportunity for the right person. For info call 626-445-7459. FANTASY STUDIO FOR RENT. Not ready to buy, wanting to relocate and test an area? This is a studio unlike any other. Now you can afford to be the best with minimal outlay. Complete with lights, wardrobe, props and 5000 sq ft of movie set backgrounds. Unlimited creativity and an exceptional opportunity to be the best you can be. Colorado Springs, Colorado is waiting for you. www.ljm-photography.com. 719.593.2424.
STUDIOS WANTED COLUMBUS CAMERA GROUP, INC. buys whole studios or any part including cameras, film, darkroom, long roll, lighting, and misc. No quantities too small. Call 800-3257664. Ask for Eric.
PROFE SSIONAL
Adorama (www.adorama.com) ................................49, 81, 83, 85 Advanced Photographic Solutions (www.advancedphoto.com) ..106 Allied Photographic & Imaging Lab (www.alliedphoto.com) ......102 American Color Imaging (www.acilab.com).........................25, 104 American Student List (www.studentlist.com).........................109 ARK-LA-TEX Color Lab (www.altcolorlab.com)........................105 B & H Photo-Video (www.bhphotovideo.com) .....................78-79 Backgrounds by David Maheu (www.backgroundsbymaheu.com)....110 Bay Photo Lab (www.bayphoto.com)..................................17, 104 Boulder Pro Photo (www.lifetimeinfocus.com & www.boulderprophoto.com) ..103 Brightroom Inc. (www.backprint.com) .....................................103 Buckeye Color (www.buckeyecolor.com)...................................105 Paul Buff Inc. (www.white-lightning.com)...................................9 CCL Photo Imaging (www.cclphotoimaging.com) .....................106 CPQ (www.cpq.net).................................................................43 Candid Color Systems Inc. (www.candid.com)..........................103 Christopher Imaging (www.chrisimaging.com) .........................106 Collages.Net (www.collages.net)...............................................27 Color Incorporated (www.colorincprolab.com)...................................102 Corporate Color/Prolab Express (www.prolabexpress.com)........101 Contemporary Photography/J. Hartman (www.jhartman.com)....111 Custom Color Corporation (www.customcolor.com)...................101 Dalmatian Lab (www.dalmatianlab.com)..................................102 Denny Manufacturing (www.dennymfg.com).....................107, 109 Denny Manufacturing (www.photonovelty.com).........................111 Diversified Lab (www.diversifiedlab.com) ................................103 Drivesavers (www.drivesavers.com) ..........................................29 Dury’s (www.durys.com/discpainter)...........................................2 Dymo (www.dymo.com/discpainter)...............................................23 Eclipse Backgrounds (www.eclipsebackgrounds.com) ..................108 emotion Media Inc. (www.emotionmedia.com) .........................110 ESS Data Recovery (www.datarecovery.com) ...........................109 Foto Figures (www.fotofigures.com) ........................................113 Fredericks Photo Lab (www.fredericksphotolab.com) ...................101 Group Photographers Association (www.groupphotographers.com)..101 H&H Color Lab (www.hhcolorlab.com)..............................Cover III Hallmark Imaging (www.hallmarklabs.com) .............................105 Herff Jones (www.hjpro.com) .................................................104 Imaging Spectrum (www.imagingspectrum.com)......................107 The Levin Co. (www.levinframes.com) ......................................111
Lustre Color (www.lustrecolor.com).........................................102 MPIX (www.mpix.com).............................................................21 Mamiya (www.mamiya.com) ......................................................5 McKenna Pro (www.mckennapro.com) .....................................101 Meridian Professional Imaging (www.meridianpro.com)......Cover II Michel Company (www.michelcompany.com) ...........................109 Michigan Photo (www.michiganphoto.com) .............................106 Midwest Sports (www.midwestsportslab.com) ........................104 Miller Professional Imaging (www.millerslab.com)....................18-19 Modern Postcards (www.modernpostcards.com/prophoto) .......107 Morris Group (www.themorriscompany.com).............................111 NAPP (www.photoshopuser.com) ............................................40 Nations Photo Lab (www.nationsphotolab.com) .........................102 National Direct Marketing Services (www.ndmservices.com) ....109 Neil Enterprises (www.neilenterprises.com).............................107 Norman (www.normanlights.com)............................................45 North American Photo (www.naphoto.com) ............................104 Onlinephotofix.com (www.onlinephotofix.com).........................113 PPA Loan Collection ...............................................................95 Pacific Mount (www.pacificmount.com) ..................................108 Perfection Distributing Inc. (www.perfectiondistibuting.com) .....111 PickPic (www.pickpic.com) .......................................................37 Pictobooks (www.pictobooks.com) ..................................107, 108 Photogenic Professional Lighting (www.photogenic)..................22 Phototech Inc. (www.phototechnic.com)...................................113 Pocketwizard (www.pocketwizard.com) .....................................15 Portrait Weavers (www.portraitweavers.com) ..........................108 Profoto (www.profoto-usa.com) ......................................Cover IV Pro Photo (www.prophotoimaging.com) ............................35, 105 Reedy Photo (www.reedyphoto.com) ......................................106 Renaissance Albums (www.renaissancealbums.com).................109 Savage (www.savagepaper.com) ..............................................110 Sekonic (www.sekonic.com)......................................................13 Simply Canvas (www.simplycanvas.com).................................103 Speedotron (www.speedotron.com)..........................................93 Studio Dynamics (www.studiodynamics.com)...........................113 Successware (www.successware.net) ........................................75 Tots to Teen 2009 Tour-Sandy Puc’ (www.tots-teens.com).......39 Tyndell (www.tyndellphotographic.com)....................................111 Unique Photo Supplies (www.uniquephoto.com).........................6 United Promotions Inc. (www.upilab.com)...............................105 Used Camera Buyer (www.usedcamerabuyer.com) .....................47 White House Custom Color (www.whcc.com) ..............10-11, 30-31 White Glove (www.wgbooks.com)............................................110 Xeno Software (www.photonose.com).......................................12 Publisher not responsible for errors & omissions
December 2008 • Professional Photographer • 113
good works |
Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work.
©Stan Kim
visits regularly with gifts of special foods, supplies and medicine. He’s made portraits of all 26 children in the orphanage. About five years ago, charity and photography came together in a new inspiration. A futures trader by vocation, Kim had done family and child portraits for several years as a parttime business. He formalized his photography work while creating a permanent vehicle for his charity initiatives, and established A Child’s Beauty Portraiture & Fabrication, a nonprofit photography business that allocates 100 percent of its revenues to charity. A Child’s Beauty has no religious or political motivation. It exists solely to fund Kim’s humanitarian efforts in Tijuana. Since part of Kim’s goal is to raise awareness about the plight of the people he’s helping, he shares information with his clients and posts stories and images on his Web site,
A child’s beauty
F
HUMANITARIAN INTEGRATES CHARITY WITH LIFE AND BUSINESS
AChildsBeauty.com. Clients often make donations to the cause, in addition to the fees they pay for their portraits. In 2008, Kim raised close to $20,000 from photography and donations, all of which went directly into the foundation’s projects.
or Stan Kim of San Diego, life is
Kim decided to take his involvement a step
synergy. The part-time photographer
“I think that everyone should feel obligat-
further. He and his wife got in touch with sev-
ed to do something, even if it’s just saying a
volunteers his time and financial resources
eral of the families with whom they’d made
kind word to someone on the street,” says Kim.
to charity. After years of doing volunteer
personal connections during the project.
“If you can do more, that’s great. When you
work for established nonprofit organiza-
Then the Kims began to pay regular visits to
look at some of the truly poor communities
tions, Kim wanted to create a customized
them, providing general assistance, needed
around us, it trivializes all the little things
volunteer experience, through greater com-
goods, clothing and medicine, and occasion-
we worry about on a day-to-day basis. And
munion with the people he helps. He wanted
ally helping on light construction projects.
one person, or a small group of people, can
to tailor his venture to his family life, and
Kim also makes complimentary portraits
most of all, he wanted to help the most
for the people of the area who couldn’t dream
impoverished people in his area.
of paying for family portraits.
Several years ago, Kim joined a group build-
To learn more about A Child’s Beauty, visit www.achildsbeauty.com.
Kim also began supporting an orphanage
ing homes in the colonias of East Tijuana,
in another part of Tijuana. He gives direct
Mexico. Inspired by the impact of their work,
financial assistance to the orphanage and
114 • www.ppmag.com
really make a difference if they choose to.” �
Share your good works experience with us by e-mailing Cameron Bishopp at
[email protected]
Christopher Gill
& Profoto ComPact “ The Profoto ComPact line has really revolutionized the way we work. They’re easy to travel with, set up quickly and deliver an absolutely neutral white color output, accurate from shot to shot. The neutral light helps today’s digital cameras deliver files that require little to no color correction. Clients tell me my work is seemingly three-dimensional, that it pops off the page. Even more impor tant, they say I’m the first photographer they call. That means my lighting style has car ved out a niche in a crowded marketplace.
”
© Christopher Gill
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