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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

The power of focus

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

A STEP TOWARD ACHIEVING YOUR LIFE’S AMBITIONS

LESLIE HUNT [email protected]

I was on the phone with Kimberly Wylie when her words triggered

editor-at-large

a déjà vu. “It was my personal goal to be featured in your magazine

JEFF KENT [email protected]

and to be on the cover,” said an utterly gracious Wylie, the Dallasbased photographer who’s the subject of the feature beginning on p. 142, and whose work is indeed on the cover of this issue. A number of talented photographers whose work has graced our magazine over the years have told us that being featured in a magazine—ours or any industry publication—was one of their personal and professional objectives. Wylie’s comment reminded me of an oft-repeated story actor Jim Carrey tells of a night in 1987 when he was twenty-something, long before he became a crazy-rich movie star. On that night, he wrote a post-dated check to himself in the amount of $10 million, vowing that one day he’d be able to cash it “for acting services rendered.” A cursory Google search reveals he now makes more than $20 million per film.

sales/strategic alliances assistant

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

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

northeast region ad manager

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

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

southeast region ad manager

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

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

Every year, two good friends of mine, happily married for almost 20 years, sit down together, pen and paper in hand, to articulate and list the things they want to accomplish in the next 12 months. This annual ritual has helped them carve a rich and rewarding life. Being a professional photographer can be one of the most fulfilling jobs in the world. But if you don’t have a plan, in a turbulent economy and a changing marketplace, and with a host of new technologies seemingly conspiring against your best efforts at career building, it can break your heart. So this January, give yourself a few hours to grab your journal (or blackberry or laptop), settle into a quiet corner or a tranquil spot outdoors, and write a list of what you’re going to achieve this year. Making the time to focus on and record your life’s ambitions is an amazingly powerful start to seeing those dreams realized. � Cameron Bishopp [email protected] Director of Publications

4 • www.ppmag.com

KARISA GILMER [email protected]

Professional Photographer P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com member services

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $19.95 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 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; 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 3606, Northbrook, IL 60065-3606 Copyright 2010, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

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CONTENTS PROFESSIONAL PHOTOGRAPHER JANUARY 2010

Features 122

DUAL PERSONALITIES Garret and Joy Nudd split their business into two distinct and profitable brands By Jeff Kent

132

AFTER THE WHITE HOUSE Where do you go after working at the most famous address in the world? For Paul Morse, the answer is anywhere and everywhere By Stephanie Boozer

142

WOMAN IN LOVE Kimberly Wylie’s passion for photography By Stephanie Boozer

84

PORTRAITURE: LOCAL HEROES

Ralph Romaguera knows good deeds can be good for business By Lorna Gentry

92

COMMERCIAL: BEGUILING TASTE

Brazilian Beatriz Da Costa’s mouthwatering photography By Lorna Gentry

98

STARTUP: SINK OR SWIM

Scott and Adina Hayne move from survival mode to success By Jeff Kent

106

CHILDREN: SPOONFUL OF SUGAR

Michele Celentano’s remedy for one of those days By Stephanie Boozer

112

COMMERCIAL: HOME ON THE RANGE

David Stoecklein’s mission to preserve the American West By Jeff Kent IMAGE BY SCOTT HAYNE PHOTOGRAPHY

CONTENTS PROFESSIONAL PHOTOGRAPHER | JANUARY 2010 | WWW.PPMAG.COM

14

FOLIO

152

SCHOOL CALENDAR

155

PPA TODAY

170

GOOD WORKS

©Garrett Nudd

Departments C O N TA C T S H E E T 18 Angelika Rinnhofer: Athletes in art 20 London Wolfe Photography

warms up to new clients with coffee 22 The one-stop wedding shop 23 Copyright Office imposes

new fees, rule changes 26 Studio revamp spurs sales

PROFIT CENTER 29 What I think: Scott and Adina Hayne 30 Ask the SMS experts 32 How we did it: Molly Purvines 36 5 red-hot winter promotions

by Lisa Crayford 44 Invest your time, extend your reach by Lindsay Adler

THE GOODS 49 What I like: David Stoecklein 52 Inventing 101

by Alice B. Miller 60 Software: Relationship status

by Andrew Rodney 68 Tutorial: Nik Viveza 2 by Tony L. Corbell 74 Pro review: Epson Stylus Pro R3880 by Mark Levesque 76 Tutorial: Dodge and Burn by Jared Platt

112

Hearth, home and jet stream? Garrett and Joy Nudd wowed the wedding market

in Central Florida, yet missed the comforts of their hometown in Tennessee. Unlikely as it seems, they’ve married their new local portrait business with their jet-setting destination wedding business.

ON THE COVER: Kimberly Wylie of Dallas made this portrait of 13-year-old Harris, son of a Hollywood talent manager, in the client’s home. “Harris was so fun to work with—a natural in front of the camera,” says Wylie. “The house had beautiful, large artworks, one of which I used as my background for this shot. I used only natural window light. The walls and the rug were white, so there was a ton of gorgeous light bouncing around, creating a perfect environment to shoot in.” Wylie captured the image with a Canon EOS 5D Mark II with a 70-200mm f/4 lens, shooting at f/4.5 for 1/250 second, ISO 640. She performed minor retouching in Adobe Photoshop. Cover image retouched by Jim DiVitale, M.Photog.MEI.Cr., API, F-ASP

8 • www.ppmag.com

2009 Product Additions White House Custom Colour, Your Professional Photographic and Press Printing Partner

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Float Wraps Float wraps are unique in that they appear to be floating on the wall with the main focus on the image! Float Wraps are available in Lustre or Metallic Photographic paper, and Fine Art or Metallic Canvas in 14 popular sizes.

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White House Custom Colour is a full service, professional photographic lab and press printer. In addition to the showcased products on these pages, we offer a full line of products and services to make a positive impact on your goals for continued success in building your photographic business. For more information visit our website, www.whcc.com

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Imaging USA Booth #333 Premium Packaging Premium Packaging allows your beautifully packaged order to be drop shipped directly to you client or shipped back to your studio. Available for photographic prints, press cards, and press printed books.

Visit us at Imaging USA 2010 Be sure to stop by our booth at Imaging USA to see our full line of products! And watch for even more new product announcements in the following months. We have a great line up of new products and product enhancements for 2010.

White House Custom Colour - www.whcc.com - 800-252-5234 - [email protected]

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

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

2009-2010 PPA board president *RON NICHOLS M.Photog.Cr., API [email protected] vice president *LOUIS TONSMEIRE Cr.Photog., API [email protected] treasurer *DON DICKSON M.Photog.Cr., CPP [email protected] chairman of the board *DENNIS CRAFT M.Photog.Cr.Hon.M.Photog., CPP, API, F-ASP [email protected] directors SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI [email protected] RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected] SCOTT KURKIAN Chief Financial Officer [email protected] THERESE ALEMAN Director, Marketing and Communications [email protected] CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected] CAMERON BISHOPP Director of Publications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] WILDA OKEN Director of Administration [email protected] BETSY REID Director of Education [email protected]

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

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

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

LENORE TAFFEL Director of Events [email protected]

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

BING ZENG PPA China Managing Director [email protected]

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

12 • www.ppmag.com

industry advisor KEVIN CASEY [email protected]

SANDRA LANG Executive Assistant [email protected] *Executive Committee of the Board

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folio|

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

©Richard Sturdevant

RICHARD STURDEVANT Richard Sturdevant, M.Photog., of Sturdevant Studio in Garland, Texas, created “Dragon Quest” to showcase his skills as an artist for book covers, movie posters and toy product photography. The model and toy action figures were captured with a Nikon D2X camera, with Nikkor 85mm f/1.8 D AF and 105mm f/2.8 G IF-ED AF-S VR Micro lenses, shot for 1/250 second at f/13, ISO 100. The light of a 300WS AlienBees B800 flash and 4x6-foot Calumet soft box bounced off a 4x6-foot silver Larson Reflectasol for fill. In Adobe Photoshop CS3, Sturdevant combined images to create the final scene. “To combine a real life model and six-inch toy action figures was a wonderful challenge for taking my art to the next level,” he says. The image won a Fujifilm Masterpiece Award. www.sturdevantstudio.com

What the judge thought:

“This image is an amazing example of good

photography, digital expertise and technical ability. The maker has used 12 elements in an incredible composition that tells a complete story, filled with pathos and emotion. All that is enhanced by the strength of the colors. Color, pattern and shape are the fundamentals of good composition; here, they lead us into the image from left to right and keep us there as we become more and more involved in the story.” —Helen Yancy, M.Photog.M.Artist.MEI.Cr., Hon.M.Photog., API and PEC Committee chair

14 • www.ppmag.com

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CINDY TIEFENBRUNN Intrigued by the gray light of a foggy morning falling on a dying eucalyptus branch, Cindy Tiefenbrunn, M.Photog., CPP, of Cindy’s Photo in St. Louis, Mo., captured “Morning Dew” with a Nikon D200 camera and a Nikkor 18-200mm f/3.5-5.6 G IF-ED AF-S DX VR Zoom lens. She used Adobe Photoshop to enhance what color remained in the branch and made other minor adjustments to add depth and interest. www.cindysphoto.com

©Cindy Tiefenbrunn

©Tammy Jolley

16 • www.ppmag.com

TAMMY JOLLEY “Senior Strings” (below) was created during a senior portrait session by Tammy Jolley, M.Photog., CPP of Jolley Photography in South Jordan, Utah. With a Nikon D2X camera and a Nikkor 70-200mm f/2.8 lens, Jolley exposed the frame for 1/30 second at f/11, ISO 100. A 4x6-foot Larson silver reflector bounced light from a Norman ML600 and 4x6-foot Larson soft box for the main light. The background is from Maheu. Jolley performed only minor retouching in Adobe Photoshop. www.jolleyphotography.com

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

Angelika Rinnhofer’s moody portraits of young

culture. “It shows what teenage girls have

lighting, which Rinnhofer uses in all her

female athletes sit at an unexpected inter-

in common. These are not necessarily por-

portraiture, she used one light source, a

section of classical and contemporary portrai-

traits of the person as they are pictures of

reflector and no ambient light whatsoever.

ture. Stylistically the photos evoke Rembrandt,

American teens.”

The girls sat on a stool placed one to two

yet the subjects are dressed as who they are, 21st-century

American teenagers. Blending

the two makes provocative portraits so

The girls posed after practice, unshowered

feet away from a strobe set at a low-light

and sweaty, in a small black box studio

intensity. Using a Hasselblad 6x6 camera,

Rinnhofer set up in the back of the locker

she exposed Fujicolor NPS 160 film,

Athletes

unusual they command a double take.

room. To achieve the Rembrandt-like

in art

The idea for the portraits came to

typically at an aperture of f/8.

Angelika Rinnhofer’s cross-century portraiture BY LORNA GENTRY

The portraits are printed on Kodak Supra

Rinnhofer in 2008 when she was asked to

Endura paper in three sizes, 11x14, 20x24

assist in coaching the girls varsity softball

and 30x40. Rinnhofer does all her own

team at The Harvey School, the private

printing, either in rented darkroom space

boarding school in Westchester, N.Y., where

in New York or at Florida International

she teaches art. The school’s well-rounded

University in Miami, where a friend teaches.

curriculum has students “playing football

“The FIU photo department has one of the

one afternoon and acting Shakespeare the

last color processors,” says Rinnhofer, who

next,” she says. “So I thought, ‘Why not

steadfastly works only in color film for her

show that in photographs?’”

fine art work, even though she teaches

She was also curious about how the girls would respond to wearing their athletic

digital photography at The Harvey School. “I don’t mind digital,” she explains, “but

clothes while posing in such an antiquated

the large-format equipment I use for my

way. That proved no problem, she reports.

fine art, usually 4x5, is very expensive in

“The girls transformed themselves easily. I

digital. I guess if film runs out, I’ll figure

think the portraits gave them a way to see

something out. Maybe I’ll make my own

themselves in a new way.”

glass plates.”

In the process, the German-born photographer, who became an American citizen

To see more of Angelika Rinnhofer’s work, visit her web site, www.angelikarinnhofer.com.

two years ago, gained insight on American

Lorna Gentry is a freelance writer in Atlanta.

18 • www.ppmag.com

All images ©Angelika Rinnhofer

All images ©London Wolfe Photography

CONTACT SHEET

Cool beans London Wolfe Photography warms up to new clients with coffee BY LORNA GENTRY

Last October Tammy Wolfe, Cr.Photog., CPP and Tamar London, Cr.Photog., CPP of London Wolfe Photography in Altoona, Pa., opened a coffee shop in their downtown studio. A nearby office worker is a regular now, and every time he comes in he gazes at the pictures on the walls, particularly at the maternity portraits. They catch his eye, you see, because his wife is expecting their first child. Another man recently ducked in for coffee while his fiancée was down the street checking out a possible venue for their wedding reception. While sipping a latte, he kept examining London Wolfe’s wedding photos. He left with a business card and a promise that he would be back with his fiancée to discuss wedding photography. “That’s exactly what we were hoping for,” says Tammy Wolfe, who partnered nearly two years ago with Tamar London to open their 8,500-square-foot wedding and portrait studio. “The best part is that when people come in for coffee they want to chat and get to know us. Building that rapport is

called “House Blend,” seniors are “Unleaded,”

like laying bricks in a foundation. We believe

weddings are “Double,” and maternity are

that is what creates a strong reputation and,

“Slow Brew”). Topped off with the studio’s

eventually, a strong business.”

tag line—“Savor the Moment”—and all that

The idea for the coffee shop came about when the photographers were brainstorming

Fresh roasted, organic, free-trade coffees are

about how to attract more people to their

on sale in the shop, along with coffee drinks

studio, especially during the slow winter

made to order, pastries and artwork, including

months. When downtown’s only coffee shop

the studio’s own photo novelties. The mix of

closed, coffee lover Tammy Wolfe was sad,

coffee and art is attracting Penn State Altoona

but she saw opportunity.

students along with downtown professionals.

Clearly the idea of coffee swirled in their heads when they brewed up their branding

20 • www.ppmag.com

was needed was actual coffee.

“It’s subtle marketing,” says Wolfe.

strategy: rich, dark color scheme and java-

To learn more about London Wolfe Photography, visit www.londonwolfe.com.

inspired services menu (family portraits are

Lorna Gentry is a freelance writer in Atlanta.

You spend time photographing other people’s families.

Now spend some time with your own.

mpixpro Where discerning photographers belong. mpixpro.com

CONTACT SHEET

The one-stop wedding shop Eric Sartoris and Laura Elskan build a bridal co-op When Eric Sartoris and Laura Elskan moved

establishing a strong community presence.

their business from Seattle to Austin, a

To help further these objectives, they wanted

couple of their highest priorities were building

a physical presence in a popular, upscale

partnerships in the wedding industry and

neighborhood. However, as experienced

©Laura Elskan & Eric Sartoris

wedding photographers, they knew they didn’t need a full-time commercial space. They meet with clients only a couple of times a week, and the rest of the time the space would sit vacant. That’s a lot of dark hours that cost a pretty penny in rent. To get the best of all worlds, Sartoris and Elskan decided to form their own wedding industry cooperative. In June 2009, they invited several other wedding vendors to join them in renting a storefront that would serve as communal meeting space. The coop includes Sartoris and Elskan’s Anthology Photography, a wedding coordinator, a catering company, a florist, a cake baker and an iron sculptor who produces special centerpieces and other decorative items. Each vendor signs up for time in the store’s central meeting area, but no one uses the space as a full-time office. The companies keep track of the meeting room availability online with a Google Calendar. The vendors split all the rent and utility bills evenly. They each provide work samples and decorations for a carefully coordinated look that showcases everyone’s talents. What began as a cost-sharing enterprise has turned into an excellent source of referrals. Sartoris estimates that Anthology has received slightly less than 10 percent of

its business during the second half of 2009 from referrals from its office mates, though he expects that number to rise as their relationships grow. The co-op also provides a one-stop-shop for clients who want to

Copyright Office imposes new fees, rule changes

secure all their wedding services in one

If you’ve recently registered your photo-

place. That helps each business drive clients

graphs with the U.S. Copyright Office, you

phers who use the eCO registration system and

to the others.

may have noticed a spike in the registration

elect to upload images directly to the Copyright

fees. This is the first in a series of changes on

Office will note an increase in the allotted

the horizon for the Copyright Office.

upload time. When the system launched in

Significantly, the space has proved an ideal venue for special events planned to help each vendor increase its profile. So far,

A new fee structure was implemented in

In other Copyright Office news, photogra-

July 2008, registrants were given only a 30-

the co-op has hosted five evening social

August and is intended to reflect the complexity

minute window. You now have a full 60 min-

events that are open to prospective clients,

in processing the applications received through

utes to upload the images that accompany your

the community and other wedding vendors.

the three distinct registration methods offered.

application. If that’s still not enough time, you

“Within the industry and the surrounding

Even though you’re paying more to register

initiate as many upload sessions as needed.

area, we’ve been able to generate some good

your work through the Form CO and Form VA

buzz by hosting these events,” says Sartoris.

registration system, it doesn’t mean your appli-

CHANGES TO COME

“We’ve been pleasantly surprised by the

cation will be processed any sooner. In fact, it

In addition to the changes that have been made

excitement of the people who attended. It’s

is just the opposite. There is a significant wait

to the fee structure and eCO registration process,

a great chance to interact with potential

period between submitting one of these applica-

the Copyright Office has proposed a change

clients, members of the community and

tions and receiving a Certificate of Registration

related to the submission of a deposit (example

other wedding professionals in a relaxed,

—your proof that the work has been properly

of the work) when registering works that have

no-sales-pressure environment.”

registered. Compared to the 10-week lag when

been published electronically, with the intent of

To others interested in forming a similar

using the eCO system, a Form VA submission

easing the burden on copyright owners regis-

co-op, Elskan recommends careful selection

is likely to take 18 months or more for processing.

tering works that are made widely available

of partners. “It’s important to choose

Despite the increase in fees, the Copyright

online only. Samples of these works would not

partners that serve the same market as your

Office has implemented a temporary waiver

be required to accompany your application

business,” she explains. “The aesthetic needs

of special handling fees. These fees, typically

unless requested by a copyright specialist.

to be on the same level, and they need to be

paid by copyright owners who need to expe-

targeting the same clientele. Otherwise,

dite their application, can tack on at least $760

apply to photographic works. PPA submitted

there will be a discrepancy that your clients

to your application fee. Due to the extreme

comments in August in response to the publi-

will notice.” Elskan also recommends

delay, the Copyright Office has agreed to

cation of the proposal. On behalf of photog-

establishing an efficient scheduling system,

upgrade applications to Special Handling

raphers, we are urging the office to further

and working together closely with all parties

status in cases where an infringement suit is

scrutinize the exclusion of photographic works.

to produce a visually impressive space that

being filed and the application has been pending

PPA is actively monitoring the Copyright

helps sell everyone’s work. Teamwork is

for more than six months. This waiver will

Office’s final rulemaking on this develop-

important, and everyone needs to work

remain in place until July 1, 2011. For more

ment and looks forward to working closely

toward the common goal of building

information on special handling, please refer

with them to make registration easier and

business at the highest standards, she says.

to Circular 10 on the Copyright Office

more affordable for photographers who

After all, a cooperative only works if

website at www.copyright.gov/circs/.

produce a high volume of copyrighted works.

As drafted, the proposed rule would not

everyone cooperates. The per-application fees have been increased (since August 1, 2009) as follows:

For more on Anthology Photography’s wedding co-op, visit them online at www.weddingphotos.com.

Using the Electronic Copyright Office System (eCO) Using the Bar-coded Form CO Using Form VA or other paper application

Previous

New rate

$35 $45 $45

$35 $50 $65

January 2010 • Professional Photographer • 23

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Show big, sell big

Gayletta attributes a sales increase of 15 to 20 percent to the remodeling. “I always

A total revamp for Gayletta’s Photographic Studio and Gallery

knew I had to show big to sell big, and this

After 10 years in business, Gayletta’s Photo-

Gayletta’s workflow and walked the space with

the design, and so are my clients.”

graphic Studio and Gallery in Nederland, Texas,

her to come up with preliminary drawings. He

had outgrown its rental space. In addition to

helped her establish a budget and stick to it.

enlarging the studio, proprietor Gayletta

LaBiche to help with the details. “Dohn asked

make the client areas more comfortable and

a lot of questions about my workflow, and

give the business a pulled-together look.

explained that any step I saved my

After hearing a presentation by Jerry Bryan convention, Gayletta asked for his advice,

employees saved me money. He was so right about that,” says Gayletta. During the construction, Gayletta met

and he was on her doorstep the very next

with clients and did presentations in a

week. Bryan runs his own studio in

trailer. The camera room remained

Carlsbad, Calif., in addition to providing

accessible through a back entrance.

design services to other photographers. Bryan’s fundamental recommendation is

A 1,000-foot addition on the back of the building became rental space to bring in

to buy a space of your own rather than redoing

extra income. Gayletta replaced the lattice

a rented one. Build equity, he says. Come up

between her sales areas with dividing walls,

with a realistic budget to determine if

redesigned the storefront into a gallery, and

purchasing is an option.

set up presentation areas with projection

Gayletta and Bryan found nothing better

systems. She added an outdoor portrait area,

in the area than the space she was already in,

built a large setting area, and added dressing

and her landlord was willing to sell at a good

rooms. The final touch was adding “gallery”

price. “[Her space] required an extreme make-

to the business name, which now reads

over inside and out,” says Bryan. He analyzed

Gayletta’s Photographic Studio & Gallery.

All images ©Gayletta’s Photographic Studio & Gallery

After remodel

—Stephanie Boozer

Gayletta brought in architect Dohn

Tompkins, M.Photog.Cr., CPP, wanted to

at the 2003 Texas Professional Photographers

has made a huge difference. I’m thrilled with

LESSONS LEARNED • First impressions matter. Gayletta’s redo included the removal of an outdated awning, adding a brick exterior, a splurge on elegant entry doors, and a new electronic sign with a professional look. • Less is more. Gayletta’s walls were so full of dimly-lit portraits that it was impossible for clients to envision how a large portrait would look hanging in their home. She re-hung a select few and focused spot lighting on each for drama. • Sales needs a private space. Solid walls now provide physical separation and noise reduction for private consultations and screenings. • Show big to sell big. The studio’s sales associates’ transition from a 19-inch monitor for presentations to a large projected view has generated much bigger sales. Before remodel

Gayletta presents “Time Flies When You’re Photographing Fun” at Imaging USA 2010 in Nashville, Jan. 10-12. See imagingusa.org for more info.

26 • www.ppmag.com

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Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Scott and Adina Hayne on the value of quality What do you wish you’d known when you were starting out? Superior products make you look professional, which in turn brings more clients. If you try to get by with substandard products to save a buck, it ends up costing you more in the long run. What’s the most important business lesson you’ve learned? It’s not about what we would pay for photography, it’s about what our clients will pay. Having confidence in the value of your work is so important to business success. What’s your secret for building business in a sluggish economy? We can point directly to our online social networking efforts. You must leverage your access to where people hang out, which is in online communities. That and having distinctive images posted. How do you manage your workflow? Using the studio management system ShootQ to manage contracts, contacts and workflow. And you can’t overestimate the workflow improvement that comes with having fast, efficient computers. You can save a little time on each process … multiply that by thousands of files a year, and that equals serious time savings. IMAGE BY SCOTT HAYNE PHOTOGRAPHY WWW.SCOTTHAYNEPHOTOGRAPHY.COM

January 2010 • Professional Photographer • 29

PROFIT CENTER

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

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

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

Ask the experts Employee considerations, managerial accounting, digital files Q: I really want to hire an employee. What do I need to consider? A: Ask yourself this question: Is the need based on a temporary up-tick in business or a prolonged increase? If the need is temporary, look to outsourcing specific tasks as an alternative to hiring an employee. You have to pay salaried employees regardless of how busy they are, even in your slow periods. Outsourcing work to contractors or other businesses can help you scale your labor costs to your needs. If the need is based on a prolonged increase in business, consider hiring part-time help, and write a clear job description of the specific task(s) the employee will perform, such as data entry, retouching, album design or bookkeeping. Avoid full-time employees unless your studio has the consistent year-round sales to sustain the expense of a full-time employee. —Ann K. Monteith (annmonteith.com)

segment of your business, and how those segments are affecting one another. In this format, it will be easy to compare the information to the PPA-recommended financial benchmarks for photography businesses. Your accountant might not realize your photography studio is not just a retail businesses, but a service provider and a manufacturer of a product. This business model is more complex then a typical retail store. You still need a good tax advisor and preparer, so we’re not going to make your accountant obsolete. If he’s providing regular analysis and strategic feedback on your financial data, you might not need the services of SMS. In our experience, however, photographers seldom get this kind of business consultation from their accountants. That’s the primary reason we developed SMS for our members. —Scott Kurkian

Q: My accountant says the managerial accounting that PPA recommends for photographers is not real-world accounting. He says it’s unnecessary for a small business and cannot be used to prepare taxes. I trust PPA to give me correct and dependable information. How do I answer my accountant? A: I’ve heard similar responses from accountants in the years since we started PPA Studio Management Services (SMS). When your accountant thinks about managerial accounting, he probably sees it as workable in a manufacturing plant or similar business; that’s how it’s taught in school. But we know that managerial accounting is relevant to small businesses. It makes sense of the numbers. It puts financial data into a format you can use to accurately analyze every

Q: I’m an experienced full-service wedding photographer. I don’t want to cheapen my brand by offering shoot-and-burn services. But how can I compete when everyone else does? A: First, be sure that your marketing and product packages make it clear that the artwork, design and finished products are the foundation of what you sell. If you are still faced with the question of the files and rights, urge the prospective clients to articulate what it is they are looking for. If it’s a matter of budget, briefly explain that once the files leave your hands, it’s impossible to guarantee the quality and service that your company is known for. Help clients see that they can afford your services by offering a payment plan, a gift

30 • www.ppmag.com

“Avoid full-time employees unless your studio has the consistent sales to sustain the expense.” registry for your services, or the subtraction of some items from the package that can be added later. Remind them that the images cannot be taken again, but albums and prints can be added as budget allows. If the client wants low-resolution files for digital presentation, you might offer it as a bonus, or for a reasonable price, sell some of the images sized for a specified personaluse license. Some clients would like to have their files for safekeeping. Consider providing a backup disk with the purchase of an album, or charge a fee for it. Be sure to label the disk with specific usage rights. View the situation through the client’s eyes, then explain the options in a manner that conveys your desire to act in their best interests. You can make some concessions without lowering your standards and cheapening your brand. What’s at stake is wedding memories and your reputation, so you and the client are in this together. � —Jen Roggi, SMS mentor and consultant (www.stephencharles.com) Got a question? The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

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PROFIT CENTER

BY JEFF KENT BY JEFF KENT

Molly Purvines finds balance and confidence through better business management and client interaction.

Molly Purvines of McDonough, Ga., started her home-based portrait business, Purvines Photography, in October 2005. She wanted her child and family portrait studio to be a healthy source of income for her family. Realizing she needed business knowledge, Purvines took classes and read books to educate herself on small business management. By the end of 2006, the fledgling business had yet to click into gear. Clients loved Purvine’s images, but sales didn’t reflect it. As the business sputtered, she worked long hours to keep the enterprise afloat. Then, at Imaging USA 2007 in San Antonio, Purvines spoke with PPA Studio Management Services (SMS) mentor Ann K. Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI, API, A-ASP, Hon.ASP, and asked for advice on business planning. Purvines had already planned to attend Monteith’s Guerilla Management seminar in May, but she helped immediately. Monteith peppered her with questions, and concluded from the answers that Purvine’s sales had to double if the business was going to make it. On Monteith’s recommendation, Purvines revised her sales sessions to include image projection, and made substantial price increases. The impact was immediate. By the time she arrived at Monteith’s workshop in May, her sales were ahead of projections for the period. By year’s end, Purvines had more than doubled her gross sales over the year before. An improvement, but the business was still not generating that healthy income.

That’s when Purvines called SMS. “I’d increased my sales and business was improving, but I didn’t know where to go from there,” she says. “How do I keep growing? How do I manage the next steps? The biggest thing we had to tackle was forecasting my business flow from year to year. Working with SMS helped me understand time management and the realities of session numbers and business volume.” In addition to the SMS accountants, Purvines got consultation from Julia Woods M.Photog.Cr., photographer and SMS mentor. “She taught me to not just sell my pictures but to sell what I do as artwork,” says Purvines. “Sales became a much more in-depth process that begins with the initial phone call and extends through the sales projection session.” With those revisions and the 2007 price increases, Purvines’ per-session sales average is up by 50 percent in the last year. She’s also managed to slightly increase her session bookings in the last two years. The costmanagement techniques she got from SMS helped Purvines keep her cost of sales impressively low: 23 percent in 2007; 26 percent in 2008; 21 percent in 2009. As is typical when a photographer increases prices and manages costs effectively, Purvines saw a happy improvement on the bottom-line profit (net profit + owner’s compensation): 32 percent in 2007; 34 percent in 2008; and a stellar 43 percent in 2009. Making more money and keeping more of what she made encouraged Purvines to build

“I know from the initial consultations with my clients how the process will end. It’s not a surprise anymore.

Molly Purvines

her dream studio in the basement of the new home she and her husband bought last February. With her newfound understanding of the numbers, Purvines knew they could afford it. Her high profit margin helped her fund the total renovation of the house’s 1,800-square-foot walkout basement. Her new studio includes a camera room, an office, a gallery and a lobby—the entire project was paid for without taking on debt. Now, Purvines is feeling a stronger sense of confidence in her business management skills. “I know from the initial consultations with my clients how the process will end,” she says. “It’s not a surprise anymore. I know if the photography is important to them or not. Understanding what I need to do to serve each client from the beginning gives me the confidence and freedom to do what I want artistically.” Purvines can also forecast more accurately and manage her time more effectively. “Before, I was always worried I should be working more,” she says. “Now I know where I stand in my projections, and I can tell how my business is doing at any given time. That allows me to take a day off or schedule myself away from the studio to take a class, and I don’t have to worry about my business falling apart. That balance has been critical. It helps me be a better photographer and a more relaxed person.” �

Understanding what I need to do to serve each client from the beginning gives me the confidence and freedom to do what I want artistically.” 32 • www.ppmag.com

Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Molly Purvines at www.purvinesphotography.com.

©Carol Andrews

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PROFIT CENTER

All images ©Lisa Crayford

O

ur studio, Country Gallery, is located on 10 beautiful acres in central Minnesota. With a staff of four full-time employees and a couple of part-timers, we photograph about 1,000 sessions a year. We stay busy yearround by constantly running promotions. Here are five of our money-making wintertime promos with kids and pets. ANNUAL PET CONTEST. We do this

month-long promo in chilly February. A set entry fee buys the client a 10-pose session and one 8x10 portrait. We post the images on Facebook and solicit online votes. You can also get clients to enter the 8x10s in a contest at your studio or another venue, such as a chamber of commerce meeting, an animal clinic, networking groups, anywhere you can get good exposure and advertise your business. We have five categories: cats, dogs, puppies, most creative and other—any kind of animal that will pose for your camera. We’re prepared for goats, calves, turkeys, chickens, snakes, rats, ferrets, and so on. This is a contest, so we award prizes: First place wins a 16x20 portrait, Second place wins an 11x14 portrait, and Third place wins an 8x10 portrait. All three winners also get prizes donated by a pet store in the area. We solicit the donations by letter in November. In exchange, we use the store’s logo on our marketing material. In September, we promoted a fundraiser called the Ugliest Dog Contest for

Release the hounds

the Humane Society. We photographed the

5 WINTER PROMOS TO BRING CLIENTS IN FROM THE COLD

month, we do Quick Takes, 15-minute sessions

Brand it green

B Y L I S A C R AY F O R D, M . P H O T O G .C R . , C P P, A B I

36 • www.ppmag.com

dogs at the shelter and posted them online. People paid $1 through PayPal for every vote they cast. The event raised a lot of money for the organization. Pet contests are a fun way to build a pet portfolio and get some awesome competition prints! BALLERINA BABIES. One day a with a choice of two or three themed sets that we change every month. By popular

busy and put money in your pocket. It takes

or call Metzer Farms in California and have

a bit of an investment, but it’s well worth it.

them ship them to you in the mail

We’ve done indoor fishing two or three days

—yes, in the mail. (You do not need a permit

every year for the last four. You’ll want to get

from the U.S. Department of Agriculture to

about 12 live ducks for this exciting venture.

use ducks in your photo shoots.*)

Get them from a local fleet and farm store,

When the ducks arrive, immediately put

The owner of this RAID storage device heard some really good news

DriveSavers rescued thousands of files from their towering inferno Ballerina Babies

demand, we do a Ballerina Babies Quick Takes promotion in February. We always have yards of tulle and assorted tutus, tights and ballet shoes. For props, we use pink roses, rose petals, columns, balustrades, pearls and feather boas. A Quick Take session includes one 8x10, two 5x7s and eight wallets of one pose for just $75. The clients return a couple of weeks after the session to view prints of our picks of the three best poses and take home what they want. Additional units sell for $15 each; three or more units sell for $12 each. We average $130 per Quick Take session. Look at our calendar of events for more Quick Take ideas at countrygallery.com. GONE FISHIN’ INDOORS WITH LIVE DUCKS. If you’re bored in February and March, this promotion will keep you

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January 2010 • Professional Photographer • 37

PROFIT CENTER

them under one or two heat lamps and give them a little drink by dunking their

Models Wanted

beaks in water. Feed and water them well at the end of the shooting day, not before sessions, or they’ll foul the water. We use them in rotation, six in the water and six under the heat lamp, so that half are dry and fluffy for the pictures. I use the large Gentle Valley canvas background from Photo Showcase, and I throw down green muslin to cover the floor (photoshowcasebackgrounds.com). The 6x7foot indoor pond is made of 2x6 boards and a plywood bottom under a sturdy plastic pond liner. You’ll need a wooden dock,

Gone Fishin’

fishing poles, all kinds and heights of artificial greenery and other appropriate flora, rocks, fishing basket, fake fish and a fish net. The more depth the set has, the more realistic it will look. MODELS WANTED. A great promotion whether you’re established or new to the business, but definitely a promotion to save for slow times. You want the models to appear in your future marketing and branding campaigns. In our marketing pieces for this year’s promo, we use just one image with a lot of impact—my little girl screaming. The time before, we used an image of all three Country Gallery photographers with our cameras over the caption, “Models wanted,” on the front of a postcard. The backside of the card described the promotion and the dates it would run. We had costumes made by a couple of local tailors, designed new sets, and got lots of new and fun images to use in print and Web advertising. The special deal for the clients was a complimentary session and 15 percent off their order. (Be sure to get signed model releases.)

38 • www.ppmag.com

PROFIT CENTER

Kids Contest with Bunny and Lamb

KID’S CONTEST WITH BUNNY AND LAMB. The whole month of March is devoted to this annual promotion. For only $49, clients get a session and one 8x10 that can be used in the contest, which is set up like the pet contest. For prizes, we solicit donations by mail from a huge variety of vendors, including boutiques, toy stores, professional sports teams, malls, restaurants and theaters. We borrow two bunnies from the Humane Society for a couple weeks, and one lamb for two days.* We like newborn, pure white, bottle-fed lambs. You’ll want a large dog kennel for the lamb, which needs to be fed every three hours or so. We get two bunnies so we’ll have a backup in case one gets a wild hare—er, mean or naughty. As for props, we always have something high key, so we do a soft, pretty set on pastel muslin. It’s also fun to do more a rustic set with hay bales, crates and barrels on an earth-tone background. The last set we did was Peter Rabbit’s garden, with bunches of carrots and lettuce, an old green wagon, trees and greenery, rocks and mushrooms. Benches and pedestals are a must for kids to sit on, with the animal next to them. If you do a bunny and lamb session, remember to take some images of the children without the animals as well. � *Editor’s Note: You will need a license from the USDA to use lambs and rabbits, among other animals, in your photographs. For information, call 919-855-7100 (Eastern regions) or 970-494-7478 (Western region). Your state might also have laws regarding the use of animals.

Lisa Crayford owns Country Gallery Photography Studio in Kimball, Minn. Visit her gallery at countrygallery.com.

40 • www.ppmag.com

PROFIT CENTER

B Y L I N D S AY A D L E R

Invest your time, extend your reach Why you should care about social networking

Popular with photographers, Twitter has a robust photographic community. The number one goal of Twitter is to connect with people. Standard social barriers

We’ve always known the value of networking.

THE BIG ONES

disappear—it’s perfectly acceptable to start a

Meeting with vendors in related businesses

Facebook. This is the largest social network

conversation with anyone on Twitter. I find

and frequent personal interaction with

in the world. Think of Facebook like a direc-

it to be an incredible source of information,

clients are staples in continuing growth.

tory for the world. For portrait photographers,

and it’s brought me several clients.

Social networking online is a hugely expanded

Facebook is a great fit. The ability to tag

form of traditional networking. It can help

people in your online photos means that any

site is known for its endless content and

you attract new clients, establish yourself

update will appear on your client’s profile. All

viral videos. Its popularity makes it a smart

as an expert in your field, and network

of the client’s friends can see the photos, which

place to promote yourself. Photographers

with colleagues and other business people.

will in turn lead them to further examples of

can use YouTube to share slideshows of

your work. Nearly all high school seniors are

their images, Photoshop tutorials, photo

came from connections I made on my

extremely active users of Facebook. Much of

tips and more. Determine what content

WorldPress blog, and sites like Facebook

my senior portrait business comes from people

would interest your target audience, and

and Twitter, which has also led to editorial

who say they saw my work on Facebook.

create it for YouTube. For example, you

This year, a third of my portrait business

assignments from several magazines.

Twitter. Don’t get hung up on the 140-

YouTube. The world’s largest video-sharing

might make a clothing and posing guide for

character limit of Twitter messaging. You

portrait clients or produce a slideshow of

networks and how they can be useful to

can say plenty in just a few words. Links to

your best images as an online portfolio.

professional photographers. All the sites

other sites, photos, short musings and status

listed are free to use.

updates are all valuable uses of Twitter.

Here’s an overview of the major social

Blogging. There are numerous free blog hosts. A blog is an effective way to establish a reputation; it becomes your home on the Web. Photographers have tons of ever-changing

FLICKR, NOT JUST FOR FUN Yes, there are plenty of amateurs on Flickr, but it’s also full of professional photographers. BUILD A COMMUNITY. Flickr is a place to get your name out there and build a following. It has a vast and active community of photo enthusiasts. Remember, you get out of social networks what you put in, so if you join groups and contribute constructive comments on others’ work, you will get recognition of your own. SEO. Flickr has incredible search engine optimization. The detailed descriptions and tags you put on your images makes them easy for Google to find. EASY WORKFLOW INTEGRATION. There are several desktop and mobile applications that enable you to directly upload images to Flickr. You can configure

44 • www.ppmag.com

settings to have your Flickr images feed into your blog, Facebook and other social networking sites. GETTY IMAGES. For nearly a year now, Getty has had specialists combing Flickr to find photographers to contribute to their stock collection. Now you can apply to have your images included. Simply upload 10 of your best images to the Flickr Collection on Getty Images (www.flickr.com/groups/callforartists/). PRO ACCOUNT BENEFITS. The Flickr pro account costs just $25 a year. It includes unlimited upload and storage (treat it as a form of cloud storage), analytics to see how many views your images are getting, and HD video capability. The Pro icon by your Flickr name shows you take your work and the Flickr community seriously.

content to put on a blog. Some feature photos with interesting descriptions of how they were created, some discuss Photoshop techniques, some discuss business practices. I blog about my fashion photography, new publications of my images and upcoming workshops; I also invite and answer readers’ questions. Blogging has led to my being published in several international magazines, after editors serendipitously come across my work. Flickr. As the world’s largest photo community, Flickr is a fantastic place to get your photography noticed. You can join groups, enter contests, comment on others’ work, and keep track of how often your own work has been viewed (see sidebar).

OTHER IMPORTANT NETWORKS Vimeo. A video-sharing social network. Many photographers prefer it to YouTube for the

Get a free roll of 50 prints from Sony. Sony’s new UP-DR80 digital photo printer is changing the face of portraits for the Event, Studio and Seasonal Portrait markets. And for a limited time, when you purchase a UP-DR80, we’ll start you off with a free roll of media so your first 50 prints are on us! The UP-DR80 unleashes a whole new level of print quality in a wide range of print sizes and a choice of three surface finishes – all from a very compact photo printer. Accelerate your sales – and make every occasion unforgettable. visit: Sony at Imaging USA Booth 745 click: sony.com/UPDR80PROMO for details. Promotion period November 1, 2009 to March 31, 2010.

© 2009 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony, the Sony logo and ProMatte are trademarks of Sony.

PROFIT CENTER

artistic and professional community it caters

a blog, get feedback on your work, buy and

stylists, wardrobe stylists, makeup artists

to. Another plus, the Vimeo video-player

sell artwork, and interact with other artists.

and other collaborators.

interface is more sleek and customizable

Model Mayhem: This social networking glamour and other kinds of photo shoots.

SOCIAL NETWORKING IN ONE HOUR A DAY

community of artists. You can create a

You can create a photographer profile, upload

You might be putting off online social net-

profile to showcase your images, maintain

samples, and then connect with models, hair

working because you can’t spare the time.

than other video sites like YouTube. Deviant Art: This website is an online

site connects creative individuals for fashion,

But it doesn’t have to be all or nothing. Think of it as another necessary business task that you set aside time for every day.

In the Movies the hero never runs out of ammo!

Start with 30 minutes to an hour a day to get your reputation established. As you become more comfortable and integrated with social networking, it will become a seamless part of your business activities. Your tasks won’t be the same every day. Make a weekly schedule with the following goals: 1. Sign up for various sites and look for people to connect with. Find people in your target audience, people you admire, people with similar interests. Most important, connect with old and current clients. 2. Pick a blogging schedule and stick to it. At first, try to blog once a week, ad focus on creating a high-quality post. 3. Check Twitter for industry updates, and contribute at least one good tweet per day— a discovery, a thought, a photo you’ve taken. 4. Update your Facebook page in some way.

Now, in the Real World, you too can shoot as fast as you want, for as long as you want!

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46 • www.ppmag.com

Search for your own clients’ entries, and post and tag their photos. 5. Add three Flickr photos each week, and submit them to appropriate groups for critique and review. It’s all about developing good habits. Determine your audience, set your goals, and create a schedule to keep you on task and productive! �

To learn more, visit linkedphotographer.com, and look for Adler’s new book, “Linked Photographer: New Media and Social Networking” in March 2010.

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like David Stoecklein gets results by traveling fast and light What makes your workflow flow? I use Adobe Lightroom and keep all my digital images in a few libraries. Then I divide them into the various projects that I’m working on. What’s the best equipment investment you’ve ever made? My Canon gear. It’s the best. Next, my Apple Xserve. It keeps everything in one place, instead of in a mess of interconnected hard drives. I see everything in one directory, and that really gets the job done for me. Also, I have about 70 CompactFlash cards, and traveling with that many cards really helps. Little thing, big difference ... Traveling fast and light. I go on location with one box of gear that includes three or four prime lenses, my Canon 400mm f/2.8 lens and two Canon camera bodies. Has a piece of equipment ever changed your approach to photography? The Canon EOS 7D. Now I think about video as well as still images. It’s exciting to see things this way —moving! What’s the one piece of gear that they’d have to pry from your cold, dead fingers? The Canon 400mm f/2.8 lens. IMAGE BY DAVID STOECKLEIN WWW.DRSPHOTO.NET

January 2010 • Professional Photographer • 49

THE GOODS: INVENTORS

Necessity is the mother of invention—when photographers see the need for a solution, they're likely to invent one. BY ALICE B. MILLER

Inventing 101 5 PHOTOGRAPHERS WHO SOLVED PROBLEMS WITH INNOVATION Photographers are a creative breed. Some of

Graphic lens. Intent on developing a “simple

the most influential innovators and

contraption that would let me use my

problem-solvers in the industry have been,

medium-format lenses as tilt lenses on my

first and foremost, photographers. Their

SLRs to get selective focus without spending

inventions have helped simplify our

a lot of money,” he didn’t realize how many

workflow, save time and reduce stress,

other photographers had a similar need.

enrich the art of photography, add value to

A freelance media and commercial

His first drawing of the flexible lens concept that led to the Original Lensbaby fell on the same page as Strong’s journal entry on the birth of his twin boys.

a market for the first Lensbaby—now called the Original Lensbaby—very quickly.”

our products and services, and increase

photographer, Strong says that the same

client satisfaction. Here, we look at a few of

strengths that help him create unique and

innate knowledge of the industry, Strong and

those innovators, and what it takes to drive

compelling photos helped him create the

his team continue to develop novel products.

a product from concept to market.

mechanical solutions behind Lensbaby

“Helping other photographers see the world

products. Accustomed to constantly moving

in a new way and greatly expand their creative

CRAIG STRONG of Portland, Ore., inventor

on to the next assignment, which kept him

vision is one of the best parts of bringing

of the Lensbaby creative effects SLR camera

fresh and invigorated, he says, “Working on

unique solutions to market,” says Strong.

lens, made the first model from a ShopVac

each new Lensbaby generation for a year or

www.lensbaby.com

hose, a camera body cap, and a Kodak Speed

more taxed my ability to stay fully engaged

www.strongphotography.com

With a photographer’s perspective and an

with the process.” in ev ©K

ta bo Ku

Strong encourages would-be inventors to “pay attention to what frustrates you. My best ideas have come from my greatest frustrations.” Also make sure your idea works without major consequences if it breaks or malfunctions—but

KEVIN KING, inventor of the RadioPopper, hadn’t set out to create a commercial product, but to make his own flash units easier to use. “I went from knowing nothing about manufacturing and electronic components to releasing a product in a very short time,”

don’t wait until it is perfect. “My

says King. “I wish I’d had more fun with it

business partner, Sam Pardue, and

and stressed less about the small stuff.”

I transformed what might have been a time-draining do-it-yourself hobby into a successful international business by developing

To other innovators, King advises, “Do what makes you happy, but be cautious. Don’t get greedy or try to do anything overnight. Be careful with whom you deal. Don’t give up the things that matter most

Craig Strong, inventor of the Lensbaby, photographed by Kevin Kubota, through the Lensbaby Composer fitted with the new Fisheye Optic.

52 • www.ppmag.com

for a business or idea, or become so blinded by your vision that you can’t hear the good

THE GOODS: INVENTORS

advice of people who care most for you.” And try not to limit your imagination:

JIM DOMKE designed the first Domke Bag to solve a specific problem. “As a staffer at

“Just because the industry-standard

the Philadelphia Inquirer, I needed a bag I

solutions don’t work, it doesn’t mean a

could work out of quickly and on the run.”

problem can’t be solved with a little out-of-

When Gary Haynes, photo director at the

the-box thinking,” he says. “Have faith in

newspaper, saw the prototype, he said he

yourself and just start the process. Taking

wanted to buy 20 of them. Those first

the first step is where all great inventors,

Domkes went with the Inquirer photo staff

artists, and philosophers began.”

to the 1976 Republican Convention. The

Bringing RadioPoppers to market has been rewarding for King. “Seeing others

national press and the photo trade picked up on them, and Domke was in business.

grow with their photography and knowing

Due to demand, he started selling the

that I produced a tool that has encouraged

bags through industry merchants rather

that growth is big,” says King. “Sometimes at

than to individual photographers. “I

seminars I see people confused and

probably should have expanded the bag line

frustrated about lighting, then suddenly

rather than focus on solving problems of

they get it. For the next six months, they e-

working photographers,” says Domke. “But

mail images to us to show what they can do.

then it couldn’t have been branded as a

It’s great to be part of that.”

‘professional camera bag.’”

www.radiopopper.com

Domke believes inventions that succeed

www.kevinkingphoto.com

in the marketplace are the ones that solve a

“Just because the industry-standard solutions don’t work doesn’t mean a problem can’t be solved with a little

out-of-the-box thinking.”

—KEVIN KING

Jim Domke, designer of the Domke Bag.

problem or meet a specific need. The success of the Domke Bag also highlights the value of the product’s flexibility because, he says, “Everyone works a little differently.” Domke’s most cherished reward for bringing the Domke Bag to market is the steady stream of letters he receives from other photographers. “And it’s great that after 33 years, the product is still on the market,” he says. www.tiffen.com • www.jimdomke.com GARY REGESTER of Silver Plume, Colo., well regarded by his peers, is a prolific inventor of useful photo tools, including the Chimera and Wafer Lightbanks. He says there’s truth in the adage about persistence, but he quickly adds, “You need a heck of a lot of miracles, too.” “If your idea is a product rather than a service, see it through to your first or second

Kevin King, inventor of the RadioPopper.

54 • www.ppmag.com

sale before bringing it to a larger company,”

THE GOODS: INVENTORS

“Spend as

little money as possible on your

prototype, keep it simple, document your work —ask a notary to affix a date on your drawings and photos—and remember that the first sale

starts

the clock in deciding to patent or not.”

—GARY REGESTER

MICHELLE WOOD of Roseville, Calif., had

facturing options for cost-effective production,

complete confidence in her invention, Wall

develop marketing strategies that demonstrate

Mirage, a background baseboard system.

the necessity of the product, and invest in

Unsatisfied with the available faux wall back-

the counsel of qualified professionals.

grounds, she figured other photographers

Michelle Wood, inventor of Wall Mirage.

the process or enhance the output of our indus-

certain about was being able to see the project

try, don’t hold back,” says Wood. “Have faith

through with everything else she needed to do.

in your vision and pursue your dream.” �

“I became more determined to bring Wall Mirage to market every time I saw magazine ads

Regester suggests. “Spend as little money as

and fashion spreads that needed my product,

possible on your prototype, keep it simple,

portrait galleries that needed my product,

document your work—ask a notary to affix a

even the style section of Oprah’s O magazine

date on your drawings and photos—and

clearly needed my product,” says Wood.

remember that the first sale starts the clock in deciding to patent or not.”

Doing something outside her comfort zone was challenging and rewarding. “I learned

Regester says that any good idea will be

about patenting, manufacturing and market-

copied within a year, so he stays in front of

ing, and I still find there’s much to discover,”

the pack with new inventions and improve-

she says. Grateful for the support she’s

ments on existing ones. His strongest caveat

received from other photographers, Wood

is about patents: “They are expensive, afford

advises, “Take each day as it comes, stay posi-

little protection, and require you to disclose

tive, and focus on maintaining momentum.”

all trade secrets,” he says. “They only last 14

Wood tells other innovators to trust their

years and require a $10,000 investment

instincts, and have a sincere desire to develop

with an attorney. If someone copies you or

something that will benefit others.

accuses you of copying him, you’ll need at

Determine if there’s a need for the

least $100,000 for your first hearing with a

product, network with other professionals and

judge. It’s better to document your progress

ask for feedback, research patents to confirm

and save that $10,000 for the business.”

that the invention is unique, test the product’s

www.garyregester.com

durability and craftsmanship, explore manu-

56 • www.ppmag.com

“If you believe that your idea will improve

might feel the same. The only thing she wasn’t

www.michellewoodphotography.com www.wallmirage.com Gary Regester, inventor of useful photo tools, including the Chimera and Wafer Lightbanks.

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2

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5

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THE GOODS: SOFTWARE

Your settings for one Photoshop tool or function can affect the performance of another. Knowing how they relate can help you use the software more effectively.

White, in Hue/Saturation when you target a specific color, and the eyedroppers in CS4’s new Targeted Adjustment tools. If you use the Info palette to read colors,

BY ANDREW RODNEY

be aware that the sample size will determine

Relationship status

the range of pixels to be averaged into that

ADOBE PHOTOSHOP

calculation. Hold down the shift key to access the Color Sampler, click to place a readout point of the image color, then rightor control-click to toggle the sample size and see how the values change. When you use

Many of the applications photographers use to

in the image with an area you’ll be able to

the sampler to measure color in an image,

process images have intertwined preferences

click on repeatedly. Leave tolerance at its

the sampling size will have a huge impact on

and tool settings that have a profound influ-

default setting, 32. Select the Eyedropper

the colors reported.

ence over one another, even when their func-

tool and set Sample Size > Point Sample.

tions are seemingly unrelated. It’s like the game

Toggle back to the Magic Wand (type W),

Select > Grow or Similar with a selection,

Six Degrees of Separation, but in well-designed

and carefully click on the reference section.

the result is tied to the Magic Wand

software, the connections aren’t quite as

Note the range of colors and the amount

tolerance settings, even when you’re not

random or pervasive. Knowing what features

Magic Wand selected.

using the Magic Wand. Check the setting

are connected can greatly aid in maximizing

Deselect the selection (cmd/ctrl-D),

an application’s performance. Let’s look at a

select the Eyedropper, and set Sample Size

few examples in Adobe Photoshop.

to 11x11 or even 31x31. Now select the Magic

SAMPLED COLORS. The much-

GROW AND SIMILAR. When you use

before using Grow or Similar to get better control over what’s selected. COLOR RANGE. The Select > Color

Wand again and click on your reference

Range command has an option to select what

maligned Magic Wand tool has a somewhat

section. The selection looks quite different

it specifies as out-of-gamut colors, but the

veiled but important connection to another

and probably larger. If you’re selecting a

range of colors is based solely on the CMYK

tool’s setting, the Eyedropper’s sampling size

small range of colors, use a low setting for

profile selected in Photoshop Color Settings

(Figure 1). The Magic Wand tolerance

both the tolerance and the sampling size.

(Edit > Color Settings…). If, like most users,

For larger areas of dissimilar colors, do the

you select the SWOP V2 profile, the colors

opposite. The Quick Selection tool is not

you’ll select, while technically out of gamut,

affected by the Eyedropper sampling.

are probably not the colors you really wanted.

The Replace Color command (Image >

There’s no way to select out-of-gamut

Adjustments > Replace Color…) also uses

colors in Color Range based on an RGB

the Eyedropper sampling settings. It even

profile. You could select an RGB profile in

affects the color you see in the Color Picker

the Customize Proof Setup (View > Proof

Figure 1: When the Eyedropper tool is active, the pixel sampling options are accessible from the Option bar.

in this dialog. A large pixel sampling may

Setup > Custom…) and view the out-of-

produce a color that looks nothing like what

gamut colors through the out-of-gamut

setting controls the range of colors to be

you expected because all the adjacent colors

overlay (View > Gamut Warning), but there’s

selected; the Eyedropper’s sampling size

were sampled as well (Figure 2).

no access to these colors in Color Range.

defines the number of pixels to be

Do you like to use the eyedroppers in

And speaking of Color Range, there’s an

scrutinized. The tolerance setting will

Curves or Levels to set black, white and gray

option to select pixels from the image and,

determine its selection based on the pixel

points? Those, too, will use the Eyedropper’s

you guessed it, the selection will be based

sample setting of the Eyedropper.

pixel sample size in applying those corrections.

upon the Eyedropper sample size (Figure 3).

Open an image for a demonstration of this relationship. Identify a reference section

60 • www.ppmag.com

It’s the same with the eyedroppers in Image > Adjustments > Exposure, Black and

INTERPOLATION AND TRANSFORM. Photoshop has different

THE GOODS: SOFTWARE

algorithms for sizing images up or down. Photoshop CS gives us five: Nearest Neighbor (maintains hard edges); Bilinear; Bicubic; and the newest, Bicubic Smoother (up-sizing up) and Bicubic Sharper (downsizing). You can set a default interpolation in General Preferences (Figure 4). When you resize an image with the Image Size command, you can use its pop-up menu to override the default. Not so when you use any of the Edit > Transform command options, including Perspective cropping, even if you enlarge or reduce the selection. When you use Free Transform, you can’t always predict whether you’ll want to enlarge or reduce the selection, and there lies a potential problem. When you can, set Figure 2: The Replace Color eyedroppers also access the pixel sampling set in the Eyedropper (see Figure 1). When the sampling is set to a high value, in this case 101x101, the colors that are selected might not be the ones you expect. Here I’ve clicked on the dog’s tooth, but the sampled color is different because the sample includes pixels outside the tooth area.

the General Preferences interpolation based on the direction (enlargement or reduction) of the resizing you’ll be making. You could merely set your preferences to a midpoint (Bicubic), which will do a decent job of resizing those pixels, but the latest interpolation options will produce better results. CONVERSIONS. In Color Settings, there’s a section of conversion options for setting Engine, Rendering Intent, Black Point Compensation and Dither. This entire section, though, is generally used only when you convert from one color space to another in the Mode change menu (Image > Mode). When you use the Convert to Profile command, you can override any of these preference settings; the Print command, however, is always set for Adobe ACE. If you wish to make prints from Photoshop identical to prints from a non-Adobe application —those applications cannot use the Adobe ACE color engine—you’ll have to set the

Figure 3: Color Range set to Sampled Color also accesses the Eyedropper tool’s pixel sampling size.

Engine options accordingly and use Convert to Profile. Then choose No Color Management in the print dialog to bypass Adobe ACE. It’s the same with Dither, although you’ll almost always want that setting

62 • www.ppmag.com

THE GOODS: SOFTWARE

turned on to help maintain smooth gradients in the print. If any other applications apply dither, it would likely be different from Photoshop’s. DITHER AND MODE. Dither is useful in making conversions from one color space to another. (Access dither in the Color Settings menu.) It’s used when you convert from 16- to 8-bit color as well, even into and out of the Lab color space. The effect is often quite subtle. It’s useful to know that dither might not be available in other products. If you see differences when you compare prints of the same data made from different applications, this could be the cause. When you try to produce

Figure 4: In Photoshop General Preferences, you can select an interpolation algorithm, but it will be used for every transform sizing routine. For best results, base your algorithm selection on how you want to resize the data (enlarge or reduce), and choose it before using the Transform command.

identical conversions, Dither adds random noise, so the results will all be slightly different.

images in different color spaces. When you

selected in the Color Settings. That can have

select data in an Adobe RGB document and

an especially important effect when you’re

Conversion settings also kick in when you

paste it into an sRGB document, the con-

working with documents in an output color

drag and drop or copy and paste data between

version will be made in the rendering intent

space such as CMYK. You might try setting

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64 • www.ppmag.com

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THE GOODS: SOFTWARE

RENDERING INTENTS THAT DO

the rendering intent you desire in Color Settings

Conversions between RGB working spaces

before doing the copy/past step. You could

are always Relative Colorimetric, so I set

ZIP. This disconnect confuses many users.

also use the Convert to Profile command.

this intent in Color Settings.

In the Convert to Profile command, you can select four rendering intents (see Figure 5). But virtually all working spaces (sRGB, Adobe RGB, ProPhoto RGB) have just one conversion table and will apply only apply the Colorimetric intent (Relative or Absolute). If, for example, you convert from ProPhoto RGB to sRGB and select Perceptual or Saturation, you’ll wind up with the Relative Colorimetric intent anyway. It would be helpful if the non-applicable rendering intents would gray out in the menu, but that’s not how Photoshop behaves, and it’s not likely to change. If you think you should be converting with a Perceptual intent because you generally prefer it for printing or soft proofing (where such profile

Figure 5: There are four rendering intents available in the Convert to Profile command, but in some instances, Perceptual and Saturation will provide a Relative Colorimetric conversion instead.

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tables are available), sorry for the bad news, but that’s not what you’ll get. �

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THE GOODS: TUTORIAL ©Tony Corbell

If selective edits are the scourge of your workflow, the new Viveza 2 makes it incredibly easy with control points. BY TONY L. CORBELL, CR.PHOTOG., API

Selective editing

Figure 1.

NIK VIVEZA 2

Though photographers now have the ability to enhance or

Figure 2.

completely change our work without much effort, one routine task remained difficult and time consuming, selective editing. Selective editing has required a complex series of steps and the wielding of various digital tools, all too often with less than desirable results. In answer, Nik Software developed and patented U Point technology a couple of years ago, and thousands of photographers embraced it. This technology allows you to select an element in an image by simply placing a control point directly on it and clicking, and voilà, the element is selected. The tech-

Figure 3.

nology comes in a plug-in called Viveza that’s used with Photoshop, Lightroom or Aperture. In October, Nik Software announced an upgrade, Viveza 2. U Point technology, also found in Nikon Capture NX2, works by identifying key qualities—such as contrast, brightness, hue, luminosity and color values—in the area under the control point. Once you’ve positioned the control point in the desired area of the image, you use a slider to adjust the size or area of coverage. There are other sliders to the qualities mentioned above. The round size indicator might be misleading at first, but the shape of the actual selection automatically adapts to the area under the control point. Place a control point over a red blouse, for example, and the entire blouse, and only the red blouse, will be selected, no further adjustment required. You can see the selection in reversed-out black-and-white by clicking on the Show Selection check box to the right of the control

68 • www.ppmag.com

Figure 4.

Figure 9: Before

Figure 9: After

THE GOODS: TUTORIAL

point listed. The edit is clean, fast, and free of jagged lines and artifacts. Let’s walk through an edit: Open an image in Photoshop, Elements, Lightroom 2.0 or Aperture 2.0. Next, select the Viveza interface from the Nik Selective tool to open the app. In Figure 1, an image I took taken in late October just outside Stockbridge, Mass., the direct morning light shines on the trees in the background, while the foreground is in shadow. I click on Add Control Point (Figure 2), then place the point directly on the red boat (Figure 3). The effect I produce will affect

Figure 5

only the areas with similar pixel information. Now I click on the brightness slider and use it to brighten the boat slightly. I also want to slightly increase the saturation and contrast. A close-up of the show selection view attests to the clean precision of the edit (Figure 4). Next, I place a control point in the grass and adjust the size to encompass the entire grassy area (Figure 5). Now I move the shadow adjustment and contrast sliders until I see the desired effect. You could also place a control point in the lower right corner of the image to ensure you get good detail and information in that

Figure 6

area (Figure 6). To finish off the edit, I add one more control point over the reflection of the sky in the water, then slightly brighten it and add a bit of saturation and contrast (Figures 7 and 8). As you see in the before and after images (Figure 9), I’ve made several selective improvements. Total time elapsed from start to finish, all of 37 seconds. In less than a minute you can open up a shadow on a face, change the hue of the background, or remove the sunburn from a family member in a group portrait. Imagine the possibilities as you inspect your images for subtle enhancements you could make, now

Figure 7

that selective editing is such a fast and simple task. When you finish making your adjustment, click OK to return to Photoshop, where you’ll find a new layer called Viveza 2. � For more on Nik Viveza 2, go to www.niksoftware.com. For more info on U Point technology, go to www.upoint.com.

Tony Corbell presents his popular hands-on studio lighting program, “The Power of Light,” at Imaging USA in Nashville, Jan. 10-12. More info at imagingusa.org.

70 • www.ppmag.com

Figure 8

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Everything after the photography

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THE GOODS: PRO REVIEW

Epson’s entry level professional printer offers museum quality prints on a variety of media. BY MARK LEVESQUE, CPP

Workhorse

EPSON STYLUS PRO R3880

there’s still some lag time and ink wastage when you switch because you have to purge the channel of the black that’s in there, but you can plan ahead to batch print on each

Last fall Epson unveiled the successor to the

farther away from the computer than the

popular Stylus Pro 3800 inkjet printer, the

reach of a USB connection allows. With the

One of the joys of having this printer is

Stylus Pro 3880, a continuation in the evolution

43-pound heft of the unit, it will take a sturdy

the wide variety of papers you can use with it,

of Epson’s compact, wide-format printers. With

table to support it, and a bit of room as well.

from Epson luster paper, roughly equivalent

Epson’s advanced MicroPiezo AMC print head

Still, the Pro 3880 is compact—although it’s

to E-surface media, to various fine-art and

and UltraChrome K3 with Vivid Magenta

less than 3 inches wider than the R2880, it

matte papers. That gives photographers another

inkset, this printer delivers both the wide-

can print on media 4 inches wider.

variable to tweak to get just the look they’re

gamut color reproduction and longevity of

Another indicator that this is a class

stock to save both time and ink.

after. Both the textured (cold press) and

pigmented inks. I road tested one of the first

above the R2880 is the size of the ink

smooth (hot press) papers now available in

pre-production units, with a generous supply

cartridges. The 80ml tanks are far more

natural and bright make great-looking prints.

of papers and ink. The Pro 3880 dazzled.

economical than the tiny Stylus Photo

Epson did not yet have ICC profiles for using

Setting up the unit, I noted that it has

cartridges, an important feature for studios

these new papers in the Pro 3880 at press time,

the speed and flexibility of an Ethernet 10/100

doing high-volume printing. The inkset

but you can create your own in the meantime.

connection in addition to a USB 2.0 interface.

includes both matte and photo black, so you

Epson collaborated with the Rochester

This has several advantages. For one, it’s a

don’t have to manually swap inks when you

Institute of Technology Munsell Color Science

convenience to be able to print from any

change from matte to glossy media, and vice

Laboratory to create AccuPhoto HD2 Image

computer on the same network as the printer.

versa. I cannot overemphasize the huge

Technology, another improvement with the

And because the Pro 3880 is a large printer,

improvement in the user experience this

new model. This new technology provides

users will likely want to install it somewhere

affords. Now, with only eight ink channels,

optimal ink-droplet placement, reduces ink usage, expands the color gamut, and provides

©Mark Levesque

smooth gradients between colors to reduce metamerism (inconsistencies in color when viewed in different lighting conditions). Of course, the proof is in the prints. In a word, stunning. The wide color gamut afforded by the improved UltraChrome inks is an ample palette, and the variety of supported papers is sure to satisfy your inner artist. The K3 tri-level black inks make grayscale tonality rich and smooth, leading to absolutely beautifully toned monochrome prints. The shadow detail is amazing. You can see subtle details that are all but undetectable

74 • www.ppmag.com

on the monitor. The highlight detail is also

print the file in a color-managed workflow,

terrific. This does cut both ways; sensor dust

but the time-saving advantage of letting the

is right on the mark. If you are searching for

that’s virtually invisible on the monitor will

driver make the conversion should not be

a printer that can do it all, and do it up to 17

become starkly obvious in print. That’s a small

overlooked—not with such gorgeous results.

inches wide, look no further. �

Epson’s claim of “museum quality” prints

price to pay for such a capable instrument. Advanced black-and-white printing is easy, and delivers excellent results. You don’t have to manually convert your images to black and white—just send the color image to the printer, and it will make the conversion for you. Neutral images print neutral, and it is easy to add a tone and to save particular favorites for future use. Moreover, the driver provides controls for tweaking tonality in both highlights and shadows. The only drawback is that the driver supplies sample image previews rather than thumbnails, so it can take a bit of trial and error in getting the desired results. Purists might prefer to do the conversion themselves in Photoshop or Lightroom and

specs:

Epson Stylus Pro 3880

PRINT HEAD: 8-channel high precision MicroPiezo print head with Advanced Meniscus Control, with new AccuPhoto HD2 Image Technology NOZZLES: Color and monochrome heads, 180 x 8 nozzle configuration; Variable Droplet Technology, minimum 3.5 picoliters PRINT RESOLUTION: up to 2,880 x 1,440dpi PRINT ENGINE SPEED: 8x10-inch prints, 2:03 to 7:47; normal, 4:08 INK: eight colors (C, Lc, M, Lm, Y, Lk, LLk + PK or MK); pigment-based Epson UltraChrome K3 with Vivid Magenta; 80ml ink tanks for each color MEDIA: 4x6, 5x7, 8x10, 8.5x11, 11x14, 13x19, 16x20, 17x22 sheets; manual front sheet feeder accepts media up to 1.5mm thick. BORDERLESS PRINTS: 4x6 to 17x22 DIMENSIONS: 27H x15W x 10D inches; 43.2 pounds MSRP: $1,295 Standard Edition; $1,495 Graphic Arts Edition (includes ColorBurst RIP)

January 2010 • Professional Photographer • 75

THE GOODS: TUTORIAL ©Jared Platt

One of the simplest and most effective image editing techniques comes from traditional darkroom practices translated into the digital realm for Photoshop. BY JARED PLATT

Burn & dodge

Figure 1: Initial Photoshop image pre-burning.

ADOBE PHOTOSHOP

Your images are beautiful, but they could be even better. There are no magic actions to create a superior image. To make your images sing, you’ve got to take the time to give them a personal touch. That’s not to suggest extreme editing. I do some slight retouching, but the bulk of my Photoshop work is burning and dodging. It’s just

Figure 2: Add a burn layer to your image by making a new layer in Soft Light mode. Check the “Fill with Soft-Light-neutral color (50% gray)” box.

like the darkroom technique, only more precise. The image in Figure 1 was taken on Rome’s Spanish Steps. My first edit removed a few spots. Then I added a curve adjustment layer to achieve the desired level of contrast and density. At this stage, I have yet to dodge or burn. It’s important to see the image’s strengths and weaknesses accurately before trying to improve it or correct its deficiencies. My goal is not to change the image, but to enhance its beauty. To make a burn layer, add a new layer to the image (Layer > New > Layer…). In the New Layer window (Figure 2), choose the Soft Light mode from the drop-down menu. Check the box to fill with

Figure 3: Select the Burn tool

soft-light neutral color (50% gray). It’s a good idea to keep your burn layers organized with descriptive names if you’ll be doing detailed work. The burn layer appears in the layer palette. A simple 50% gray layer, it has not changed the photo in any way. Anything darker indicates a burn and darkens the image; anything lighter indicates dodging and lightens the image. Now select the Burn tool (Figure 3) and set the opacity to 30% in the tool options menu (Figure 4). Increase this setting to see more rapid results, decrease it for more subtle changes. Use a soft-edged brush at an appropriate size, and set the tone range to shadows, mid-tones

76 • www.ppmag.com

Figure 4: Choose the tonal range you would like to burn and set the exposure to approximately 30% with a soft brush at the appropriate size.

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Everything after the photography

THE GOODS: TUTORIAL

or highlights, depending on the individual tones you would like to target for burning. Now try burning the image by brushing on the burn layer. I started by burning in the shadows of the steps, posts and walls to increase the scene’s depth and enrich the textures. When you hide the image layer and view only one burn layer (Figure 5), you can see the exact areas you’ve burned. If any correction is needed, set the foreground color to 50% gray and use the brush to paint over the burns you made on the problem burn layer. I suggest using 30% opacity to correct by subtle degrees. Photoshop has a Dodge tool (Figure 3), but I don’t use it because it creates a thin tone that makes your image look milky. Instead, we’ll make a dodge layer by creating a tone curves

Figure 5: Make as many burn layers as you have specific areas of interest and keep them organized. Figure 6: Dodging tone curve.

adjustment layer (Layer > New Adjustment Layer > Curves…, or by clicking the fill/adjustment layer icon in the layers palette). Create a curve that brightens the mid-tones and highlights, but keeps the shadows in their original tone (Figure 6). Creating this layer also creates a mask; it’s represented in the layers palette by a white square to the right of the tone curve symbol on the new layer. Click on the mask to select it, choose the Paint Bucket tool, make the foreground black, and click anywhere on the image. This fills the mask with black. Choose a soft brush at 30% opacity, change the foreground to white, and begin painting in white on the layer mask to allow the curve adjustment to show through. Notice how the black layer mask (Figure 7) represents dodges with white brush strokes in areas like the faces, the dress, the lamp, and the white textures on the walls (Figure 8). Create as many burn or dodge layers as there are areas of interest in the photo. The key is to lead the eye around the photograph, adding emphasis to some elements and de-emphasizing others. In this image, I burned the darker areas of the walls to

Figure 7: Create a curve adjustment layer with a black mask for your dodge layers and paint white on the mask at 30% opacity to brighten areas.

liven the textures, burned the sidewalk and the street to make the cobblestones seem moist, as after a light rain. With the highlight range selected in the burning tool, I burned the steps to lessen the distraction from the brightness in the bottom left corner. I also used the dodge layer to brighten up the couple’s faces, the dress and even the bird to draw viewers’ eyes to these details. The rich shadows and mid-tones throughout the rest of the image play a strong supportive role to the main subjects. In this image, the composition is great, the lighting is soft and beautiful and the subject is definitely worth seeing. But the burning and dodging controls the movement of your eye. Everywhere you look is a visual feast. The burning and dodging

78 • www.ppmag.com

Figure 8: This dodging mask shows where gray or white brightens the image in the mid-tones and highlights.

THE GOODS: TUTORIAL

(Figure 9) have enhanced the experience in the final version (Figure 10). Just adding contrast or global tone curves or levels doesn’t cut it. Adding a simple vignette in Lightroom isn’t the answer either. If you want to take your images to the next level, don’t forget the burning and dodging. It’s the finishing touch to every image. �

Jared Platt is a professional documentary photographer based in Phoenix. He also teaches photography workshops for professionals and amateurs worldwide. His workshops and podcasts can be found at www.jaredplatt.com. Figure 10: Final image with burns and dodges. Notice the increased depth in the image and the rich textures on the walls, shutters and street.

80 • www.ppmag.com

Figure 9: A set of burning and dodging instructions when seen without the underlying image can look very much like a drawing of the original image.

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By Lorna Gentry

Local heroes

F

Ralph Romaguera knows good deeds can be good for business

are only 60 percent restored. “It will take a generation to turn it around,” he says. Still intact is Romaguera’s spirit and undaunted love for New Orleans. That is strongly evidenced by his volunteer work for

ive years ago, in the wake of

western suburb of Metairie. One of his four

the Young Leadership Council (YLC), a

Hurricane Katrina, Ralph

studios was wiped out in the storm, the others

nonprofit civic organization that develops

Romaguera Sr., M.Photog.Cr., CPP, F-ASP,

sustained only moderate damage. The greatest

leadership through community projects.

could scarcely believe what had happened to

damage to his business resulted from the gutting

Every year Romaguera takes executive portraits

his hometown of New Orleans.

of the surrounding neighborhoods, cutting a

of the 25 men and women the YLC identifies

The devastation was a kick in

wide swath in commerce and lifestyle.

as New Orleans’ top role models. These

the gut, both personally and to his portrait business, Romaguera Photography, in the

All images ©Ralph Romaguera, Sr.

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PORTRAITURE Quantum light, if he has to use one at all. These executive portraits are a showcase of the kind of creative professionalism that has set apart Romaguera Photography from the competition for 40 years. He has never shied from technology, adopting digital capture in 1996. “Back then digital cameras cost $27,000. Now a $400 camera does a better job.” He clucks his tongue adding, “I wish cameras were still that pricey; maybe some of the amateurs would get out of the market. The future of photography belongs to those who are either very specialized or high volume. It’s the middle studio that’s going to have to fight to survive.” Romaguera advises photographers to find something to be the first in. “Middle studio owners need to take their attitude to the next level. Ask yourself, ‘Am I spending part of my day exercising my craft?’ You should look to see what’s on the Internet and learn something

important than ever to the city’s weary morale. Along with the flattering likeness of the subjects, Romaguera’s portraits capture the colorful charm of New Orleans in a blend of photography and painting. He shoots up to six of the portraits a day, then gives his studio artist creative license to digitally apply the paint strokes in Corel Painter. These unique canvases are lively and engaging. They’re also a big hit with the YLC, the subjects, and the New Orleans community, which views them in exhibitions at the mall and in area businesses. “These are people who normally wouldn’t come to my studio,” says Romaguera. “For me it’s a photographic exercise, but it’s also free advertising.” Romaguera takes a journalistic approach to portraiture, giving subjects breathing room by not framing them too tightly, and including some of the surroundings. He shoots a Canon EOS 5D Mark II digital 35mm camera with a 24mm lens and uses a single

86 • www.ppmag.com

PORTRAITURE

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88 • www.ppmag.com

new every day—especially when it comes to

New Orleans native, Ruth Fertel, founder of

senior portraits. The days of folio are passé.

Ruth’s Chris Steak House. Ruth’s ads included

Digital has made it so that we shoot so many

the sizzle sound with the picture of steak.

more pictures during senior sessions, so press-

That’s what photographers should do, too.”

printed books are a good product to sell.” Seniors are the studio’s bread-and-butter

If he sounds professorial, there’s good reason. Romaguera is a natural teacher, who

clientele. To ensure market appeal, they’ve

spends part of the year traveling the country

added video to senior slideshows. “We’re not

lecturing on good business practices. His sons

in the video business, but it adds a little sizzle.

and son-in-law handle day-to-day studio opera-

I learned about adding sizzle from another

tion now, and Romaguera drops in occa-

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PORTRAITURE sionally to help out during busy times and to photograph the YLC role model portraits. One of Romaguera’s satellite studios closed down last summer, succumbing to the lingering economic effects of Hurricane Katrina. Another operates only part time now. But ever bullishly optimistic about the future, Romaguera has bought up land around Metairie with an eye to expand. “We’re not letting the recession affect us,” says Romaguera. “You can’t expect business to come to you. You have to add things that appeal to clients.” Witness the clients who request the painterly effect they’ve seen in the YLC portraits, which have attracted unsolicited business. Beyond all that, says Romaguera, “The smiles and comments make the work worthwhile.” � To see more of Ralph Romaguera’s work, visit www.romagueraphotography.org. Lorna Gentry is a freelance writer in Atlanta.

90 • www.ppmag.com

Beatriz Da Costa’s natural light style complements food in a way that made magazine editors crave more. She uses composition, color and styling like the perfect seasoning: Just a pinch, no more. COMMERCIAL

By Lorna Gentry

All images ©Beatriz Da Costa

I

f you’ve flipped through just about any food or lifestyle magazine in the last decade, you’ve probably lingered over Beatriz Da Costa’s photographs. Her enticing images of food and interiors have been lushly displayed on the glossy pages of Marie Claire, Saveur, Real Simple, Martha

Stewart and O magazines. That’s just in this country. Her work is also well known internationally on the pages of such publications as Le Figaro, Elle á Table, the Sunday

Telegraph and She, to name a few. Da Costa photographs have a distinct look: contrasting textures, sly color combinations, spare and fluid compositions. Her color palette and visual sensibility align with the American advertising canon, sell the sizzle rather than the steak. It’s not so much the subject of a Da Costa photograph, but how you feel when you look at it. All the senses are engaged. The brain conjures what the page cannot convey. Even a vegetarian might pause over her photograph of crusty, dark brown beef ribs splayed over a well-worn cutting board. Light is palpable in her food photography, as in a Rembrandt painting; the elements are evenly and beautifully illuminated. “Light plays a big role in my photographs,” she says. “It takes a lot of space.” The technique is as old as time: Shoot in natural light. “If I have to use lights, it’s a tragedy for me,” she sighs. Lighting is not her forte, she admits. But with sunlight, she achieves what many study years to learn

Beguiling taste Brazilian Beatriz Da Costa’s mouthwatering photography 92 • www.ppmag.com

how to do artificially. It’s the same intuition that leads to Da Costa’s selection of colors and texture. “I like certain colors and I’m prejudiced against others, such as some

“If I have to use lights, it’s a tragedy for me,” she sighs.

January 2010 • Professional Photographer • 93

C O M M E RC I A L shades of blue and yellow.” Like a theatrical artist, she thrives on collaboration with stylists and art directors. “Doing it by myself is fine, but it’s great having the extra input.” AN “AMERICAN” IN PARIS Although Da Costa is a Brazilian living in Paris, she considers herself a New Yorker. She lived in the city for 18 years, until her husband, who’s French, and their young son moved to Paris five years ago. “We go to New York often—I love it,” she says wistfully. She became a U.S. citizen while living in New York. A native of Belo Horizonte, Brazil, Da Costa decided to take a break from her anthropology studies 23 years ago to study English in New York. It was a magical time for her, full of creative exploration. She’s never moved back to Brazil.

Da Costa learned photography by apprenticing with a New York commercial photographer who specialized in still life and food. She was a quick study, but when Da Costa went out on her own, she didn’t have an appetite for taking pictures of food. Instead, she focused on portrait and travel photography. Then she got a small assignment from the sumptuous food magazine Saveur. The art director of Marie Claire spotted her work, and gave her a large assignment. Her photographs were spread over two pages, and her career was set. Fifteen years later, magazine art directors are still seeking Da Costa photography. The subject determines the camera format, and Da Costa uses it all: large, medium and 35mm. She shoots both film and digital, depending on the publication. “When I shoot film I use Fujichrome Velvia,” she says. “For black and white I really like the Polaroid, which you can’t get anymore.” (She confides she has a few boxes stashed away.) Da Costa laments the loss of old materials and the fate of lab employees. “I feel bad for the labs. There were

C O M M E RC I A L

so many labs in New York and Paris and now

America but everywhere, I’m trying to recreate

there aren’t so many. In fact, I haven’t been

myself. I’m concentrating on my personal

to my lab in a couple of months, and I don’t

work these days,” which includes portraiture.

know if they’re still there. I hope so. I just

Her advice for photographers coming into

shot an assignment in film the other day.”

the business right now: “Don’t be a fashion

Observing the flux in the publishing

victim,” she says. “The most important thing

industry, Da Costa is reflective and wary of

for commercial artists to remember is that what

change. She doesn’t like looking at photographs

you shoot may be similar to what other people

or advertisements online; it’s just not the same,

are shooting, but there is something unique

she says. Da Costa is especially sad about the

that you can offer. Make your work personal.” �

closing of Gourmet magazine, for which she once took photographs. “It’s like losing family. With business slow right now, not just in

96 • www.ppmag.com

To see more of Beatriz Da Costa’s work, visit www.faucherartists.com.

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Starting with only his landscape photography experience, few options and no money, Scott and Adina Hayne have built a thriving portrait and wedding business in the past three years. S TA R T U P

N

By Jeff Kent

All images ©Scott Hayne Photography

ot many photographers like to promote their lack of professional experience. In fact, most photographers do everything they can to hide being a newbie. But Scott Hayne isn’t most photographers;

that’s what makes his story so interesting. Scott and his wife, Adina, have run Scott

Hayne Photography in Norfolk for less than three years. They started the business primarily out of necessity. In spring 2007, Adina left the family business where she’d been employed for 15 years. In an instance of seemingly terrible timing, two weeks later, Scott’s small courier business went under. Suddenly unemployed, the Haynes were bereft of income. Scott was an ardent photographic hobbyist. His landscapes had been displayed locally, and he’d garnered acclaim for his entries in amateur art competition. Something about his images mesmerized viewers, yet Hayne had never considered making a career in photography. He and Adina had good jobs, and life was stable. Seeing their financial situation crumble prompted them to take a new perspective. What if I add people to my images? Hayne thought. Could it be commercially viable, and support my family? That spring, Scott pitched his idea to Adina. “When you have no job and no income, and your husband tells you he needs $10,000 to start a new business, that’s a tough pill to swallow,” says Adina, with a laugh that betrays

Sink or swim How to move from survival mode to success 98 • www.ppmag.com

some residual anxiety. “Scott had no experience photographing people, and we had no background in professional photography.

“When you have no job and no income, and your husband tells you he needs $10,000 to start a new business, that’s a tough pill to swallow.” —ADINA HAYNES

S TA RT U P

But the people who’d seen his photography

motional blitz, they worked bridal shows and

loved it. We felt that if he could apply the

made connections with both prospective

concepts behind his landscapes to portrait

clients and vendors, a super source of referrals.

and wedding photography, we could sell it.” The Haynes’ venture began with four wed-

The Haynes continue to build strong relationships with clients. They accentuate

dings 2007, at a mere $800 for the first two,

the family feel of the business: Scott shoots,

and four senior portrait bookings. They pro-

Adina manages the business end, and their

moted the business through personal connec-

21-year-old son is a second shooter. They

tions, doing complimentary portrait sessions

prompt a sense of trust and collaboration,

to get the word out, then began aggressively

and they’re open with their own images,

promoting the studio via Facebook, Twitter

sharing them with vendors and posting

and blog. They also invested in a professionally

them to sites for clients.

designed website and online gallery. At wed-

The formula has worked quickly. In 2009,

dings, they ran slideshows of the event at the

Scott Hayne Photography shot almost 40 wed-

reception, capturing the attention of the guests,

dings and 200 portrait sessions. Senior portrait

and quickly building a base of prospective

bookings exploded from four in ’07 to 75 in ’09.

clients. The Haynes started bringing a photo

Scott’s work gained recognition among

booth to receptions as well, which was a first

professional photographers as well. He was

in their local market. To round out their pro-

named both Top New Artist of the Year and

“We didn’t do everything perfectly at the start, but we were confident enough in our work and our service that we made it through those early stages pretty well.”

S TA RT U P

Senior Portrait Artist of the Year at the 2009

niques, and created a style that’s unique. I

Senior Portrait Artists convention, the first

brought wide angles, panoramic shots, and

individual to take both honors in a single year.

moodiness to my images of people. I had

hobby to photography as a full-time business

created images for myself to trigger certain

wasn’t as smooth for Hayne. First, he and

didn’t come from any kind of photography

emotions. I’d make an image because it made

Adina had to put a price tag on the work.

background,” says Hayne. “I didn’t come in

me feel happy or angry or inspired. I took that

Like many artists, Scott’s first valuations were

with preconceived notions. I walked into it

approach with portraits and wedding images.

far too low. As the demand for his services

with an open mind, developed my own tech-

I want my clients to feel something when they

has grown, they’ve been able to increase prices

“I think a lot of this success is because I

see the images. That’s resonated with people.” The transition from photography as a

to be in line with the rates expected by their target clientele, upper-middle to high-end. In the first year, wedding packages went from $800 to $2,700, and now five figures is the norm for a full wedding package. “It’s so important to be confident in what you do, and that includes your pricing,” says Scott. “You’ve got to present yourself as a professional, always, no matter what.” Despite the financial anxiety that ate at them in 2007, the Haynes always expected the business to be a hit, if not this fast. “You can’t put a value on being unique,” says Adina. “Scott’s approach is different enough in our market that we distinguished ourselves right away. It all comes back to the quality of the images.” “Exactly,” agrees Scott. “We didn’t do everything perfectly at the start, but we were confident enough in our work and our service that we made it through those early stages pretty well. Now I don’t feel bad about telling people I’ve been doing this professionally for less than three years, but I certainly didn’t advertise it when I started! I just did my best and I never let them see me sweat.” � Visit Scott Hayne Photography online at www.scotthaynephotography.com.

Scott and Adina Hayne present “The One-Two Punch: Rockin’ Images + Social Networking = Business Explosion” at Imaging USA 2010 in Nashville, Jan. 10-12. More info at imagingusa.com.

© Kodak, 2009. Kodak and Kodak Professional are trademarks. Photo: © Mario Munoz.

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Temper tantrums and pouty faces are a bane of child photography— but they don’t have to be the norm. Armed with a dose of reality and a load of patience, use these tips to help turn those frowns upside down. CHILDREN

E

By Stephanie Boozer

All images ©Michele Celentano

ver have a day punctuated by one cranky 2-year-old after another, kicking and screaming in the camera

room, while the desperate mothers plead for just one little smile? How about the willful 6-year-old

who’s simply not in the mood to flash a genuine smile? Only a Mary Poppins could remedy the situation. Photographer Michele Celentano isn’t really Poppins-esque, but she does have a few kid-calming tricks in her bag. She started out as a wedding photographer in New York City, but post-9/11, and with an infant daughter, Celentano went looking for a simpler milieu. She landed in the Phoenix suburb of Anthem, Ariz., a master-planned family community. The Phoenix-area wedding business ran at a lesser pace than New York’s, and Celentano realized she’d need to change her focus to stay in business. Surrounded by strollerpushing young families, she made a surprising discovery. “I thought I didn’t have the patience to photograph children, but I quickly found out I did,” she laughs. Celentano’s change of heart was absolute. In fact, she’s become a popular speaker on the subject of child portraiture. Here, she shares a few simple, yet often overlooked tips she’s learned from experience. NEWBORN PATIENCE. “Infants can be challenging. They’re so tiny it can be intimidating,” says Celentano. Her ideal

Spoonful of sugar A remedy for one of those days 106 • www.ppmag.com

window of opportunity with infants is just 7 to 10 days old. She advises scheduling at least three or four hours for a newborn session: “Not necessarily because it will take that long,

‘‘

studio heated to 90 degrees; I keep the

’’

babies need to be kept

warm if you’re going to photograph them naked. but because they’ll need to eat, and they pee

on everything. Sometimes it takes them forever to get to sleep. I keep the studio heated to

90 degrees; babies need to be kept warm if you’re going to photograph them naked.”

Celentano tells the parents that even if

they don’t want to be in the photograph,

they should wear a long-sleeved black shirt,

in case they’re needed as a handy, if invisible

prop. “At times, the only way to get an infant to respond is to have a parent cuddle them.” TERRIBLE 2S—AND 1S AND 3S.

“Really tough years,” says Celentano. “They’re just learning independence, and they don’t respond to bribing. They don’t have the

cognitive development yet to think ahead, so everything is right now. When a 2-year-old says I’m done, he’s done. You have to work on their level. If they need a break, give them a break. Let them wander around the studio and do their own thing, and they’ll come back ready again.” You can’t talk a 2-year-old into doing something he doesn’t want to do, she stresses. Your best bet? Be guided by his interests and responsiveness, and accept that these are the natural years of noncompliance. It’s a good occasion for parent education; make sure they understand what to expect in the session. PLEASING PRESCHOOLERS. “I never ask this age group to smile for me,” says Celentano. “Instead, I ask a lot of really dumb questions. If you ask a 5-year-old if

‘‘ ’’ CHILDREN

dumb questions. If you ask a 5-year-old if she’s married yet, you get a really funny response. I ask a lot of

CHILDREN

she’s married yet, you get a really funny

food. It’s just a conversation, not like I’m

age, children feel motivated to please their

response. I also ask them to do things, like

expecting them to respond on command.

parents, and during the session, they’re

‘show me your best silly face,’ or best mad

Sometimes reverse psychology works well,

often looking nervously at mom and dad for

face or best happy face. It gets them warmed

too; if I tell them not to smile or giggle, they

reassurance. “I’ll tell them I’m the only one

up and comfortable.

just can’t help themselves.”

in the studio they have to listen to,” she says.

“I get on the floor when I talk to them, ask about their best friend, their favorite

Another Celentano tactic is asking mom and dad to step out of the studio. At this

That has the effect of getting preschoolers to feel like she’s more of a partner in crime than one more bossy grownup. PARENT WRANGLING. Huge challenge: Mom wants a portrait of her 6-year-old with his sibling, age 2? It’s nearly impossible. You have a baby who’s not going to respond and a 6-year-old who doesn’t follow directions all that well. Here’s where parent education comes in, because this is going to be a candid-style shot. You have to enlighten the parents about what to expect from the kids and the session. Those parents are making a sizeable investment in this portrait, and they’re tempted to put too much pressure on the kids to perform. “I always advise parents to focus on the fun,” says Celentano. “The more pressure you apply, the more uncomfortable and over-anxious to please the kids become. That only will get you those teeth-baring artificial smiles.” Now’s when the photographer needs to establish his professionalism and expertise, and earn parents’ trust. “If you don’t, they’ll be over your shoulder and pushing the children. Being on the front end of the camera is stressful to everyone, but the more relaxed fun you can have, the happier everyone will be.” � To see more of Michele Celentano’s work, visit www.michelecelentano.com.

Michele Celentano presents “The Ultimate Photographer’s Balancing Act” at Imaging USA 2010 in Nashville, Jan. 10-12. More info at imagingusa.org.

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The rich cultural and geographic area around his Idaho ranch inspired David Stoecklein to specialize in capturing images of this unique part of the world. Now facets of that world are disappearing. COMMERCIAL

By Jeff Kent

Home on the range

B

David Stoecklein’s mission to preserve the American West ack in the 1970s, David

hassles that are typical of commercial shoots. That project led to another and another, and Stoecklein began to develop a specialty in the people, landscape, culture and industry of the American West.

Stoecklein was a successful

of the West. Stoecklein lived in Idaho and

lifestyle and sports photog-

had a ranch, so going out to photograph

apparel makers—Fila, North Face and

cowboys was no big deal. Little did he realize

Timberland—was being replaced with

that assignment would change his life.

Western-wear outfitters like Wrangler and

rapher. Working with a range of commercial clients, he photographed everything from

beach-combing bikini

models to cliffhanging

All images ©David Stoecklein

extreme skiers. Then a client asked for images

struggling with the morass of production

His client roster of mainstream sports

The work struck a chord in Stoecklein.

Ariat. Stoecklein also picked up assignments

He appreciated working with down-to-earth

from pharmaceutical companies specializing

people doing real things, as opposed to

in drugs for horses and cattle, agricultural

COMMERCIAL

“People come here and want to change it, make it like the place they’ve come from … I want to make sure that image is preserved for future generations. It’s my gift to the West.”

companies, specialty magazines and a variety of other commercial clients with interests in the region. That was nearly 25 years ago. Since then, Stoecklein, an original Canon Explorer of Light, has produced a volume of Western images that few photographers could match. His photography business has four lines of work: assignments; stock; online and brick-and-mortar galleries; and a publishing arm producing books, calendars, note cards and lithographs. Stoecklein’s prolific work in his specialty is a key factor in his success. He’s captured hundreds of thousands of images a year for the last quarter century, and channeled those images into more than 40 books, a dozen or so calendars every year, thousands of postcards and note cards, 20 to 30 magazine covers annually, and tens of thousands of lithographs. “The basis of any business is that you’ve got to love it,” says Stoecklein. “I’ve been in this business for 40 years, and I still can’t get enough.” Stoecklein has also become an authority on the American West. When clients send Stoecklein on a shoot, they know he’ll come back with exactly what they want—he won’t mistake Hereford cattle for Black Angus, or Pinto horses for Palominos. Beyond knowing his subject, Stoecklein grasps the intangibles, the look of the light on the range from season to season, or the lay of the working ranches that will give him optimum visual effect. Clients are willing to pay a premium for his expertise. Stoecklein enjoys the commercial benefits of his work, but he also feels it has a higher purpose. “My mission in life is to document the way people in the West are living. This work has meaning. These aren’t just photographs of running horses or a guy branding a calf; these images are

114 • www.ppmag.com

COMMERCIAL part of an historical preservation. Many of the people in my pictures have since died. Ranches have disappeared. These images are my way of showing … this unique part of the world,” he says. Over the last few decades, an influx of people has swelled the cities, altered the face of the landscape, and transformed the Western culture. A sense of urgency drives Stoecklein’s work. “When I first came out to Colorado in 1966, I was enamored with the West. I asked myself, how do I become a

Westerner? Now people come here and want to change it, make it like the place they’ve come from. The West is a beautiful way of life, and it has its own wonderful culture. No profession on the planet can match the iconic image of the American

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“Many of the people in my pictures have since died. Ranches have disappeared. These images are my way of showing … this unique part of the world.”

cowboy. I want to make sure that image is preserved for future generations. It’s my gift to the West. What better gift can I give to people who have allowed me to take their pictures and make a living from them?” Stoecklein could stop working right now and live nicely on the sale of his stock photos. But he won’t. He doesn’t want to miss a second of the life in the land he loves. “I just make good images and they sell. That’s been my life and my business, and that’s really all I could ask for.” �

To see more from David Stoecklein, check out www.drsphoto.net.

David Stoecklein presents “Photographing the West” at Imaging USA 2010 in Nashville, Jan. 10-12. More info at imagingusa.org.

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All images ©Garrett Nudd

DUAL PERS

ONALITIES Garrett and Joy Nudd split their business into two distinct and profitable brands BY JEFF KENT

or about four years, Garrett and Joy Nudd took the Central Florida wedding market by storm. The young couple had moved to the Orlando area from Chattanooga, Tenn., in a corporate transfer, and shot weddings part time. They soon gave in to their passion, and went into the photography business full time. With a sophisticated style and white-glove service, they quickly cultivated a clientele in Florida, and began to grow in the worldwide destination wedding market. Yet the Nudds got to missing their family in Tennessee and the comfort and affordability of their hometown. The decision to make the move came with the birth of their first daughter. On one hand, they didn’t want to abandon the thriving business in Orlando. On the other, they wanted to grow their portrait clientele. Could they meld a local portrait business with the jet-setting destination business? A healthy wedding market itself, the Orlando area is also a popular wedding destination, with a large community of wedding service vendors. The Nudds had already established mutually beneficial relationships with a host of wedding planners, venue managers, caterers and other businesses in the area, and wanted to maintain those relationships after the move. They told their top referrers about the move, and that they were committed to flying down as needed for events such as consultations, vendor parties and networking functions. Essentially, they’d continue to regard Central

124 • www.ppmag.com

Florida as a local market, despite the 500 miles between there and Chattanooga. The Nudds don’t charge a travel fee for hopping down. They continue to support their associated vendors and to service clients there as well. Their dedication to the Floridian market reassures their sources of referrals, and their wedding bookings have been consistent. It doesn’t matter to most brides where the Nudds hang their hats; then there’s the cachet of flying in your wedding photographer. Back in Chattanooga, they had a brand new market to conquer—not so easy when they were away so often shooting weddings.

126 • www.ppmag.com

That’s when the Nudds decided to create a

plugged into our local community, but also

new brand identity for the portrait busi-

have the opportunity to fly around the world

ness. They named it Cobblestone Rue, a la

and shoot weddings in fun and exciting

Paris, where they’d found a wealth of inspi-

places. It’s the best of both worlds.”

ration. “We just fell in love with everything

Managing the two distinct brands is the

European,” says Joy. “The boutiques, the

tricky part. It means two websites, two sets

streets, the lifestyle, the history ... it was all

of business cards, two sets of packaging and

so charming!”

accessories, two color schemes, two logos,

The Nudds moved to a commercial store-

two sets of stationery, two e-mail accounts.

front in Chattanooga’s Southside arts district.

It can get confusing, but it gives the Nudds

They put together a space that doubles as a

the separation they need to market each

gallery and portrait studio. The location

brand effectively.

gives them a presence in the business scene,

Of course, the two markets are related,

is convenient to the surrounding com-

one brand feeding the other. In a natural

munity, and serves as venue for events.

cycle, wedding clients become parents and

“Cobblestone Rue is an avenue for

child portrait clients, then senior portrait

connecting with the local community in a

clients, and then parents of a bride or groom,

way that the destination wedding business

who perpetuate the cycle. The Nudds haven’t

could never provide,” says Garrett. “We’re

aggressively promoted child portraits to their

128 • www.ppmag.com

wedding clients, but there’s Cobblestone Rue when the opportunity presents itself. And, while the two brands have separate websites, the Nudds unite in one blog, where images from a wedding in the Caribbean might commingle with baby portraits taken in Chattanooga. “The combined blog is particularly useful for promoting our child portraits to our wedding clients,” says Garrett. “It also opens up referral opportunities when clients from one market pass along our name to their friends in another market. Clients are often curious about what’s going on with the other studio, and their curiosity is our opportunity.” The cross pollination is paying off. After branding Cobblestone Rue as a standalone business, they booked 90 sessions in the first 12 months, with no dip in wedding bookings. The couple sees many options for the future direction of the business as a whole. “When it comes to our studio, first and foremost, it’s always been about following our hearts,” says Garrett. “Oh, we’ve accepted that passion can take us only so far, so it’s been important for us to develop a strategy, set measurable goals, and reevaluate on a regular basis. If the strategy is on target, the passion remains healthy and everything else takes care of itself. I honestly can’t think of anything more rewarding, challenging and exciting.” �

Visit Garrett Nudd Photography at www.garrettnudd.com. Visit Cobblestone Rue at www.cobblestonerue.com.

Garrett and Joy Nudd present “The Power of Free” at Imaging USA 2010 in Nashville, Jan. 10-12. More info at imagingusa.org.

Imagine a gallery-ready presentation of your art or photography that is brighter than a vivid memory, and more luminous than it was in your LCD display. Images that come alive with the light you saw through your lens. AluminArte™ by Image Wizards™ is high definition, photographic imaging on aluminum using a unique imaging technology we have perfected over the last 30 years. The result is a depth and detail like what you’d see on HDTV, you absolutely need to see it to believe it! Pick any size from 16"x 20" up to 4' x 8.' It arrives framed in anodized aluminum, ready to hang in your favorite spot on your wall right out of its reusable wooden shipping crate. We’d love to see your work on our AluminArte. To order your no-strings-attached sample packet, visit us at imagewizards.net and see what the excitement is all about. AluminArte is an environmentally friendly product Imaging USA Show Special: Choose from a 16"x 24" framed piece for $150.00 or 25% off your first framed order. Use discount code IMUSA when ordering.

Offer valid through April 30, 2010

“I used what I learned at the newspaper every day at the White House. Most important was knowing when to keep quiet, when to talk, when to not take a picture.” —PAUL MORSE

After the

All images ©Paul Morse

Where do you go after working at the most famous address in the world? For Paul Morse, the answer is anywhere and everywhere. BY STEPHANIE BOOZER

White House

‘‘ ’’ I’ve always been a storyteller, trying to capture moments and emotions between people and their environment. I took the same approach at the White House, and I still apply that talent in all that I do.

He’s been to just about every country in the

move then-President George W. Bush and

and evenings in the Oval Office with a

world, flown on Air Force One countless

First Lady Laura Bush made, traversing 60

world-weary president going over the last

times, combating jetlag and grueling schedules

countries and nearly every continent, from

few documents of the day.

to photograph the everyday life of the

Africa to Mongolia to Vietnam to Eastern

president of the United States of America.

Europe to South America—but not the polar

was a tough, demanding job. After six

From 2001 to 2007, Paul Morse served

The experience was incomparable, but it

ice caps, he laughs. He captured moments of

years of service, Morse was ready to strike

as deputy director of photography at the

strength, scenes of compassion, the

out on his own. “I just wanted a regular life

White House. He documented almost every

mundane daily rote of the political grind,

back,” he says. “It was a big adjustment

134 • www.ppmag.com

front page, met some really amazing people and discovered so much about the world.” His instincts as a photojournalist would prove necessary to keep pace with the Oval Office. “I used what I learned at the newspaper every day at the White House,”

coming out of there, because no matter what, it’s still the White House and such an amazing environment.”

exactly which one I really wanted,” he says. Before the Washington gig, the Seattle native had been living in Los Angeles. For

He was used to the luxury of the well-

much of his 25 years there, Morse was a

equipped support staff who facilitated his

photographer for the Los Angeles Times.

job. Going freelance was initially like

Every day brought exciting new faces and

stepping into a dark void. “Imagine running

locations, as Morse explored every aspect of

through a finish line … and finding that it’s

the city. Then one day out of the blue, a friend

the edge of a cliff,” says Morse. “Once you

called to ask for help covering the Bush

stop, you’re just falling.”

inauguration. The friend was White House

There was also the connotation of stigma

Director of Photography Eric Draper.

attached to his subjects—politics. Though the

“I literally went only to help out a friend—I

images were purely documentary, they could

had this great job in L.A.,” says Morse. “I came

elicit an emotional response some editors

out to D.C., worked for a few days, and was

couldn’t suppress. “It was kind of strange

taken aback by the whole experience.” Draper

going backwards, trying to deemphasize the

offered Morse the position of deputy director.

experience that you had,” he says. No longer

After a moment’s deliberation, he accepted.

selling himself as Paul Morse, White House

“This was a once in a lifetime oppor-

photographer, he became just Paul Morse,

tunity,” says Morse. “I’d done everything I

photographer. “I had all of these ideas of

wanted to do at the Times. I experienced

what I wanted to do, but I didn’t know

some great events, saw my name on the

136 • www.ppmag.com

says Morse. “Most important was knowing

always considered myself a photojournalist

same approach at the White House, and I

when to keep quiet, when to talk, when to

in the truest sense of the word, because I

still apply that talent in all that I do.”

not take a picture.”

tell stories through pictures,” he explains.

As a freelancer, Morse finds those skills

Morse is taking on a range of

“I’ve always been a storyteller, trying to

assignments, from editorial to corporate to

just as important, whether he’s shooting a

capture moments and emotions between

weddings and portraits. For now, he plans to

wedding or an executive portrait. “I’ve

people and their environment. I took the

stay in Washington, and capitalize on the

relationships he’s made there. Among his

of Canon prime lenses (35-, 50- and 85mm

first solo assignments were for the Clinton

are his favorites), and maybe a strobe,

Global Initiative, and numerous White

though he prefers natural lighting.

House friends and colleagues have engaged him for weddings and portraits. Weddings are a natural progression for

“What’s great about weddings is that there are no real barriers to my getting further or closer to the subjects, so with a simplified

Morse. “I know how to handle myself in

setup I can move around much easier. I roll

what people consider high-pressure

with things as they happen,” he says.

situations. In the beginning, I felt a little

“Taking a risk to go out on your own is

frantic trying to cover everything. But then I

always hard,” says Morse. “But I’m really happy

started to recognize when the key moments

about the way things have turned out. There’s

were going to be.”

always news going on and big events in D.C.,

Morse continues to travel light in terms of equipment. He typically carries two Canon EOS 5D Mark II cameras, a selection

and I’m glad to be connected with that.” � Visit Paul Morse online at paulmorsephotographs.com.

“Photographers in the White House” Paul Morse, Scott Applewhite and Robert McNeely share their experiences covering past and present White House residents Barack Obama, Bill Clinton and George W. Bush at Imaging USA in Nashville, Jan. 10-12. Sponsored by White House Custom Colour. Go to imagingusa.org to learn more.

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All images ©Kimberly Wylie

Woman in love Kimberly Wylie’s passion for photography BY STEPHANIE BOOZER

o doubt about it, Kimberly Wylie loves her job. On any given day, she gets a glimpse into the secret world of childhood through the glass of her lens. Her job is beyond emotionally rewarding. If only that alone guaranteed financial rewards as well. “We all preach about the importance of the business side of photography, and it really is key,” says Wylie, speaking from her 3,500-square-foot studio in Dallas. A former financial analyst, Wylie is no business neophyte. Along with Laura Novak, who runs her own busy studios in Pennsylvania, Delaware and New York, Wylie is prepared to share everything she’s learned—and not without trial by fire—to help photographers get a grip on their business. This month the duo presents their workshop, “Living the Dream: Make More Money Doing What You Love,” at Imaging USA 2010 in Nashville. “Even five years ago, I could have learned so many little tricks in a workshop like the one we’re about to present,” laughs Wylie. “I learned on my own by making a ton of mistakes that in retrospect could so easily have been avoided.” We caught up with Wylie to get a preview of her successful sales strategies.

SET CLIENT EXPECTATIONS BEFORE THEY CALL.

“And I have to admit, I didn’t know the dif-

space, they’re not our ideal client anyway,” she

ference between being a photographer who

explains. “There are essentially two types of

One thing Wylie stresses is that you’ve got to

sells prints and being a photographer who

qualified clients: the ones who naturally get it—

build an identity that communicates exactly

sells wall art. Once we made the decision to sell

the sale you would have gotten anyway—and the

what you’re selling. And the last thing you

wall art, the few changes we implemented

remaining 80 percent who need to be educated

want is to lose a client to sticker shock. Wylie

made all the difference in the world.”

on how and why photography is an investment.”

describes herself as a “classic children’s portrait

For starters, Wylie and her staff began to

photographer with the goal of selling custom

“qualify” potential customers, based on three

TAKE CONTROL OF THE SALE.

artwork for the home.” That’s exactly how she

criteria: First, the prospect must value pho-

Wylie and staff take a subtle approach to the

markets herself. With her prices stated online

tography as artwork. Second, his home must

inquiry. In the first exchange with clients,

and a gallery bedecked with framed portraits

have adequate wall space to display the

they conversationally ask a series of

—none less than 16x20 inches—she makes

work. Third, the client must have a budget

questions about their home, their style,

sure clients know what they’re getting into.

to allow the purchase of art for their walls.

their expectations. During the session,

‘‘ ’’ “At first, clients were used to purchasing

“The budget is the last criteria because, with-

small prints, and a lot of them,” says Wylie.

out valuing photography and having the wall

Wylie continues to gather such details as ceiling height and square footage of the

To be a successful photographer, it’s essential to become an educated, successful salesperson.

attention to reactions. Show over, we say,

analysis becomes paralysis, and often they

‘We noticed that you really loved these images;

can’t decide. The album is a safety net that

are there others you particularly liked?’ Then

they won’t be missing anything.”

we start talking about the home, leading them straight into a wall portrait sale.” The genius is the simplicity. Wylie

clients’ homes, to know whether the image orientation should vertical or horizontal, or if she should prepare to shoot a particular grouping. That information will help her customize the shoot for each client, as well as help her maximize the sales presentation. At the end of the session, Wylie guides the conversation toward possibilities for print groupings and single prints, using what she’s learned about the client. “I paint a picture in their minds so they can start thinking about it,” says Wylie. “I’m always planting those seeds. It’s one of the things Julia Woods [a PPA-certified business instructor] taught us that we try to implement at every point of contact.”

DON’T OVERLOAD A CLIENT WITH TOO MANY DECISIONS. “We know clients have a finite number of decisions in their bucket, so we try to limit the number they have to make here,” says Wylie. “As we’re running the slide show for them, we’re listening for cues and paying

148 • www.ppmag.com

After narrowing the wall-bound selection to 20 or 25 favorites, Wylie helps clients focus more finely. “Most clients don’t really

encourages clients to invest in a custom

know what they want, so what we do is

album of the best images from the session.

present our idea to them,” she says. “We want

In turn, she says, “Albums let us sell wall

to overcome their feeling that with every

portraits.” If they don’t have an album,

decision they make, they’re spending money.”

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BE THE EXPERT. “Clients expect you to know what to do with these great images,” says Wylie. “Everything we do is a soft sell. Do listen to clients, but, if you don’t take control and guide them, you stand to leave a substantial amount of your income on the table.” She suggests becoming expert enough about interior design to advise clients how to tastefully display their purchases in their home. She calls it “taking them all the way to Disneyland,” as opposed to stopping with the sale of the session. She’ll even talk a customer out of buying a wall portrait if it’s not appropriate for his space. She’s after long-term relationships. “To be a successful photographer, it’s essential to become an educated, successful salesperson,” Wylie says. � See Kimberly Wylie’s portfolio and learn about her upcoming sales workshops for photographers at www.kimberlywylie.com.

Kimberly Wylie and Laura Novak present “Living the Dream: Make More Money Doing What You Love,” at Imaging USA 2010 in Nashville, Jan. 10-12. More info at imagingusa.org.

Affiliate Schools Calendar PPA Members receive service merits and the best-published rates for registration. January 30-February 3 Evergreen School of Professional Photography, Vancouver, Wash., www.ppw.org

March 21-26 Triangle Institute of Professional Photography; Pittsburgh, Pa., www.triangleinstitute.org

February 7-11 Delta School of Photography, Hot Springs, Ark., www.deltaschool.com

April 11-16 New England Institute of Professional Photography; Hyannis, Mass., www.neipp.com

February 21-25 Bahamas International School of Professional Photography, Nassau, Bahamas, www.bispp.com

May 2-7 Texas School of Professional Photography; Dallas, Texas, www.texasschool.org

May 2-7 Mid-Atlantic Regional School of Professional Photography; Cape May, N.J., www.marsschool.com May 3-7 Wisconsin Professional Photographers School at Treehaven, Tomahawk, Wis., www.wiprophotoschool.org May 16-20 Imaging Workshops of Colorado, Littleton, Colo., www.coloradoworkshops.com May 23-27 Florida School of Professional Photography Daytona Beach, Fla., www.fpponline.org June 6-10 Kansas Professional Photographer School Newton, Kan., www.kpps.com

Lighting Systems For Digital and Film Cameras Portable Power

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June 6-10 Mid-America Institute of Professional Photography, Cedar Falls, Iowa, www.maipp.com June 13-16 Winona School of Photography, Nashville, Ind., ppofi.org June 13-17 Illinois Workshops; Grafton, Ill., www.ilworkshops.com

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June 20-24 PP Oklahoma School; Shawnee, Okla., www.pposchool.com June 20-25 West Coast School; San Diego, Calif., prophotoca.com/wcs

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June 21-24 Great Lakes Institute of Photography, Traverse City, Mich., www.glip.org July 11-15 Image Explorations, Shawnigan Lake, British Columbia, Canada, www.imageexplorations.ca

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July 12-15 Lamarr Williamson School of Professional Photography; Columbia, S.C., www.ppofsc.com/school July 17-22 East Coast School Photographic Workshops Raleigh, N.C., www.eastcoastschool.com

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July 18-23 PPSNYS Photo Workshop Geneva, N.Y., www.ppsnysworkshop.com

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August 1-4 Carolina Art & Photographic School, Creekside Park, N.C., www.capsartschool.com

310 South Racine Avenue • Chicago IL 60607 • call us: 312.421.4050 fax: 312.421.5079 • e-mail: [email protected]

August 1-6 Georgia School of Professional Photography Clarksville, Ga., www.gppaschool.com

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What do top studio owners use to manage? These owners have all chosen SuccessWare to help the manage their business. Other software may track but they all fall short when it comes to managing your business. SuccessWare is the ony studio management software that will assist you with; creating a business plan, pricing your products, preparing financial reports and tracking client information. SuccessWare manages all your day-to-day operations giving you the knowledge to make solid management decisions necessary to achieve your goals and take your studio to the next level. You can’t get that with just tracking software.

TRACK. PRICE. PLAN. PROFIT. MANAGE. Don’t just take our world for it, see what Jed, Vickie and other successful photographers have to say at: www.successware.net/success_stories

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PPA today JANUARY 2010 President’s Message P e Ron Nichols, M.Photog.Cr., API :: 2009-2010 R 9 2010 PPA President Pr

A New Era in Photographic Competition

Change is tough. Change becomes even tougher in an organization with a great 130-year history. But change is necessary. PPA must continue to evolve and grow…just as we have in our studios and businesses. In our own businesses, if we want to make a change, we just do it. PPA is different. PPA is about education, advocacy, business, merits and degrees and many different factors that impact our members. Most importantly, PPA is about our members. At the board of directors’ level, every decision we make is about our members. It’s tough. These decisions don’t come easily and often are hotly debated. Research is done and action teams or task forces are created to provide the board with information to help determine what will be best for the organization. Over the last year, the board has researched just about everything to do with print competition, including creating a task force to study the system, the process and member participation. The task force represented various segments of the competition community, from experienced competitors and judges to competition newbies, PPA staff and even someone who had never entered. This group developed surveys to learn what members knew about competition, what motivated them to enter or not, what they liked and didn’t. They reviewed costs, the event, the process and the exhibition, meshing that information with survey data and debating the options to make a series of recommendations. These findings were first presented in online meetings between the board and the Photographic Exhibitions Committee (PEC). In October, at the regular board meeting, a new era in photographic print competition was born. Many people probably thought that the task force was focused solely on digital submission of entries. In reality, that issue probably occupied the least amount of time. The true outcome of this research is a plan to get more people involved in competition, provide resources for learning, embrace new technologies and give members options… all while keeping the integrity of the exhibition merit in place. Members told us they still wanted to enter physical prints and have a print display at Imaging USA. Done. Seventy percent of our members said they would be more likely to enter if they could submit digital files rather than prints. That, too, is done. By 2011, you’ll be able to submit either a print or a file in all categories. And size won’t matter (with limitations)—the 16x20 format requirement will be gone.

In addition, many members said they really didn’t understand how or what to enter, so there will be new online resources, free webinars and more education. PEC even announced a new Competition Monday, during which international jurors will hold classes in studios across the country. And beginning this fall, there will be an online photo contest with cash prizes. Of course, this is no easy task and change is tough. PEC, the board, staff and the jurors will be busy creating guidelines, building educational resources, writing new rules, developing software and training…all to give you a better photographic competition experience. Change is good. Don’t forget to follow Ron’s travels this year… just visit http://blog.ronnichols.com.

h l M.Photog.Cr., h C A Ron Nichols, API 2009-2010 PPA President

VIEW DIG ITAL JUDG ING CONF AT IMAGIN IGUR ATIO G U SA N You’ll be

able to see the new dig on display ital judging (Su configurati in the Intern nday, January 10 an on d Monday, ational Pri January 11 nt E xhibit a ) rea at Ima ging USA .

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

PPAtoday | January 2010 | news from Professional Photographers of America © Matt Houska

AN-NE MARKETING AWARD SPOTLIGHT: by Angie Wijesinghe, PPA Marketing Specialist

To Adrian Hitt, it feels like 75-80 percent of the people in Nashville, Tenn., are involved in the music industry. If they’re not…they seem to be photographers. Needless to say, it’s very important to stand out from the crowd, which she does very well. In fact, Hitt recently was named the Emerging Pro of the 2009 AN-NE Marketing Awards for the work she did to carve out a top shelf in the dog photography market. Her marketing campaign not only won the judges’ hearts, it also helped win the hearts of clients. The jump in her clientele proves it: her income related to dog photography went from five percent to a whopping 75 percent in one year. Why the big change? It’s probably a combination of artistry, passion that seeps from every pore and a savvy grasp on how to reach her audience. Focusing on a niche market (playful, modern dog art) also helps. “When you have any extra ‘thing’ to differentiate yourself, the hiring becomes less and less about price,” Hitt notes. “But first, you have to stay true to who you are. If you’re just doing the job, it hinders your creativity.” On the other hand, maintaining a photography niche takes a lot of effort, discipline and thought. To ensure she stayed consistent

and true to her core values, Hitt wrote out her business plan and mission. For example, she technically has three specialties, two of which she promotes. Dog photography is her focus now and the crux of her marketing, but she also promotes her children photography. She never mixes those markets. They are strictly separated and each has a different website because she knows that “what you put on your site is what you attract.” (That’s why none of the occasional weddings she does for special clients are on her website, just her blog.) “I want to be known as the expert in dog photography,“ Hitt says as she explains her main marketing campaign’s focus. “And that means attracting a discerning client who appreciates modern dog art and wants to invest in memories of their beloved dog.” Every marketing piece keeps her audience and goal in mind. Helping her keep this focus are the “style words” she designed her business around: modern, vibrant and playful. “Although I already had a logo and had been in business about a year, I wasn’t consistently reaching new target clients. I knew I needed a different perspective,” she explains. So she worked with a graphic designer to create a new

“Steve Martin once said, ‘be undeniably good.’ I believe that’s what will set us apart in a saturated market.”

Are You Making Use of Your Time? Board Member Spotlight :: Susan Michal :: M.Photog.Cr., CPP, ABI :: PPA Member since 1998 :: Location: Jacksonville, FL

Photography is not easy, as Susan Michal, PPA board member and owner of Susan Michal Photography, will tell you. “It’s amazing how much you have to do to get someone in the door,” she says. “And after you get them into a photo session, it lately seems even more difficult to ensure they come back in the door to purchase and pick up their images.”

So what does Michal do? She makes use of her time, and she keeps her morale up. For instance, Michal has been listening to audiobooks by Jeffery Gitomer (gitomer. com). She considers them tools for gathering inspiration and education. Photographers understand the need for creative inspiration…but you can’t forget the need for

businesslike inspiration! After all, Michal never forgot something Susan Powers, M.Photog.Cr., inspired her to do: put the wedding retainer away. “She said that it’s not yours until the wedding happens,” explains Michal. “The point was that you’d hopefully make money off the wedding, so you wouldn’t have to touch the retainer. Well, I faithfully

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

logo—a camera icon that matched her style words. Hitt then used that icon as the die-cut design for business cards and brochures, wanting something that made a lasting impression. There’s even a hole punched in the top left, mimicking the viewfinder hole on the icon. The brochure is then linked with a silver dog bone keychain. “To people who pay attention to design—and lots do, even if it’s subconscious—these creative details are important,” adds Hitt. In fact, she even wrote her own song, “Simple Dog,” to play on her website and during slideshows. It was another way for her to have something no one else has…helping her stand out. Such creative details also help make studios memorable to clients before they ever meet. But Hitt’s studio does a lot more to stay in people’s minds than marketing collateral—they are involved. Yes, Hitt’s involvement—exhibiting/sponsoring local dog events and volunteering at local animal rescues—is driven by her own belief in helping others and her eye-opening experience with her rescued dog Benny. It just so happens that such sincere involvement brings incredible networking and awareness opportunities. For these different dog events, Hitt brings her marketing pieces and extra giveaways. Her goal with them is something that she can afford to produce…and that will last. A treat in the shape of her icon would be gone in about two seconds. The Adrian Hitt Dogography Frisbee, on the other hand, lasts for years and matches the playful feel of her studio. Hitt’s giveaway desk calendars are another way to put samples of her work in potential clients’ offices and homes. By doing the designing and assembling herself, the cost comes out to not much more than the Frisbees! “Whatever your niche is, get involved” is Hitt’s mantra. After all, if you stay true to yourself, the niche that you find will parallel the things you strongly believe in (and it won’t feel like work). Hitt found the industry she’s crazy for… and that dedication shows in her spot-on marketing and her life.

© Cheryl Pearson

Adrian Hitt Adrian Hitt Dogography – Nashville, Tenn. adrianhitt.com The AN-NE Marketing Awards competition recognized outstanding ingenuity and effectiveness in real-world marketing endeavors and was named in honor of Ann Monteith and Marvel Nelson, both marketing gurus and past PPA Presidents.

STAYING TRUE Hitt knows her perfect client well—it’s herself! She moved into photography to spend more time with Benny, the dog she and her husband rescued. He was her test subject for new equipment and lighting, and after researching and listening to her heart, she decided to go full time into dog photography. “It was scary and risky,” notes Hitt. “But I’m a firm believer that if you follow your passion, success will also follow.” © Ad A Adrian drian i Hit Hittt D Dogogra Dogography phy h

put that money in a savings account until it got to about $40,000. It became my nest egg.” While Michal has been counting her blessings for her savings, she is constantly working to bring in clients and improve the studio experience. For example, her studio recently redid their website, making separate sites for each photographic specialty. With the new sites, they’re able to freshen content and images whenever needed, search engines can see them

more easily (important for being found by prospects), and they can provide better customer service (with in-depth informational pages where they can send clients). Along with making it easier to find and learn about her studio, Michal knows the power of the invitation. She sells calendars in stores, so she needs models every year…which is great for encouraging repeat business! To notify her clientele, she’ll send an e-mail about needing portraits for a new calendar. Not only will

those people get in the calendar, they also get limited special pricing on that session’s images. Michal is also a big believer in “following through on the smallest things.” Once a year, she photographs a dance school that one of her clients owns. It’s the opposite of what she focuses on, but the school caters to the clientele who wants the type of imagery she usually does. “We’ve reaped huge rewards from this school,” adds Michal. “I’m happy to do it—I cut my teeth doing it.

Plus, it’s money coming in and big clients learning about me.” You may be busier than ever, and that’s great. But if you’re not, you may have a little more time on your hands—make use of it. Take a page from Michal’s book and dust off your list of when-I-get-the time projects. “Work on the list of 40,000 things to do you’ve always wanted to do,” she says.

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

PPAtoday | January 2010 | news from Professional Photographers of America

THE POWER OF IMAGE PRESENTATION By Michael E. Timmons, M.Photog.Cr. – Vice Chairman of the Photographic Exhibition Committee (PEC) One of the most overlooked ways to increase the odds of your competition image meriting is the presentation. Whether you hold a Master of Photography degree or not, the presentation can make or break your image. As an International Juror, I have seen many different types of presentation techniques for the images entered in local, state, regional and international competitions. Many times the maker over-presents their image when a simpler, more elegant presentation style would have suited the image much better. Following are some additional points to consider when preparing an image for competition: » »

»

»

»

Double images or low-opacity underlay treatments usually do not work well in competition. Of course, there are exceptions to every rule, but as a basic thought, these should be avoided. While we sometimes see full-bleed images (images that extend from edge to edge) in competition, it’s still a good idea to create an underlay treatment or key line when possible. It makes a simple and elegant presentation style for the image and is seen quite frequently in competitions at all levels. When creating a presentation style, consider choosing colors from within the image to make everything come together as a whole. I often select the color for my key line from within the image using the eyedropper tool in Adobe® Photoshop® and then create the key line using the canvas resize option. A key line should be very thin and add to the overall appearance of the image (they often create emphasis). For example, bright colors should be used very cautiously as they will demand a lot of attention from the judges. The background of the presentation is usually either a black or white background. Sometimes the background can be another color, but this should also be done with some caution. Remember to keep the presentation simple, so the eye is drawn to the image.

»

When positioning the image onto a 16x20 mount board, place the image carefully. Where possible, try to avoid having the horizon line in the middle of the overall presentation. This can seem to dissect the image into two different images, giving the appearance of a bull’s-eye composition. When in doubt, use the most simple of all compositional rules: the “rule of thirds.”

After all your hard preparation work, the last thing you want to do is fail to finish the presentation properly. Unfortunately, that’s another thing we jurors tend to see often…even though it’s an easy fix. When presenting on a low-key or black mount board, simply finish the edges of the image with a black magic marker. Just hold the image with the front facing away from you and trace along the edges of the image from behind with the marker. This will eliminate the white edges seen when the image turns on the turnstile during judging. (Of course, when the image is finished in a high-key style, this is not necessary.) Presentation is one of the twelve elements that we are trained to look for when evaluating images. Pay attention to this basic concept, and you can increase the odds of your images being accepted as “merit-worthy.” Simple, elegant image presentation is always a good option when entering competition! Get ready for the 2010 International Competition – deadline April 29, 2010 (more information will be available soon at PPA.com’s Competitions page). Check with your affiliate association for upcoming image competition entry deadlines and rules. Send questions about regional or international competitions to Jim Dingwell ([email protected]).

IN MEMORY

JJames (Jim) Cheyne – Lakeland, Fla. A member of the photographic industry since the 1960s, Jim Cheyne passed away November 55, 2009, from heart failure. His dedication to photography included membership in the F Florida Professional Photographers Association and his integral work as Pro Photo Imaging’s ccompany president and owner. Jim’s loss is felt not only by his family and close friends, bbut also by the photographic community at large. He was a good friend to us all.

STARVING ARTIST, NO MORE!

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

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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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Meridian Professional Imaging (www.meridianpro.com) .......................Cover II,24-25,163

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Midwest Photographic Resources Center (www.midwestphotographic.com) ..............................164 Miller Professional Imaging (www.millerslab.com) ................17 Morris Group (www.themorriscompany.com)......................166 MpixPro (www.mpixpro.com) ..............................................21 National Direct Marketing Services (www.ndmservices.com)167 Nik Software (www.niksoftware.com/prophoto)...................65 North American Photo (www.naphoto.com)........................161 NILMDTS (www.nilmdts.org) .............................................66 Onlinephotofix.com (www.onlinephotofix.com/magpp) .......165 OnOne Software (www.ononesoftware.com/50)..................85 Pacific Mount (www.pacificmount.com) .............................166 PickPic (www.pickpic.com)..............................................31,33 Pictobooks (www.pictobooks.com) ..............................165,166 PMA 2010 (www.pmai.org/pma2010) .................................67 Pounds Labs (www.poundslabs.com) ..................................79 Portrait City Lab (www.customcolor.com) ...........................161 Portrait Professional Studio (www.portraitprofessionalstudio.com) ..........................15 Posh Prints & Design (www.poshprintsonline.com) ............166 Pro Photo (www.prophotoimaging.com).............................163 Quantum Instruments Inc. (www.qtm.com/pro) ..................46 RedCart (www.redcart.com) ................................................53 Reedy Photo (www.reedyphoto.com) .................................163 Renaissance Albums (www.renaissancealbums.com) ............55 Richmond Professional Lab (www.richmondprolab.com).......111 RightHook Media (www.bigblackbag.com) ...........................75 Sandy Puc’ 2010 Family Tour (www.sandypuctours.com) .....48 Simply Canvas (www.simplycanvas.com/TheBest) ..........72-73 Sony Electronics (www.sony.com/UPDR80PROMO)............45 Speedotron (www.speedotron.com) ...................................152 Sto-Fen Products (www.stofen.com) .................................169 Studio Logic (www.studiologic.com)....................................91 StuduioPlus Software (www.studioplussoftware.com).........119 Styla* Mount (www.stylamount.com)................................165 Successware (www.successware.net) .................................154 The Click Group (www.clickconnectioncorp.com) ....................9 Tyndell (www.tyndellphotographic.com) ............................164 United Promotions Inc. (www.upilab.com) .........................159 Wacom (www.wacom.com/i4).............................................97 White House Custom Color (www.whcc.com) ......................................10-11,34-35,89 White Glove (www.wgbooks.com) .....................................166

Kelby Training (www.kelbytraining.com) ..............................81 KG ProPhoto (www.kgprophoto.com) .................................90

Publisher not responsible for errors & omissions

January 2010 • Professional Photographer • 167

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

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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 1-800-8445616 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]

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INCORPORATION SERVICES

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BLANK MEDIA

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

168 • www.ppmag.com

INSURANCE

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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.

January 2010 • Professional Photographer • 169

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.

©Robyn Wilson

250 photographers submitted some 900 images. The committee called on a panel of magazine editors and professional photographers to pare down the entries to 150 bookworthy photographs. They elected to publish the book through the online self-publishing engine Blurb (www.blurb.com). The book was in production by August. First copies of the finished work, “Photographers@Microsoft 2009,” were released in early September. One of the keys to the fundraising effort was partnering with the Microsoft Giving Campaign, which encourages Microsoft employees to donate to charitable causes. In turn, the company matches the employee donations 100 percent, from $25 (the minimum accepted) to $12,000 per person, per year. The committee priced the book at the production cost plus $25; the entire $25 profit per book goes directly to the United Way. When an employee of Microsoft buys a book, the Giving Campaign matches the amount, doubling

’Softies show soft side

A

UNITED WAY BENEFITS FROM MICROSOFT PHOTO CLUB BOOK side from being the world’s largest soft-

the contribution to United Way to $50. Within a month of its release, the book had raised more than $50,000 for United Way. With the resounding success of the project, the club has decided to make it an annual campaign.

at raising funds for the United Way of King

“We’re very excited by the results and the

ware maker and one of the most influ-

County, Wash. “We wanted to do something

ongoing potential of this project,” says

ential companies, Microsoft is also

with our photography to help others,” says club

Moore. “It’s a great model for companies

home to a robust photography club.

member Daniel Moore, an organizer of the

that want to produce a charitable project.

The Microsoft Photography Club’s

book project. “We came up with the idea of

It’s also a great model for using photography

membership runs the gamut of

producing a fine-art book from club mem-

as an outlet to do some good.” �

bers’ photographs and donating all the pro-

Visit www.blurb.com/books/833258 to preview and purchase “Photographers@Microsoft 2009.” For more about the United Way of King Co., visit www.uwkc.org.

expertise and experience, from

rank amateur to veteran professional. Its 1,936 members communicate online, gather for group shoots and run clinics for fellow members. Last year, the club decided to channel its energy into a charitable book project aimed

170 • www.ppmag.com

ceeds to the United Way.” In February, Moore and five over club members formed a committee to establish the framework of the project. During the submission period, April to June, more than

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

Travel Angel The Perfect Travel Companion Weight, capacity, folded length and maximum tripod height are the primary considerations for photographers who travel. The legs of Benro Travel Angels pivot 180 degrees, folding the tripod into a compact package that can easily fit into backpacks or luggage. But, when you need quick setup, excellent maximum height and rigid, stable support, they are special folding design saves up to 20% space

top performers at a price that can’t be beat! Choose 8-layer Carbon Fiber for light weight and maximum performance, or Aluminum Alloy for great performance at a more economical price. • Unique folding design saves up to 20% space over conventional compact tripods • Two leg-angle settings to accommodate uneven terrain or awkward shooting situations • Leg lock design keeps out dust and moisture • Anti-twist leg sections and a grooved center column for quick setup and breakdown • Retractable spring-loaded hook for added stability when used with a sand bag • Interchangeable rubber and stainless steel spike feet on select models

www.benro.com | 914.347.3300 Distributed by MAC Group