Professional Photographer June 2008

©Salvatore Cincotta

JUNE 2008 | WWW.PPMAG.COM | $4.95

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INK CARTRIDGES R300/RX500 . . . . . . . .$14.50 . . . .$10.50 R800 (Each)/R1800 . .$11.75 . . . .$11.75 Stylus Photo 2000P . .$27.95 . . . .$24.50

Micro u3 2GB

Titanium u3

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xD

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CONTENTS PROFESSIONAL PHOTOGRAPHER | JUNE 2008

Features 88

STRENGTH IN NUMBERS

For Christian Oth and his exceptional team of photographers, every wedding is a work of fine art by Stephanie Boozer

73

PORTRAITS: LEAP YEAR

After a slow start, Salvatore Cincotta’s bookings skyrocketed by Jeff Kent

76

PORTRAITS: POWER SHOTS

Mark Bolster: The art and business of executive portraiture Interview by Ellis Vener

79 82

PORTRAITS: IN GOOD COMPANY

Power points from executive photographer Stan Kaady PORTRAITS: DRAMATIC LIKENESS

Julia Gerace’s experience in theater is part of her repertoire by Jeff Kent IMAGE BY MARK BOLSTER

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

14

FOLIO

69

IMAGING USA

96

CALENDAR

103 PPA TODAY 122

GOOD WORKS

©Julia Gerace

Departments C O N TA C T S H E E T 20 Robb Kendrick’s timely tintypes 22 PPA’s Indemnification Trust

to the rescue 24 Pirkle Jones’ golden age

by Lorna Gentry 25 Healing art: Now I Lay Me Down to Sleep 27 Nature photographer Richard Ettlinger

PROFIT CENTER 31

What I think: Vicki Popwell

32 Pricing for what it’s worth

by Holly Howe 36 Fabulous solution, perfect timing by Stephanie Boozer

THE GOODS 41 What I like: Manolo Doreste 42 Lighting essentials: The foundation 48

52

56

60 64

82

Julia Gerace got her start in photographing headshots of actors, musicians and models. Those portraits had to sparkle to catch a director's attention, and they did.

They also got the attention of the audience. For the last four years, Gerace has added award-winning portraits of seniors, children and families to her repertoire.

6 • www.ppmag.com

by Don Chick Albums & Presentation: Breakaway display by Karen Linsley Pro review: HP Photosmart Pro B8850 printer by Stan Sholik Pro review: Manfrotto CX series carbon fiber tripods by Joe Farace Solutions: How to edit a soft proof by Andrew Rodney Tutorial: Balance mixed light temperatures with raw capture by Bob Coates

ON THE COVER: Salvatore “Sal” Cincotta truly enjoyed photographing this betrothed couple, Michelle Lewis and Anthony Grice. “We rarely book a wedding two years out, but she said, ‘I know I love your work, and I know I want you to shoot my wedding,’ so we locked it in,” says Cincotta. He captured this image with a Canon EOS 5D and Canon 70-200mm f/2.8L IS USM lens.

show the world how you see it.

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Mind. Body.

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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

It’s business time HOW TO HANDLE PRESSURE-PACKED ASSIGNMENTS High-level businesspeople have little patience, and even less time for the creative process, and I have a healthy respect for photographers who create successful executive portraits. Their subjects can be harder to wrangle than a family of quintuplets. In my former life as managing editor of a magazine covering business and investing, my job included setting up and overseeing our cover shoots. Loosely translated, that meant trying not to have a nervous breakdown as the CEO of a bajillion-dollar company impatiently fidgeted and complained during the 30-minute photo session that our staff had spent months visualizing, planning and coordinating. No doubt about it, corporate sessions require a photographer at the helm with great talent and even greater negotiation skills. And this month, Atlanta-based commercial photographer Ellis Vener—whose portfolio of executive portraits uniquely qualifies him for the assignment—checks in with two photographers who fulfill those requirements ably. The first, Mark Bolster, navigates executive sessions with due diligence: “These assignments are pressure packed, and that’s a kind of pressure I thrive on. I like getting in and out and not being too much of a pain. I do that by just being prepared.” Vener finds out exactly what goes into Bolster’s preparations, beginning on p. 76. Then Vener got five invaluable pointers from Atlanta commercial photographer Stan Kaady (p. 79). It sounds like he’s had gentler experiences with his corporate subjects. “Most of the [CEOs] I photograph these days are used to having their photo taken and are easy enough to work with,” Kaady says. “I rarely run across someone with an attitude.” Maybe in this increasingly media-savvy world, smart executives are coming to realize just how powerful a photograph can be. � Cameron Bishopp Director of Publications [email protected]

10 • www.ppmag.com

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

LESLIE HUNT [email protected]

KARISA GILMER [email protected]

editor-at-large

sales and marketing assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected] technical editors

ANDREW RODNEY, ELLIS VENER director of sales and strategic alliances

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

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

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

MOLLIE O’SHEA, [email protected] editorial offices

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

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

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wrights’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide

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

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

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

12 • www.ppmag.com

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

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

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

PPA staff DAVID TRUST Chief Executive Officer [email protected]

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

SCOTT KURKIAN Chief Financial Officer [email protected]

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

CAMERON BISHOPP Director of Publications [email protected]

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

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.

©Lisa Evans

LISA EVANS “Designing portraits through a combination of photography and painting has been our specialty for over 25 years,” says Lisa Evans, M.Photog.Cr., of Lisa Evans Portrait Design in Danville, Calif. Evans captured the photographic portion of “Summer Dreams” with a Mamiya RZ Pro medium-format camera and 150mm Mamiya f/4 Variable Soft Focus lens, exposing Fujifilm Fujicolor NPH 400 Professional film for 1/30 second at f/6.3. Evans used a 41x74-inch Photoflex LiteDisc reflector to bounce natural light. She used Corel Painter to apply brush strokes, then hand-painted over the entire image.

14 • www.ppmag.com

To develop technologies that redefine the industry standard, and to create cameras and lenses that inspire photographers to take their photography to the highest level.

Great images begin with great lenses. But it’s not just unparalleled optics that keep Canon at the forefront of imaging. It’s inspiration, the inspiration to constantly innovate.

DAVID ZISER While on holiday in San Jose del Cabo in Mexico, David Ziser, M.Photog.Cr., F-ASP, of David A. Ziser Photography in Edgewood, Ky., captured this dramatic image at sunrise. With a Canon EOS 5D digital SLR and 12-24mm Sigma f/4.5-5.6 EX DG Aspherical HSM lens, Ziser exposed “Lifestyles of the Rich” for 1/40 second at f/6.3. “The extremely wide-angle lens on the full-frame Canon 5D created the unusual composition,” he explains. “That, coupled with the dramatic color contrasts combined to make the striking image of the villa.”

©David Ziser

WENDY VEUGELER At the request of a client looking for an heirloom portrait of her son, Wendy Veugeler, M.Photog., M.Artist, CPP, of Cellar Portrait Studio in Crystal Lake, Ill., used clothing and props to imbue the image with nostalgia. Using a Mamiya RB67 medium-format camera and 180mm Mamiya f/4.5 lens, Veugeler exposed Kodak Professional Portra 160NC film for 1/125 second at f/8. An 800WS Photogenic PowerLight 1250 behind a 4x6-foot Larson Soff Box and a gold Larson reflector provided the main lighting. A second 800WS Photogenic PowerLight 1250 and Photoflex StripDome 03 served as fill. Veugeler performed basic cropping and correction in Adobe Photoshop, then finished the print with Marshall Photo Oils, pastels and pencils.

16 • www.ppmag.com

©Wendy Veugeler

©Ken Sklute, Canon Explorer of Light

E

©2008 Canon U.S.A., Inc. Canon and EOS are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.

To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc

very once in a while you come across something that simply takes your breath away. Something that’s simply astonishing. Can a camera do that? If you’ve ever held a Canon EOS 5D or EOS 40D in your hands, you know the answer is an unequivocal yes. The 12.8-megapixel EOS 5D, with its full-frame CMOS sensor, makes small work out of big ideas, while the 10.1-megapixel EOS 40D compromises nothing in the way of features and technology. A truly awe-inspiring pair.

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©2008 Collages.net Inc. All rights reserved. Photos ©2008 Artistic Imaging, BLR Life Photography, Carrie Workman Photography, Dan Doke Photography, Studio G, The Shooting Gallery, and TriCoast Photography

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

Alchemy, anew

BY LORNA GENTRY

Robb Kendrick raises tintype photography to fine art

All images ©Robb Kendrick

A few months ago Robb Kendrick was on an editorial assignment in upstate New York, and stopped for a visit with his friend, John Coffer, a photographer and farmer. Coffer was in the middle of molasses making, so Kendrick agreed to help. For eight hours the men fed sorghum cane into a 19thcentury press powered by a draft horse, then boiled down the goo into syrup. “It was slow, manual labor, and we only got just one gallon of syrup,” says Kendrick. “But we had the most incredible conversation.” The length of a process is beside the point, says Kendrick, who crafts one-of-akind tintype and Daguerreotype photographs. It’s all about connecting with humans. That's why he bonded with the like-minded Coffer, a master tintype photographer, when he took Coffer’s workshop in 2000. Kendrick was suffering a mid-career crisis. He was a successful photojournalist, best known for his work in National Geographic magazine, but digital didn’t excite him. What stirred his soul was wet-plate photography. This spring he published two books, “Still: Cowboys at the Start of the TwentyFirst Century” (University of Texas Press), his second on cowboy tintypes, and “Changelings” (Cloverleaf Press), a limited edition on mummies in Mexico, where he

of the wet process that follows. After

equipment. “The thing about these old

lives. For “Still,” Kendrick logged some

applying and briefly air-drying the

processes is that it’s like a treasure hunt,” he

40,000 miles over six years driving across

collodion solution, he soaks the treated

says. “You have to go on eBay to find lenses,

the American West, Canada and Mexico,

plate in silver nitrate, waits four minutes,

and you have to make and retrofit

with a darkroom-in-a-trailer hitched to

then places the plate in a holder. He heads

equipment. It’s almost like a survival class

his pickup. That’s where he begins the

out of the darkroom and inserts the holder

in photography.” Perfecting the technique

process of image-making by pouring

in the camera, then makes a photograph of

took much longer, but eight years later, he

collodion on Japanned plates. Japanning

the subject. He’s got 12 minutes max to do

says, “I’m still in love.”

blackens the background; it’s accomplished

it. The exposure made, it’s back to the

by applying and baking several coats of

darkroom to process the plate.

asphaltum and Everclear. Kendrick relishes the quixotic alchemy

It took about six months for Kendrick to acquire the wet process materials and

To see Robb Kendrick at work in his portable darkroom, watch the video at www.robbkendrick.com

June 2008 • Professional Photographer • 21

CONTACT SHEET Photographers know that digital files and

from the wedding reception had permeated

media are subject to damage through fire,

the backpack where the media was stored,

theft, computer crashes—and bad dogs? Yes,

and the 150-pound family dog could not

says Wilson Sarkis of Farmington, Mich.

resist temptation. “He chewed through the

“We’re very careful with the wedding images we shoot,” Sarkis reports. Yet when he shot a wedding just a half-mile from his house, he

cards like they were suckers,” groans Sarkis.

“I wouldn’t hold a camera without being a member of PPA.” —WILSON SARKIS

“I almost had a heart attack.” About half of the images survived intact.

figured he’d wait to transfer the images from

After a week of worry, Sarkis, a member of Pro-

him through steps he could take to mitigate

the memory cards to the computer at home.

fessional Photographers of America (PPA),

the problem, beginning with what to say to

Home life intervened and he forgot about

recalled the malpractice-type insurance he

the wedding client. The Indemnification

the cards until the next day.

had through the PPA Indemnification Trust.

Trust would help pay for the necessary re-

He called the PPA Service Center and explained

shoot, said the rep.

Unfortunately, another member of Sarkis’ household got there first. The scent of food

his predicament. The representative walked

“The way the representative guided me made the rest so smooth,” Sarkis says. The

My dog ate my … memory card? PPA’s Indemnification Trust came to the rescue when the situation got hairy

bride was calm and agreed to do a re-shoot. “I had to bring in an editor, stage the scene, and rush the images … it was expensive,” he says. Without PPA, the episode would have had much larger and more expensive consequences, he adds. Even more cautious now, Sarkis bought a database safe to securely store media cards, and incorporated redundant backup into his workflow. PPA Indemnification Trust protects members when something goes wrong with an assignment that’s generally considered the photographer’s responsibility (equipment malfunction, dissatisfied clients, even errant dogs). The annual cost is just $50, with a $200 deductible per incident, and is included in almost every member's dues. Usually within 24 hours of a call to PPA, the member gets a call from Howe & Hutton, a firm of attorneys experienced in defending photographers. If the client had taken Sarkis to court, the Trust would have provided representation and paid any damages due. As Sarkis learned, in business, you can always expect the unexpected. The Indemnification Trust helped him save money and uphold his reputation. “I wouldn’t hold a camera without being a member of PPA,” says Sarkis. —Angela Wijesinghe, PPA Marketing Specialist For more information on the PPA Indemnification Trust, call 800-786-6277, or visit the Members Only section at www.ppa.com.

©Jacqueline Palmer

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“Gate Five,” Sausalito, 1970

amount in the darkroom assisting him. He was also inspirational about doing the work, giving it your all.” In 1959 Jones and Adams began collaborating on a four-year photo-essay project on the California wine industry that became a 1963 Smithsonian exhibition. Jones also collaborated with Dorothea Lange in 1956 on “Death of a Valley,” a documentation of the exodus of Berryessa Valley, Calif., residents prior to a mandated flooding, an experience Jones describes as “unforgettable.” In 1968 he and his late wife, writer and photographer Ruth-Marion Baruch, collaborated on a seminal record of the Black Panthers in the Bay Area, which became a published book. Throughout Jones’ career he used a 4x5 ©Pirkle Jones courtesy Lumière, Atlanta

view camera, a 35mm Leica and a Hasselblad. Nearly all his prints are selenium toned—for

On the shoulders of giants

preservation, he says—and he shot

Pirkle Jones and the golden era of photography I

photograph in black and white. Ansel

BY LORNA GENTRY

exclusively in black and white. “I love color, but I think it’s a bigger challenge to do a fine sharpened my awareness of the beauty of a

In postwar American photography, photo-

from 60 years of photographing northern

journalism dominated, but fine-art and social-

California and nearly 30 years of teaching,

documentary photographers thrived on the

he turned his attention to archiving his work,

Ansel Adams prints, but sold most of them

periphery of the cultural and political landscape.

publishing books, and arranging exhibitions

in recent years. Most notable was the 2006

Mid-century, pockets of visionary photog-

in museums and galleries. He also patiently

sale of a rare 1948 print of “Moonrise,

raphers provoked experimentation and

talks with reporters, documentarians and pho-

Hernandez, New Mexico,” which fetched

fostered a new visual sophistication. In 1946

tographers, who make pilgrimages to his

$609,600 through Sotheby’s, a world-

one such luminary, Ansel Adams, founded the

home in rugged and verdant Mill Valley, Calif.

record auction price for an Adams.

country’s first fine-art photography depart-

They come because Jones is the last of his era.

fine print, the gradations of tonalities.” Jones says he used to have a number of

Looking back on his varied career, Jones

ment, at the California School of Fine Arts in

He’s outlived them all now, a dozen years

San Francisco, now known as the San Francisco

beyond his friend Ansel Adams, who died in

my work, but I’ve had a few years since I

Art Institute. Pirkle Jones was enrolled in the

1984 at the age of 82. From the late 1940s

produced the work to look at it in a different

first class, learning his craft from Adams and

to the early ’50s, Jones was Adams’

light. Now I’m rather surprised that it’s as

Minor White. Through the school he befriended

professional assistant. “When Ansel was

good as it is. I feel satisfied with the body of

Edward Weston and Dorothea Lange. “I

working in Alaska on his Guggenheim

work I produced. After all, I made a few

look upon that era as the golden years,” Jones

Fellowship, he sent back his negatives for

statements that probably will survive.”

reflects. “It’s never been duplicated since.”

me to process,” Jones recalls. “But only Ansel

Jones’ diminished energy bothers him

could print his work. He always made the

these days, but at age 94, and with a

decisions, though quite often I was in the

repaired heart, his recent accomplishments

darkroom with him washing prints. He was

are remarkable. After retiring 10 years ago

a master at printing. I learned a tremendous

22 • www.ppmag.com 24

is sanguine. “I’ve always been supercritical of

Fore more of Jones’ work, see “Pirkle Jones: California Photographs, 1935-1982,” by Pirkle Jones and Tim Wride (Aperture, 2001). Lorna Gentry is a freelance writer in Atlanta.

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CONTACT SHEET

Healing art

Have you considered the impact your photography can have on the lives of others? Right now more than 4,000 photographers in 14 countries

PPA embraces the compassionate work of Now I Lay Me Down to Sleep

touch the lives of grieving families every day through their involvement with the Now I Lay Me Down To Sleep Foundation (NILMDTS). Professional Photographers of America

“This specialized work is literally changing lives. The healing power that comes from just one single image is life changing.” —SANDY PUC’

(PPA) is honored to announce its official partnership with NILMDTS, the nonprofit organization focused on infant bereavement photography. Formed in 2005 in Colorado, NILMDTS was born of a partnership between a grieving mother, Cheryl Haggard, and local PPA photographer Sandy “Sam” Puc’. NILMDTS continues the compassionate photography that Puc’ did for Haggard and her husband, of their newborn son, Maddux, moments before his death and once he was at peace. Today, NILMDTS volunteers create images that help families heal, and provide a tangible keepsake of a child’s brief life. “We were only the starting point of something that went far beyond us,” says Puc’, who is also a PPA Board Member. “This specialized work is literally changing lives. The healing power that comes from just one single image is life changing.” In partnering with NILMDTS, PPA helps extend that charitable work. Working with NILMDTS is a meaningful way for professional photographers to use their artistic gifts to benefit others. It’s not an easy mission. “I have yet to see a conversation about Now I Lay Me Down to Sleep where somebody wasn’t crying,” says David Trust, PPA chief executive officer. “This is a unique cause with which photographers feel a natural and very emotional connection. It is a great partnership for PPA and its members.” “The reality is, we cannot change what is happening to these families,” continues Puc’. “But we can change the way they heal for the rest of their lives.” For more information, go to www.nowilaymedowntosleep.org.

Publishing house Abrams Books joins the American Museum of Natural History to honor Richard Ettlinger for his six-year project that culminated in the recently published book and exhibition, “On Feathered Wings: Birds in Flight.” “On Feathered Wings” features more than 170 seemingly impossible dramatic shots of birds hunting, feeding, fighting, all on the

Nature photographer Richard Ettlinger honored New book and exhibition showcases stunning photography of birds in flight

wing. The project covered five continents. Says Ettlinger, “The work I did with six of the world’s greatest action photographers took hours of study and endless patience. Our dedication paid off and I am delighted to be recognized by both Abrams Books and the museum.” The year-long exhibition opens at the Museum of Natural History in New York on June 21. Visit amnh.org for more information. Taken with a handheld Canon EOS-1D Mark IIn and 500mm Canon f/4L IS USM lens, exposed for 1/5,000 second at f/5.6, ISO 800.

©Richard Ettlinger

June 2008 • Professional Photographer • 27

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Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think For Vicki Popwell joy is in the journey What do you wish you knew when you were first starting out? What real joy the journey before me would bring. I have the opportunity to do what I really love every day and to have my family with me. What advice would you give to someone just starting out in the photography business? Keep a balance between your artistic side and your business side. Hire an awesome CPA. Attend as many seminars and conventions as you can afford. Glean the knowledge you need and use the speakers’ ideas, but don’t directly copy them. Be original! What’s the biggest business risk you’ve ever taken? Turning in my notice as a well-paid public relations rep to go full-time at my studio. I had to borrow money in the beginning without being sure I could pay it back. Thankfully, we did! In client relations, what’s your highest priority? Being real with my clients, meaning I listen to their portrait needs and desires and then meet those needs and desires. A truly satisfied customer is crucial to any studio’s success. What’s the secret to running a successful photography business? Knowing that technology changes rapidly and being adept at keeping up with the changes. We embrace changes with enthusiasm and enjoy continuing to learn. IMAGE BY VICKI POPWELL WWW.VICKIPOPWELL.COM

June 2008 • Professional Photographer • 31

PROFIT CENTER

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

After a frustrating wedding job, Keith and Holly Howe took a leap of faith and doubled their studio’s wedding prices, reaping more than profits.

For what it’s worth TO PRICE ACCORDINGLY

All images Keith & Holly Howe

We’ve all been there. One of those weddings where the bride has a migraine and the groom hates to have his portrait taken. The majority of the wedding party arrives late, and the bride’s dad, grandfather, and brothers—members of the wedding party— are bellied up to the bar down the street. When you’ve finally wrangled everyone into the sanctuary for group photographs, the pastor starts pressuring you to hurry up. Then the pièce de résistance, the father of the bride glowers at you and says, “I thought you guys were good.” This fateful wedding took place about five years after we opened our studio in North Platte, Neb. We were doing okay, supporting our young family. Our prices were midrange for the area, and we felt comfortable. Then came that awful wedding. On the way home, out of stress and anger I said, “I’ve had it. We’re doubling our prices on weddings.” My husband, Keith (Keith A. Howe, M. Photog.M.Artist.Cr.), was in a panic—“That’s drastic!” He was sure we’d never photograph another wedding. The next day at the studio, I took a hard look at how much weddings contributed to our gross sales, and how much they cost us to produce. The profit margin was much lower than our other product lines. What’s the worst that could happen if we doubled the prices, I asked myself. Can we live with the consequences?” (We find those questions really useful when we’re facing any tough decision.) The answer: It could price us out of the market, and we might not contract a single wedding in the following year. After poring over our books, we surmised it would be difficult to lose that portion of our profits, but we would survive. Our goal in raising prices was to compensate for the stress, hassle and occasional lack of respect we felt at weddings. Happily, that goal was achieved, and some unexpected

32 • www.ppmag.com

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PROFIT CENTER

benefits as well. First, the increase closed the

priorities of the couples we work with center

—never happened. In fact, nobody said a

gap between portraits and weddings in sales

on achieving the best photography they can

word. Had we been under-priced all along?

generated per hours invested. Revenue per

afford to invest in. When the bride feels she’s

hour was similar for weddings and family and

making an investment in great images, she’s

profitable. Greater profits gave us the

senior portrait sessions. We would no longer

motivated to ensure that everyone is ready on

opportunity to improve our facilities and

be disappointed for having to turn away a

time, sober and cooperative. Funny thing, but

equipment and to invest more in our

portrait session on a Saturday afternoon.

when you’re treated as a respected professional,

continuing education. We are enjoying

you’re willing to work like a dog for the bride.

weddings again. Our actual and perceived

We also began limiting the number of

value increased to match our price range.

Second, brides started viewing our work as an investment rather than an expense.

In the process, our studio became more

This subtle distinction made a lot of difference

events we’d accept per year. The combina-

We could have plodded along forever where

in the way brides and their families related

tion of being at the top of the price scale and

we were, but that snide comment from the

to us, from photographing the wedding

limiting our availability gave the impression

father of a bride made us just mad enough

through delivering the albums. Because we

that people might not be able to book us, no

to jump out of our comfort zone and take

were now at the top of the local price scale,

matter how much they wanted to, thus giving

action. I’m not mad at that father anymore

we no longer dealt with clients looking for a

us a higher perceived value. We were photo-

—in fact, we owe him a big thank you. �

deal. Brides stopped trying to negotiate prices

graphing almost as many weddings as

or the contents of the plans they selected.

before, but with higher gross sales. The catast-

Keith and Holly Howe are both recipients of the PPA National Award. The Howes’ studio, Photographic Images, opened in downtown North Platte, Neb., in 1980 (www.photographicimages1.com).

And, although the scale of the weddings we photograph still tends to be modest, the

rophe Keith envisioned—brides running screaming from the studio over the new prices

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STEPHANIE BOOZER

Every so often, a product comes along that makes everyone wonder why no one had thought of it before. Inspired by the cachet of boutique studio marketing, BellaGrafica brings compelling design within reach of small studios.

those needs within a small studio’s budget.

Fabulous solution, perfect timing

and wedding buyers are women.

A major piece of intel became the team’s starting point: According to a 2006 PPA study, some 80 percent of today’s portrait “Only a few enterprising studios were acting on this knowledge by creating compelling products in response to how women actually react

The much anticipated launch of BellaGrafica’s line of stunning promotional materials turns

is a regular columnist for this magazine.) Each collection features a versatile array

to marketing and advertising,” says Monteith. “Women consumers speak and hear a language

traditional ideas about studio marketing upside

of packaging and marketing pieces, from print

of connection and intimacy, rather than a com-

down. This sumptuous promotional line sells

boxes with an assortment of belly bands to

petitive language of status and independence.”

for a fraction of the cost of commissioning a

promotional cards and booklets. Each

graphic designer or marketing team. Moreover,

BellaGrafica piece is a sensual treat, crafted

the boutique studio model, in which photog-

the high quality of the papers and printing is

from luxurious vellum, bejeweled bindings

raphers cater to a limited clientele to provide

affordable, even in small quantities.

and intricate die-sculptured design elements.

individualized services, and it becomes clear

BellaGrafica is an off-shoot of Marathon

“Most photographers who have heard of

Add that factor to the growing trend of

that marketing should focus on personal

Press, the multi-product and service resource

Marathon know we’re good because of our

for professional photographers. The new outfit’s

reputation,” says Shannon Barry, director of

six premier collections were co-created by

marketing and development at Marathon

they go to great lengths to learn who their

well-known photographers Lori Nordstrom,

Press. Sensing a perception among small

clients are, including where they and their

M.Photog.Cr., CPP; Sandy Puc’, M.Photog.Cr.,

studio owners that Marathon’s prices were

family shop, what they value, where they

ABI, CPP; Jed Taufer, Cr.Photog., and Vicki

out of reach, Barry and her team met with

spend their leisure time, and other important

Taufer, M.Photog.Cr., CPP; Tim Walden,

longtime Marathon consultant Ann Monteith,

behavioral indicators,” says Monteith.

M.Photog.Cr., F-ASP and Beverly Walden,

M.Photog.Cr.Hon.M.Photog., ABI, F-ASP,

M.Photog.Cr.; Jeff Woods, Cr.Photog., and

CPP, to update their knowledge about

her prior marketing and design experience

Julia Woods, Cr. Photog.; and Sarah Petty,

photographers’ needs in marketing services.

to her studio business that landed her on the

Cr.Photog., CPP. (Editor’s note: Petty

The next step would be to innovatively fill

creative team, notes Monteith.

service and relationship building. “Boutique studio owners succeed because

It was Sarah Petty’s success in applying

Marathon describes Jeff and Julia Woods' collection (left) as urban chic. The other five collections are each dubbed with an identifying style: simple, whimsical, magical, eclectic and elegant. The Woods' wedding collection brochure is pictured above.

36 • www.ppmag.com

“Ann saw that the boutique revolution

out how to make them not only affordable,

was growing and thought that we could all

but cost effective for photographers with

benefit from working together,” says Petty,

limited budgets. “BellaGrafica invested in

who was the next photographer onboard.

creating the dies and stocking the materials

When the rest of the studios were

to produce them,” says Barry.

chosen, says Barry, “We put everything back

The new lines also had to be versatile. Pho-

into the photographers’ hands, telling them

tographers can completely customize any piece

to design as if they didn’t have to worry about

in any of the collections, as well as mix and

resources, time limits or anything else.”

match pieces from all six and change color

Each studio came back with unique, stylized

schemes and tag lines to suit your style and spe-

marketing pieces as professional looking as

cific clientele. For example, Nordstrom’s line

any by Abercrombie & Fitch or Anthropologie

may be perfect for your portrait clients, and

or any other major brand’s. “We have built our

Petty’s designs might be ideal for your seniors.

entire business based on these types of beau-

“It’s important in developing any mar-

tiful and elaborate promotional pieces,” says

keting campaign that you stay true to your

Petty. “Our clients tell us they look forward to

style and your brand,” says Nordstrom.

receiving our mailings. It helps us attract clients

The bottom line is that studios have to

Sandy Puc' goes straight to the heart of new parents with this custom-designed signature stationery.

branding process. BellaGrafica’s designs just

who are less price sensitive and will become

believe in their work, their brand, and their

might help you get there. �

more emotionally attached to our brand.”

connection with their clients. A strong

For more information on BellaGrafica, visit www.bellagrafica.com.

Now it was BellaGrafica’s turn to figure

studio identity is the springboard for the

Professional Photographer Online’s exciting features At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool, useful and inspiring content. And it’s all yours free! • Web Exclusives: Fresh stories, tutorials and reviews you’ll ONLY find online! • Archived features, organized relevant to your specialty.

• Photo Gallery • Profit Center • An in-depth product review library • Online Classifieds • Buyer’s Gallery

FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter: http://ppmag.com/email.php

Are you spending enough money on marketing? How much does education affect your bottom line? Answer your Q Do you havequestions: too many employees? Q

Q

Q

Q

When should you hire employees? What can you do to make your business more profitable?

Get the answers to these questions when you take part in the Studio Financial Benchmark Survey, PPA’s renowned financial survey of the photographic industry.

You qualify to participate if:

Participate and receive:

Q

Q

Q

Q Q

Q Q

you are a PPA member your 2007 business tax return is already filed, or you have a draft from your accountant your gross sales during 2007 were $50,000 or more at least 50% of your business is from portraits (including seniors) or weddings you use financial software studios not using financial software call 800-786-6277 for pre-approval

Q

Q Q

Entry into a drawing for TWO Grand Prizes: two allinclusive trips for two to Imaging USA ’09 [including Buddy Pass registration, as many pre-convention classes as wanted for free, airfare, hotel room (two rooms per package if necessary), and $1,000 in spending money]. Free, exclusive Webinar, reviewing the study results (including a free download of the PowerPoint and other materials used during the Webinar). Advance copy of the free report. Complimentary Showcase book for the first 100 participants who send in their financials.

If you’re interested in participating, call PPA Customer Service (800-786-6277) to sign up no later than June 30, 2008. This important survey is being conducted by accountants who understand the photography industry. All individual information and data will be kept completely confidential. The final industry report will be available only to PPA members. The last Studio Financial Benchmark Survey has helped hundreds of photographers. Help us repeat this success…and get the answers you need.

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Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Why Manolo Doreste clings to his Tamrac case What makes your workflow flow? Using Adobe Lightroom presets. Those presets allow me to give my images that special punch of style in a matter of seconds. What’s the best equipment investment you’ve ever made? My Canon EOS-1Ds Mark II. It allowed me to grow into the photographer that I am today. It helped me explore and develop my creativity as an artist. Little thing, big difference … Time Exposure ProSelect software. This application has turned around my presentations and sales 180 degrees. What hot new product are you going out of your way to use? I use Finao portfolio boxes for all my clients. From sign-in boxes to displays at birthday parties, my clients love them, and I really appreciate the great quality and Finao’s excellent customer service. Has a piece of equipment ever changed the way you approach photography? The 70-200mm Canon EF f/2.8L IS USM lens. I can get very close to my subject and make the background completely disappear. What’s the one piece of gear they’d have to pry from your cold, dead fingers? My Tamrac rolling case. It’s usually loaded with my Canon equipment (two Mark II bodies, 70-200mm lens, 24-70mm lens, 16-35mm lens and two Speedlite 580EX flashes). IMAGE BY MANOLO DORESTE WWW.MANOLODORESTE.COM

June 2008 • Professional Photographer • 41

THE GOODS: LIGHTING

Whether you’re a new photographer or a seasoned portraitist, mastering the fundamentals is vital to your growth as an artist. Know how to set the tone with your main light.

Figure 3 Form shadow

B Y D O N C H I C K , M . P H O T O G .C R . , C P P

Lighting essentials: The foundation MAIN LIGHT AND MODIFIERS

This is the first in a series of articles on the fundamentals of studio portrait lighting.

Figure 3 illustrates form shadows and cast

The main light is the foundation of all lighting

mination from the main light to the white

setups. It can illuminate the subject from any

paper is interrupted by the egg, the subject of

angle, even from behind to create a silhouette.

the image, which casts a shadow on the paper.

Positioned in front of the subject and directly

A form shadow appears on the subject itself.

over the camera, the main light yields flat

The shadow is created on the side opposite the

light, to create an image with no shadow

light. Resulting from an absence of light, form

detail. Positioning the main light on either

shadows have soft edges and varied shading.

side of the camera produces shadow detail,

Cast shadows can also appear on the

Hard shadows or shadow transfer areas

Figure 4

shadows. Cast shadows occur when light is interrupted. In my simple illustration, the illu-

which adds interest and drama to the image.

Cast shadow

Cast shadow

Form shadow

subject. The typical example in Figure 4 shows the subject’s nose casting a shadow

in photographs are crisp and distinct with

on her cheek. This cast shadow has more

well-defined edges (Figure 1). Soft shadow

defined edges and uniform shading than the

an absence of light. The form shadow is

areas have varied shading and feathered

form shadow on the right side of the face,

affected by the light nearby. We can control

edges (Figure 2).

where the natural curve of the face creates

these shadows with lights and light modifiers.

All images ©Don Chick

Light modifier is a catch-all term for such Figure 1

Figure 2

lighting tools as umbrellas, panels, parabolic reflectors, and soft boxes. Light modifiers such as louvers, honeycomb grids and Fresnel lenses have specialized uses. The beauty of light modifiers is that they can be easily removed or altered to quickly adapt a single light source for different styles of photography. Consider several factors when choosing a light modifier to use with your main light, including the look you’re trying to achieve and your preference for well-defined or soft

42 • www.ppmag.com

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THE GOODS: LIGHTING

Soft boxes range in size from 1 square foot

Figure 5 Small light source bare bulb

to 6x8 feet. The larger the box, the softer it renders the light. One reason for the popularity of soft boxes among photographers is the versatility and control they provide. For instance, angling the direction of the soft box to use the edge of the light is called feathering the light. A large soft box yields a large sweet spot, the area where the light falloff is gradual. That’s beneficial when you’re photographing several subjects together, or For instance, angling the direction of the soft box to use the edge of the light is called feathering the light.

a roaming toddler, because you won’t have exposure worries if the subject moves. You can create three distinct lighting patterns with a large soft box simply by moving the subject: loop lighting (Figure 7), split light (Figure 8) and profile light (Figure 9). It also helps you maintain the artistic flow when you don’t have to pause to reposition both subject and lighting gear, as you do with other light modifiers. Soft box prices vary with size and

Figure 6

shadows. The smaller the light modifier, the harder the shadow, and vice versa, as

Large light source, soft shadows Large light source 4x6 Larson Soff Box

44 • www.ppmag.com

manufacturer, from about $100 to $900. Umbrellas, which soften the light (Figure

illustrated in Figures 5 and 6. Consider

10) and are relatively inexpensive, offer limited

where you’ll be using your lighting gear

control over the lighting. Because umbrella light

most often, in studio or on location; some

spills everywhere, it’s ideal for fill light, but

modifiers are more portable than others.

doesn’t offer much control as a main light. If

4x6 Larson Soff Box loop pattern on subject positioned at back edge

Figure 7

Figure 8

Figure 10 A 45-inch Photogenic Eclipse umbrella

A 4x6 Larson Soff Box positioned in the center creates a split pattern on the subject

A 7-inch Novatron parabolic reflector with four-way barn doors and a 42x72 Calumet panel creates a small area of diffusion

A 4x6 Larson Soff Box casts a profile pattern on the subject

Model: Cara Evans

Figure 9

Figure 11

June 2008 • Professional Photographer • 45

THE GOODS: LIGHTING

you do use an umbrella on the main light, you’ll need to buy a variety of gobos—things to go between. Umbrella prices start around $30. Light modifying panels, made of translucent fabric stretched over frames of PVC or aluminum, are placed in front of the main light

Figure 12

A 7-inch Novatron parabolic with four-way barn doors and a 42x72 Calumet panel of translucent fabric creates a large diffusion area

near the subject. Ideally, the light has a set of barn doors to control the amount of light spill. Moving the light closer to the panel makes the light source smaller (Figure 11). Moving it further away makes the light source larger and softens the shadows (Figure 12). Versatile and portable, panels lend themselves to location shooting. You can make a panel yourself with materials from hardware and fabric stores for less than $50. If you make your own, be sure to check your white balance with each fabric you use to maintain color consistency in your images. If you’re not that handy, I recommend looking into the 42x78-inch Calumet Photographic panel system. The kit includes three fabric panels, frame, brace, and legs to make it free-standing, and sells for about $160.

Figure 13

Parabolic reflectors come in many shapes and sizes. They’re probably the least forgiving light modifiers. Photographers usually place some form of diffusion material in front of the metal reflector to soften the light, but the relatively small diameter causes shadows to remain fairly hard (Figure 13). Main light parabolic reflectors are usually equipped with a set of barn doors to both control light spill and direct the light. A 16-inch parabolic reflector and two-way barn door cost about $270. Taking the time to observe light in the world around me gives me an opportunity to develop my artistic side. When I notice something unusual, I analyze what’s happening and how it’s done. Try experimenting with the different kinds of light modifiers on your main light. Your understanding of light will grow, and you might just find a whole new look that excites you. �

46 • www.ppmag.com

A 16-inch Photogenic parabolic with two-way barn doors

THE GOODS: ALBUMS & PRESENTATION

High fashion comes to the photo industry, and album crafters are leading the way. We present some chic new looks for your images. B Y K A R E N L I N S L E Y, C P P

Breakaway display Couture Himalayan Leh

NEW PRODUCTS THAT REDEFINE THE WAY YOU PRESENT IMAGES

COUTURE BOOK takes a very

“If you can make a couch out of it, then my

sound like cool names for album covers, check

goodness, you should be able to make a

out FINAO’s line of albums. This company

different approach to wedding albums. The

wedding album out of it!” says Christine

provides custom albums to discerning high-end

company’s mission is to create one-of-a-

Perry-burke, of Finao, makers of the multi-

wedding photographers. Finao’s Web site

kind, handmade albums with the look of

option Finao and Seldex presentation lines.

holds a bounty of cool urban designs, tips,

coffee-table books. Your calls to Couture

tricks, blogs and photos.

are answered by an aristocratic voice

If you think “Biker Chic,” “Bank Heist” and “Bomber Jacket” Finao Seldex Image Preview

If you choose the One album design, you can then customize just about every element

of the company’s Web site is elegant

of it. For the covers, choose Magical Mystery

simplicity, with a minimum of navigation

Glass, Silk Tones or Metallic Canvas, with square

buttons across the bottom. Once you sign

or rounded corners. Inside, pick the creased

in, you navigate through the site to build

print or cut print look. With 20 sides, album

your album with customized features of

prices are priced by size, from $99 to $290.20. For additional fees, you can choose printing options from The Edge Photo

your choice. The eight album foundation designs all begin with 100 pages for $345, including printing and binding. The Couture Himalayan Leh album

Imaging or White House

features Nepalese paper on the front cover,

Custom Colour. Moreover, you

folded and wrapped with a beaded tie. The

can also choose Vegan Alternatives for

interior pages are parchment paper, with or

albums made of Earth-friendly materials.

without artisan torn edges. The Indian line

Finao’s Seldex line includes the totally cus-

features silk fabric covers, and the French,

tomizable Image Preview boxes. The smallest

Italian, German and NYC lines have equally

holds up to 150 4x6 prints; prices start at $55.

distinct features.

Call Finao at 888-346-2687, or visit www.finaoonline.com.

48 • www.ppmag.com

directing you to the concierge. The design

The 4-year-old Couture Book company donates a portion of all album sales to your

THE GOODS: ALBUMS & PRESENTATION

Exclusive Albums Genuine Leather Suede

choice of the nine charities it supports. Call 877-472-1710, or visit www.couturebook.com. FORBEYON has two brand new album

per-page fee. The Linear line starts with a 4x5 album at $18 for soft covers,

lines, Linear and Perfect Bound, in

$22 for

addition to its popular Flush Mount line. If

hard covers,

you opt to use Forbeyon’s design services,

plus $1 per

you get low-res files for proofing and

page, up to an

approval in two to four weeks. Design

8x10 album

service fees range from $3 to $5 per image

at $26 for

or $12 per side. Printing and binding in

soft covers,

each line begins with a base price, plus a

$32 for hard covers, plus $2 per page.

Forbeyon Flush Mount

Perfect Bound albums start at 4x5 inches, $18 for soft covers, up to $39 for a 12x12 album with hard covers. For example, an 11x14 Perfect Bound hard cover photo-wrap

says that the

book with 30 sides would cost $87.

company is back on track and fulfilling

Turnaround for printing and binding is

orders expeditiously.

two to four weeks. Call 800-540-1480 or visit www.forbeyon.com. The venerable ART LEATHER has

EXCLUSIVE ALBUMS, a lab supplier for three years, announced its debut in the professional photographer market at Imaging USA in January. The company’s

broadened its style selection, including the

albums come in an appealing variety of

new flush-mount album Art Magazine and

contemporary colors and styles, and each

the Italian-made album line, Eventi d’Autore.

comes with a presentation box. Standard

A totally customizable book, the Art

turnaround is two weeks, longer for custom-

Magazine includes thin

made designs.

pages with photo or

Exclusive

standard covers. Prices

Albums uses a

for 20 sides range from

special tech-

$63.60 to $296.80,

nology that

depending on the album

prevents warp-

size and covers. The

ing. Binding,

Eventi d’Autore album is

print and

available only through an

design services

Art Leather sales rep; the

are priced a la

Art Magazine can be

carte. The lush

ordered online. Rachel Lundgren, Art Leather Marketing Coordinator,

50 • www.ppmag.com

Art Leather Art Magazine

Genuine Leather Suede album comes in

Metallic, Wooden and Carbon Fiber—start

one size, 10x12 inches, for $675, including

at just $300. You can order up to 30 sides

printing and binding. Printed and bound

per album, and all

photo cover albums range from $85 for a

albums come with a

4x5-inch 20-page album to $590 for a 50-

presentation box.

page 12x16 album. Call 877-216-8823, or

Your clients can

visit www.exclusivealbums.com.

review the album on

If you have clients who shop the luxury

PictoBooks’ Web site.

line of Saks’ holiday catalog, they’ll love the

Call 800-697-

PICTOBOOKS Precious Metal Series of

4286, or visit

albums. The covers are crafted in gold,

www.pictobooks.com.

platinum, white gold or silver, and topped

�

with diamonds, rubies, sapphires or emeralds. Prices in the line begin at $10,000. “We do push the envelope with our books,” says Chan Park, production manager at PictoBooks. The gorgeous albums in PictoBooks’ other signature lines—Signature, Cocktail,

PictoBooks Precious Metal

Karen Linsley owns and operates a studio in Lake Tahoe, California, specializing in weddings and portraits.

June 2008 • Professional Photographer • 51

THE GOODS: PRO REVIEW

Fine art-quality, affordable photo inkjet printers are rapidly evolving. In a niche that Epson created and owned for years, Canon and now HP are catching up. cycle on a consumer-targeted printer is unique

BY STAN SHOLIK

Simply satisfying HP PHOTOSMART PRO B8850 PRINTER

to HP. The B8850 prints a test pattern for the printer to read and compare to an internally stored target, and adjusts the print head printing density as needed. You can run the calibration cycle at any time; it’s required only when you install new print heads. With typical usage, you’ll need new heads every

HP promotes its latest model, the Photosmart

(gloss) and matte black inks, which the printer

Pro B8850, as the ideal printer for “passionate

accommodates without having to swap car-

hobbyists and advanced amateur photogra-

tridges (list price $33.99 each). The printer

calibration cycle. When the cycle ends, you

phers,” but it’s also ideal for most professional

automatically selects the appropriate

connect the printer to your computer’s USB 2.0

photographers. It’s capable of producing the

cartridge for the ink specified in the paper

port with the cable provided, and you’re ready

same print quality as the HP Photosmart Pro

type dropdown menu.

to print. The B8850 software includes a won-

four years, according to the HP specs. You install the printer software during the

B9180 Photo Printer, a pro-photographer model

It took me about 25 minutes to unpack

derful printer driver for Photoshop. The print

priced 20 percent more. Unlike its pro sibling,

the printer and install the eight cartridges

plug-in combines settings from the print driver

however, it lacks Ethernet connectivity, the abil-

and four user-replaceable print heads.

and Photoshop’s Print with Preview settings

ity to print on media thicker than 0.7mm, and compatibility with third-party RIPs.

Setup complete, you power up the printer,

onto one screen, significantly reducing the num-

load the media tray with HP Advanced Photo

ber of steps it takes to prepare for printing.

The B8850 prints on cut sheets of 3.5x5 to

Paper, and let it go through a closed-loop self-

The printer software also includes the

13x44 inches. Its eight-color HP Vivera pig-

calibration cycle designed to ensure color con-

HP Color Center, which simplifies ICC

ment-based inkset includes both photo black

sistency. To my knowledge, this calibration

profile management and includes profiles for non-HP papers. The B8850 arrived with a nice sample pack of 13x19-inch papers, but only a few sheets of 8.5x11 HP Advanced Photo Paper Glossy, half of which were used in the self-calibration cycle. To conserve the large papers, I decided to do my initial tests on my favorite glossy paper, which wasn’t listed in the paper drop-down menu. Using the Datacolor Spyder3Print system, I profiled my paper, added its name and profile to the HP print plug-in through the Color Center, and immediately saw it appear

The B8850 printer software combines settings from the print driver and Photoshop’s Print with Preview settings on one screen, significantly reducing the number of steps it takes to prepare for printing.

52 • www.ppmag.com

THE GOODS: PRO REVIEW

in the paper menu. Professional photographers should have no problem printing accurate color on any inkjet paper with the B8850 after creating a profile and adding paper and profile to the HP plug-in software. I used Scott Martin’s Onsight color evaluation image to assess print quality (www.on-sight.com). Other than a slight hitch in the green and cyan gradients, the color ramps were accurately reproduced on the HP Advanced Photo Paper with the HPsupplied profile. The grayscale was neutral in every block from 0% to 100%, and there was no banding in the monochrome gradient. For monochrome prints, the B8850 gives you a choice of two settings, Composite Gray or Gray Inks Only. Composite Gray, a neutral combination of gray and color inks, produced

The Printing Shortcuts tab presents a quick-pick collection of printer settings. The Save As… button allows you to save the settings for future output.

far better results. The shadows were dark and rich and the highlights were clean with excellent detail. Satisfied with the results so far, I tried a 13x19 sheet of Hahnemühle Smooth Fine Art paper in the specialty media tray. To use the straight-through printing path, there must be enough space behind the printer to accommodate the paper’s full length. It’s a simple and effective jam-proof solution for large or heavyweight media. It took about 7 minutes to output the borderless 13x19 print, and about 3 minutes for a borderless 8.5x11 print. The print quality was excellent on each of the surfaces I tested, and the HP-supplied profiles yielded accurate, neutral color reproduction. If you’re not embarrassed to be caught using a printer designed for advanced amateurs, you’ll find most of the features you need on the the HP Photosmart Pro B8850, and print quality that should satisfy almost every professional or fine-art photographer. � Stan Sholik writes for NewsWatch Feature Service. He is a commercial photographer with more than 30 years of experience.

54 • www.ppmag.com

The paper type drop-down menu in the Printing Shortcuts tab is preloaded with HP-recommended papers. Selecting a paper also selects its profile. You can add custom papers and profiles through another window.

specs:

HP Photosmart Pro B8850

RESOLUTION: 4,800dpi optimized; up to 4,800x1n200dpi when printing from a computer and 1,200dpi input BORDERLESS PRINTING: Up to 13x19 inches PAPER SIZES IN INCHES: Letter, legal, tabloid, executive, 3.5x5, 4x6 (with or

without tabs), 5x7, 8x10, 11x14, 11x17, Super B (13x19), envelopes VOLUME: Up to 1,000 pages per month CONNECTIVITY: One hi-speed USB 2.0 DIMENSIONS: 26.5x16.9x9.5 inches WEIGHT: 37.7 pounds PRICE: $549; 27ml ink cartridges $33.99 each

THE GOODS: PRO REVIEW

Ruggedness, stability and portable weight are a tripod’s most crucial characteristics. With a tripod made from carbon fiber, you get all three. B Y J O E FA R A C E

A leg up MANFROTTO CX SERIES CARBON FIBER TRIPODS If you’ve never used a carbon fiber tripod, the

torsion rigidity. Redesigned locking levers,

first thing you’ll notice is how light they are. If

new leg angle selectors, and re-engineered

you believe sturdy can only be heavy, you’ll

magnesium and aluminum castings are high-

change your mind. Manfrotto’s recently

lights of the CX family. The newly designed

released CX series carbon fiber tripods even

ergonomic leg locking levers are not only nice

have to make do with the minimalist rubber

have a stylish design.

to look at, but easy to operate. Manfrotto also

tip ends. Most tripods have a hook under

redesigned the top plate on 190CXPro4 and

the center column to hold a weight or

(Q90°) that allows you to rotate the column

190CXPro3 tripods to incorporate a bubble

camera bag, but because of the center

to a horizontal position with a single motion,

level, which is important for panoramic shots

column design, this feature isn’t practical for

without removing the head or disassembling

and keeping horizon lines horizontal.

CX series tripods. Instead, there’s an L-ring

They feature a quick column center system

the column, so switching between framing and positioning is a snap. The new Manfrotto 100-percent carbon fiber CX tubes excel inflex resistance and

©2008 Joe Farace

56 • www.ppmag.com

As with all tripods in the Manfrotto CX series, the 190CXPro4 I tested lacks retractable spikes, so when working on soft ground, as I was at Barr Lake Stare Park, you

The bubble level on the top of CX series tripod is a big help when shooting multiple frames to make panoramic images. This one comprises five exposures.

DO YOU NEED A TRIPOD? With a new generation of image stabilized (IS) and vibration reduction (VR) lenses, as well as anti-shake capabilities built into camera bodies, do you even need a tripod? You do, and here are a few good reasons why: ©2008 Joe Farace

PORTRAITS: With the camera secured on a tripod, you can walk over to your subject to adjust a pose, yet maintain proper cropping and aperture for the depth-of-field. Also, subject and photographer can interact face to face without the camera blocking the view. PRODUCT SHOTS: When you’re using hot lights and want to increase the depth-of-field, especially for close-ups, you still need a tripod for long exposures. PHOTOGRAPHY WITH FILTERS: Infrared photography often calls for filters that are seemingly opaque with filter factors approaching infinity, requiring such slow shutter speed that even the best IS and VR technologies can’t handle it.

For a series of headshots for Sara’s portfolio, I mounted a Canon EOS 5D on a Manfrotto 190CXPro4, so I could walk over to her adjust her pose and direct her.

REGISTRATION: Using a tripod for group photos lets you maintain registration from shot to shot in case you need to digitally swap expressions. Exact registration is also key for before-and-after shots, construction-in-progress docu-

©2008 Joe Farace

Long exposure demands a tripod. This digital infrared image, taken near Barr Lake, was made with a 4-second exposure at f/6.3, ISO 800, through a dense Cokin 007 (87B) filter.

mentation, and stitched panoramic images. ONE OF THE FAMILY: With a tripod, the camera’s self-timer, and your own fleet feet, you can both capture and appear in your own family photos.

June 2008 • Professional Photographer • 57

THE GOODS: PRO REVIEW

We planted this apple tree in my front yard 10 years ago. Every year when the tree is in bloom, I make a photograph of my wife, Mary, and me in front of it. Having a tripod means we don’t have to ask some else to make the photo.

804RC2 PAN/TILT HEAD

©2008 Joe Farace

58 • www.ppmag.com

You can use any kind of head with the CX series tripods. For this review, Bogen Imaging provided an 804RC2 pan/tilt head similar to the 3030 head on my old green tripod, yet it’s 20 percent lighter. The 804RC2 has rounded rather than hard edges, and the handles are more ergonomic than the previous lumps of hard foam. The new coating on the ubiquitous Manfrotto quick-release lever is supposed to be even more durable and scratch resistant than on previous models, and it’s larger than the previous solid metal ones. The new QR is made of a polymer called Adapto, which is resistant to extreme temperatures and not likely to corrode or oxidize. Like the carbon fiber legs, this material absorbs vibrations. The 804RC2 head’s new counter-spring system makes it easier to position the camera on its axis, as it counter-balances some of the camera’s weight and does most of the work of positioning the camera for shooting.

instruction booklet to learn how to rotate the

specs: Manfrotto CX-Series Tripod

center column horizontally, as well as how to

MODEL:

190CXPro3

190CXPro4

MAX HEIGHT: MIN HEIGHT: LEGS CLOSED: WEIGHT (W/O HEAD): PRICE:

48 inches 3.15 inches 22.8 inches 2.84 pounds $300

48 inches 3.15 inches 19.7 inches 2.95 pounds $325

on the top of the tripod that can hold a counterweight. You may need the supplied

use the L-ring weight attachment point; it might not be obvious the first time you see it. The legs have snap-lock levers instead of collars, and they lock solid and precisely. With the legs spread wide, the lock is just as solid and precise when you flip the center column

190CX3 46.9 inches 2.36 inches 21.7 inches 2.90 pounds $250

horizontally to get into a low to the ground, limbo-like position for tough macro shots and unusual perspectives. All of the tripod’s

timer) to trip the shutter for long exposures.

photographers who need to keep their

The 190CXPro4 is a fine tripod for

gear compact.

controls, including the handles on the 804RC2

small to medium-size digital SLRs. The

The CX-series is not only made of new

pan/tilt head that I tested, are firm and lock

three-section 190CXPro3 with its wider

materials, but also has an innovative design.

in a crisp manner, so that with all the

legs is better suited to hold large cameras

From the push-button locks at the tops of

controls locked, the 190CXPro4 is solid and

like the Canon EOS-1Ds Mark III or Nikon

each leg to the shape of the leg-locking

rigid. Even with the wind blowing, the

D3. Three inches shorter in compressed

levers, these re-imagined Manfrotto tripods

camera remained solidly in place. For best

length and lighter than the 190CXPro3

are even better than their predecessors. �

results, I always use a cable release (or the

model, the 190CXPro4 might be better for

(www.bogenimaging.com)

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June 2008 • Professional Photographer • 59

THE GOODS

SOLUTIONS BY ANDREW RODNEY

Soft proofing helps you see how your image will look on paper. The first version usually looks horrible. Here’s how to make the proof look the way you want it to.

The goal is to come as close as possible,

How to edit a soft proof

without the soft proof function turned on.

which takes some output-specific image editing based on its appearance with and For the best results, your ICC profiles should accurately define the condition of both your display and your printer, and appro-

With good ICC profiles for your display and

match between the onscreen image and the

priate and controllable print viewing condi-

printer, and proper viewing conditions, soft

printed version—an emissive display and

tions near the display. The luminance and

proofing can yield a better than 90-percent

reflective print will never match perfectly.

white point of the viewing conditions and display must also be correctly defined when

All images © Andrew Rodney

you build the profiles. If you’re not familiar with soft proofing, use the links to my previous columns listed at the end of the article. Let’s begin with a print-ready image. You’ve made all the tone and color adjustments for ideal color reproduction based on the image’s working space. This is a master image that you can use for output to any number of devices, whenever you need to. Now mentally draw a line to separate the master image from all output-specific edits, including sharpening. Figure 1: The Customize Proof Conditions dialog is configured for matte paper on an Epson Stylus Pro 3800 printer using a relative colorimetric intent with Simulate Paper Color on. You can save this as a custom setting for future use.

Now open the master image and make a duplicate (Image > Duplicate). Name it Before View. Arrange the two documents side by side, filling as much of the display as you can while retaining access to your Photoshop tools. Place the master image to the right of Before View, which you’ll eventually discard. You’ll make your edits on the master. Select View > Proof Setup > Custom… to bring up the dialog in Figure 1. Select the output ICC profile for the printer and paper you’re using. Now toggle the rendering intent menu between Perceptual and Relative Colorimetric, and select the one that gives the image the color appearance you prefer. Select the Simulate Paper Color checkbox and behold a rather ugly preview. You can call this checkbox “the make my image look like crap button,” but it gives you a far more accurate

Figure 2: Left, the original image with no soft proof. Center, the same image with the custom proof setup from Figure 1 turned on. Right, the image with the edits from Figure 3; it’s hardly identical to the original, but it’s much better than the center image.

60 • www.ppmag.com

onscreen preview of the printed version with its contrast ratio of paper and ink. Let your

eyes adjust for a few seconds, and acknowledge

the working space, display and printer. With

that sometimes reality sucks. That’s why we

some colors and tones, no amount of work

have Photoshop in the first place. Our goal

will get us back to the original appearance.

is to edit the soft proof simulation of the image

The selective colors in Hue/Saturation

until it looks closer to the image on the left.

can also be useful. Often, a blue sky

Remember, you’ll never get an exact match.

appears slightly cyan or magenta in the

Make all of the edits on adjustment layers,

soft proof. I correct this by making a

starting with the curves (Layer > New

separate Hue/Saturation adjustment layer,

Adjustment Layer > Curves…). I can usually

selecting a color range from the pull down

counteract some of the effects of the paper

menu (Blue, not the Master), and moving

simulation with a slight curve adjustment in

the hue slider a few degrees one way or the

the upper 3/4 tone. Make other curve edits

other. You’ll see why it’s wise to keep each

as appropriate for the particular image. I

edit on a separate, labeled layer, as in

can’t get the appearance of the original, but

Figure 3.

I can make improvements (Figure 2). Now make a Hue/Saturation adjustment

Place all the adjustment layers in a Layer Group (click on the folder icon in the

layer. A small global saturation increase, about

Layers palette and drag the adjustment

+3 to +8, helps; I know I’m fighting an often

layers onto the new group folder). Give this

massive difference in color gamut among

group the same name as the profile and ren-

Figure 3: The Layer palette shows the group of adjustments used in Figure 2. The layer group is named for the output profile and rendering intent selected in Figure 1.

June 2008 • Professional Photographer • 61

THE GOODS

Figure 4: Follow these steps for the Jeff Schewe Punch Black technique.

With good ICC profiles for your display and printer, and proper viewing conditions, soft proofing can yield a better than 90percent match between the onscreen image and the printed version.

without having to start from scratch. Print your image and close the duplicate

and background colors are set to the default (if not, hit the D key). Select the background

—there’s no need to save it. View the print

layer and go to Select > Color Range… Notice

under the light box. Enlarge the edited

that Sampled Color is selected with black

image to fill as much of the screen as you

(foreground) to start the range of the selection.

can, then view it in full-screen mode and

Enter 25 in the fuzziness field and click OK.

compare it to the print. Hit the F key until

Select Layer > New > Layer via Copy

the image is totally surrounded by black,

(cmd/ctrl—J) to place this range of dark colors

and hit the tab key to hide the palettes.

onto a layer of its own. Name this layer

That’s the best way to evaluate the match

Punch Blacks, and set the Blending mode to

between the onscreen image and a print.

Multiply. Only the range of darks from 0 to

If you don’t want to store all the adjust-

25 will go darker, which often produces a

ment layers and groups in each document,

better or truer black on the final print. This

dering intent, as in Figure 3. When you want

you can store them in one blank, low-resolution

really helps with matte papers, but try it with

to print this image on a different printer,

Photoshop document and simply drag and

glossy, too. Just like the other output-specific

you’ll make a new layer group with edits

drop them onto your images when you’re

tweaks, this one should go into its own layer

for that printer. You could eventually have

ready to print. (I prefer to keep them with

group; you can’t copy and paste this onto

a number of layer groups with output-specific

the master image.)

other images! Figure 4 shows the steps.

edits, and turn on only the one you need

Here’s one more good trick, especially for

For previous articles on soft proofing,

for a particular printer and paper combina-

matte papers, that I learned from Jeff

download these PDFs from The Goods archive

tion. You can also drag and drop a layer group

Schewe, who runs the awesome Photoshop

at www.ppmag.com: www.ppmag.com/reviews/

from document to document. You can double-

News Web site, photoshopnews.com.

200409_rodneycm.pdf and www.ppmag.com/

click on an adjustment layer to alter it,

62 • www.ppmag.com

Open your image. Make sure the foreground

reviews/200411_rodneycm.pdf. �

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THE GOODS: TUTORIAL All images ©Bob Coates

In a church, home or office, multiple light sources with varying color temperatures can cause ugly headaches. Use Adobe Photoshop Camera Raw to whip up a cure. BY BOB COATES, M.PHOTOG.CR., CPP

Mixed light, blend well

Figure 1: Original capture with mixed light temperatures

COLOR BALANCE WITH RAW CAPTURE

The mixed light of fluorescent green, daylight blue and tungsten yellow with their various color temperatures can make a dreadful clash of color casts in your images. I’ll show you how to make adjustments that will turn captures in unavoidably ugly light conditions into attractive final images. You can use a raw image to create white balance bracketing by processing it for each light source with a different color temperature, then blend the colors and exposure to make the image pleasing. If your composition has any hot spots of light, lean toward underexposure. If you don’t have detail in the highlights, you will never get it back. The secret to making this work is to mentally isolate various color areas, and adjust one version of the image for each of them, regardless of how the rest of the image looks. Open the original file in Camera Raw and process it for the primary light source. Click Open Image. Open the original again in Camera Raw and adjust for color temperature in another area. When you open the second version, hold down the shift key and drag the background layer onto the first version. This creates a

64 • www.ppmag.com

Figure 2: After adjusting and blending for various light sources

One of the Many Faces of PPA I’ve always gone against the grain. Even when I was just coming into the professional scene, I wanted to do my own thing. The black-and-white, romantic portraits of children that were popular at the time just weren’t my style. I wanted to photograph brilliant, fun colors and interact with the kids. So I did. I knew I’d become a true professional when someone called to book a second time. A professional creates products that people want more than once…and I see some clients 3-4 times a year. So don’t be discouraged by what is expected; you have to be authentic and follow what you want to do.

If you don’t, what’s the point?

© Audrey Woulard

Audrey Woulard Professional Photographer PPA Member since 2006

THE GOODS: TUTORIAL

Figure 3: Adjusted for ceiling spot lights to hold detail

Figure 4: Overall office color and exposure

new layer aligned exactly with the first. Repeat the process, creating a new layer for each area where the light source affected the color. It took five layers to correct this image. The Camera Raw dialog boxes show the adjustments I made in each layer. When the layers are stacked, add a layer mask to each. Type D to make the foreground color white and the background color black. If you’re working on a small area of the image, use a hideall mask: opt/alt-click on the Add Layer Mask icon on the Layers palette or choose Layer > Layer Mask > Hide All in Photoshop CS3. The mask is filled with black, hiding the contents of the layer. Paint with white or white with a low opacity setting to reveal what you want to see. If you want to use most of the layer, start with a white mask—Layer > Layer Mask > Reveal All, or click on Add Layer Mask icon—and paint with black to cover what you don’t want to see. I processed the original background layer for just the spotlights to ensure I’d get detail and rich color. I increased the exposure and lowered the saturation on the Overall Room layer. Note that it has a white layer mask with some black paint revealing the lights from the bottom layer. The Bookcase layer with a black

66 • www.ppmag.com

Figure 5: Bookcase area

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THE GOODS: TUTORIAL

mask was processed for lighter exposure and a slight magenta tint. Applying a soft white brush with low opacity reveals the effects. I also painted the Doorway mask with a soft white brush. Note that I painted in other portions of this layer to add color to shadows under the desk and chair. Learning to make selections can help to speed you through your work. I used the polygonal Lasso tool to select the window area because it’s outlined by straight lines. Feather a selection like this by choosing Select > Refine Edge so there’s no obvious transition. Be sure you’ve selected the mask and fill it with white (Edit > Fill > Use: White) to reveal. As a shortcut, opt/alt-delete will fill with the foreground color and cmd/ctrl-delete will fill with the background color. You could also select Use: Color for your fill and use a gray to reveal only some of the color. On the Window layer mask I also used a soft brush at low opacity to paint the interior of the windowsill and chair back. If you’ve changed the light outside a window, adjust for the window light falling on the surrounding objects, or the effect will cause a disconnect in the viewer’s mind. After you’ve adjusted all the color and finished the masks, leave your image on the monitor, get a glass of water, maybe go for a walk. When you return, look for errors in your color correction.

Figure 6: Area through doorway

Highlight the top layer. Press shift + opt/alt + cmd/ctrl + E to create a new flattened layer with all of the corrections, leaving the layers below intact. If you need to redo the image, having the layer work will save you time. The last layer is for retouching. Using a combination of the Clone and Patch tools, I removed a few highlights, along with some wires that could not be avoided during the shoot. This technique has many applications. Use your imagination for blending different exposures and color balances for creative interpretations of exteriors and landscapes. This image was built and corrected from a single raw capture, but you can use a tripod and take multiple captures of a scene with different exposures and color balances. It's a great way to get detail in shadows without adding noise and color, while maintaining good exposure on the rest of the image. Take it one step further: Capture images throughout a span of time, capturing detail in the landscape and the deep blue or afterglow in the sky. Enjoy exploring all the ways to blend multiple images together using these techniques. Send low-res versions of your results to me—I'd love to see how they turned out: [email protected]. � Bob Coates is based in Sedona, Ariz. See more of his work at www.bcphotography.com.

68 • www.ppmag.com

Figure 7: Outside window

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HOENIX! P N I U O SE E Y

It was summer 2007. Sal Cincotta had a head for business, an eye for photography and a marketable style. What he didn’t have was enough clients. That was then, this is now. The key: Divide and conquer. PORTRAITS

By Jeff Kent

Leap year

S

2009. His wedding trade had rapidly become a six-figure business, with an average of about $4,500 per wedding. Senior bookings jumped

After a slow start, Salvatore Cincotta’s bookings skyrocketed al Cincotta opened Salvatore

from three in 2007 to 50 in 2008. Child portrait bookings climbed, with repeat business

bookings was undermining his confidence.

in his Baby’s First Year plan with average

Cincotta Photography in St. Louis

He’d taken seminars at Imaging USA 2007

sales of $2,000 to $2,500 per client.

in late 2006. He photographed weddings and

in San Antonio and came away with a solid

Exactly what happened? As a former

made portraits of children, babies,

foundation. He followed up in July by taking

computer consultant for Microsoft, Proctor

PPA’s Make More Money in Photography

& Gamble and similar giants, Cincotta was

conference in Memphis. The marketing and

no newbie to business, and his marketing

business plan he implemented in August

coordinator, Taylor Golden, had promotion

2007 changed everything.

and advertising experience. All they needed

seniors and expectant mothers. Midway through 2007,

Cincotta had managed to book

only seven weddings for 2008. Portrait

sessions were sparse as well. Cincotta was in it for the long haul, but the paucity of his

All images ©Sal Cincotta

By early 2008, Cincotta had 34 weddings booked for the year, and another five for

was knowledge specific to the business of professional photography. “The PPA conferences

PORTRAITS

gave us a context in which to apply sound business practices,” says Cincotta. “That made a huge difference.” Cincotta’s first step was to separate his business into three distinct lines—weddings, babies and children, and seniors—as per the advice of Make More Money presenter Michael Redford, M.Photog.Cr., API, CPP. Because the target market of each specialty is distinct, he made three different marketing plans. Next, Cincotta implemented branding initiatives suggested by another Make More Money speaker, Sarah Petty, CPP, and designed a consistent look and theme for his marketing and business materials. Then Cincotta pursued relationships

with vendors in the same markets, such as reception halls, florists and caterers. He says these referral sources are like goldmines. He returns the favor in the form of complimentary images of their wares to use as they please. Cincotta also built relationships with four high schools in the area, and recruited six senior ambassadors to promote his senior portrait services. To ramp up his child portrait line, Cincotta met with the owner of a local chain of high-end toy stores. He offered to create portraits of children playing with the stores’ specialized toys. The owner could hang them on the stores’ walls and use them in his advertising. The owner loved the idea. Cincotta ran a promotion to draw children 4 to 12 years old to use as models. Each subject got a complimentary session and an 11x16 print, with no obligation to buy anything. He figured he’d be doing about 25 sessions over one weekend. On a Friday afternoon, he sent an e-mail blast to everyone on his contact list. Within two hours, callers had booked all the slots.

74 • www.ppmag.com

Over two days, Cincotta introduced dozens of people to his services. When the parents went to his Web site to choose the shot for the print, they also found his regular print prices, just in case they wanted to buy additional prints. And buy they did. Cincotta grossed $4,000 in additional print sales, and 15 framed portraits went up on the walls of three toy stores. Toys pictured in those images flew off the shelves. “When I told other photographers about the toy store promo, they thought I was crazy to work for free,” says Cincotta. “But I didn’t work for free. Besides making $4,000 in two days, it continued to generate revenue downstream. You can’t put a price on that kind of focused publicity.” Cincotta also worked out a raffle arrangement with the stores’ owner. At each location, there's a monthly drawing for a free portrait session. Cincotta captures 40 to 50 solid leads every month in exchange for one free session. Raffle entrants whose names aren’t drawn are awarded a very nice consolation prize—a 50-percent discount on their next portrait session. These promotions have proved invaluable for Cincotta’s studio. But the continued growth comes from his emphasis on service. “The customer experience starts from the first e-mail, the first phone call,” he says. “If you want the majority of your business to come from referrals, then every customer experience has to be top notch across the board.” That’s also a part of effective branding. “It’s not just about taking pictures,” he stresses. “You need to be a guide. We walk

tant to position yourself as a trusted advisor

work, and no one will trust you enough to

clients through their sessions. For wedding

as opposed to solely a photographer.”

buy from you if you don’t take the time to

clients, we provide timelines and help them

It’s really that simple, he says. “You have

plan their day. We follow up with clients

to find a way to connect with people,” says

after image delivery and see what they

Cincotta. “Develop a rapport, and be

think of the images in their home. It’s impor-

genuine. There is a sales component to this

make a connection with them.” �

For more on Salvatore Cincotta Photography, visit www.salcincotta.com.

June 2008 • Professional Photographer • 75

When you're photographing corporate leaders, the last thing you want to elicit is emotion, says Mark Bolster. This portrait has to convey confidence and assurance to both shareholders and competitors. PORTRAITS

M

Interview by Ellis Vener

All images ©Mark Bolster

ark Bolster’s confident, easygoing demeanor cloaks the soul of a fierce perfectionist who believes in being prepared. That’s what it takes to meet the exacting challenge of

executive portrait photography on location. Based in Pittsburgh since 1985, Mark

Bolster’s clients include King Pharmaceuticals, PNC Financial, Alcoa, Allcare Dental, Federated Investors, Siemens, and UPS, for whom he creates images for use in corporate annual reports, editorial portraits, advertising and industrial brochures. He recently published his first book, “Pittsburgh: A Photographic Portrait,” a limited edition available for purchase at www.markbolster.com/pittsburgh.

Professional Photographer: When a client calls… Mark Bolster: The first thing I do is get information about how the photo will be used. If you don’t, you’re setting yourself up for problems. Whether I’m hired directly by the corporation or by a graphic design firm, I prefer to bill the company directly. They treat business as business, and that helps when negotiating money, getting paid quickly, and getting advances. The higher up the corporate ladder the subject is, the less time you can count on spending with him. I like photographing everyone, but I’m best known for my portraits of senior level executives. These assignments

Power shots The art and business of executive portraiture

76 • www.ppmag.com

are pressure packed, and that’s a kind of pressure I thrive on. I like high expectations, I like getting in and out and not being too much of a pain. I do that by just being prepared.

That preparation includes …

maybe adjusting the subject’s jacket or tie. It’s a

minutes with the person, not including my

I generally insist on having some time before

very time-pressured gig. Everyone around the

setup time. I know I can do it in 20 minutes,

the shoot to scout the location. I try to figure

CEO worries about the senior executive photo

but I might not get the variations I want to

out a couple of different places to make the

because it’s the one they’ll get called on the

deliver to the client. I really want to make

portrait. If the prime location for whatever

carpet for if the photographer doesn’t act in a

their job harder by giving them several really

reason becomes unavailable, having a fall-

professional way, or blows the shot, or has an

good options to choose from.

back position ready to go leaves us some

equipment problem. Executives don’t want to

options. If there’s enough time, I love to shoot

hear about any of that—they’re paying you a

Post-capture priorities …

in one spot and then quickly move to another

lot of money and you need to get it and you

Tight editing is a critical step. I want to give

to get a completely different photograph.

need to get it right away.

the graphic designer and the subject a

You have to be mindful of the executive’s

variety to choose from, but delivering too

time, so you have all the lighting in place in

The duration of a typical shoot?

each location, and all the exposures dialed in.

With a CEO, I always tell their assistants or

Editing for corporate portraits goes

There’s no time to make adjustments beyond

corporate communications people I need 30

further than weeding out closed eyes and

many options frustrates busy executives.

PORTRAITS

goofy expressions. You have to put yourself

the subject and photographer to connect on

in the shoes of the designer and understand

an emotional level, but that’s not a require-

how a composition might work in a layout.

ment for corporate portraiture. In the

Delivering compositional variations, along

grand scheme of things, what the CEO of a

with a range of expressions, demonstrates

Fortune 500 company does is a lot different

that you understand the complicated process

from what little Mark Bolster does. One

of creating an effective narrative in an annual

reason I get called back from year to year to

report or brochure, and that the photos are

photograph the same people is that I make

only part of the story. Filling that need

it clear from the start that I respect their

sometimes includes—at a designer’s request

time, and I won’t make this thing go on a

and for an additional charge—digitally

minute longer than absolutely necessary. It

extending a background a couple of feet or

shows I have their best interests at heart,

moving a head from one group portrait to

and they’re more willing to give me what I

another to replace a bad expression. I use

want from them.

Adobe Photoshop CS3 and Adobe Bridge on a Mac with a 24-inch screen.

High-level executives have been groomed for the job. Part of that process is learning what they look like when photographed.

Executive portraits are unique because …

They know what their best side is, what

Portraits for a client’s personal use require

their best smile looks like, what their best

“power look” is. If they’re comfortable they might cooperate with doing a few variations, but if you try to force pictures, you can make

In good company 5 power points from executive photographer Stan Kaady

them feel uncomfortable.

©Stan Kaady

How do you keep the session on even keel? A big part of it is being prepared. Whenever possible, I go in the day ahead for a prelight session. I’ll set up my lights—I travel with two 1,200WS Profoto Acute2 12000R packs, four heads, and a Profoto Acute Ringflash. When necessary, I supplement that with a four 1,000WS Dyna-Lite pack and head system, plus a range of Chimera and Photoflex soft boxes and grid spots, every kind of clamp made, and a range of stands. Then I’ll do a trial run to test everything—composition, basic poses, lighting, camera and lenses—to make sure the work flows efficiently the next day. Ideally, I can leave the light setup overnight, and if can’t, I make copious notes and lay down gaffer’s tape to mark where everything will go. The best equipment for the job … To be honest, equipment just bores me. If I didn’t need any of it, I’d be a really happy

Atlanta-based corporate and editorial photographer Stan Kaady shares a few of his techniques for shooting corporate portraits on location.

camper. It’s important that my gear is reliable, because ultimately that’s part of making a good image. If there’s one piece of gear I’m enthusiastic about, it’s the Remin Kart-A-Bag Kartmaster HD500. This 600pound dolly holds a ton of weight, has pneumatic tires, and most important, holds up when you travel a lot. Reliability is part of my philosophy of being respectful of my clients’ time. �

Atlanta, based commercial photographer Ellis Vener is a technical editor for Professional Photographer.

DRESSING FOR THE C-LEVEL On a corporate shoot, my assistants need to be dressed in business casual: no holes in their jeans, no tattoos showing, no metal studs protruding from their temples. I’ve got no problem with any of that, but those things just don’t work in that world. I’m fairly conservative, but not hyper-conservative. That’s true of the corporate market I’m involved in, too. QUALITY CONTROL: LIGHTING For the last four or five years, I’ve been using much more ambient, natural light.

Maybe I’ll toss in a strobe here or there, but my lighting style is not strobe driven. Often I’ll work with just the overhead fluorescents and a reflector. If there’s some nice window light I’ll use that. The quality you can get with available general office light is just phenomenal. With the low noise factor of digital cameras these days, I can shoot at higher (ISO) speeds and take advantage of a lot more found light. When I need to add light, I don’t go overboard. It’s both a matter of my tastes and a strategy for working fast and light. One of my favorite tactics is to use White Lightning monolights as a barebulb flash. I remove the reflector from the monolight and aim the head into a corner of the room to spread the June 2008 • Professional Photographer • 79

PORTRAITS

©Stan Kaady

“Most of the people I photograph these days are CEOs, executive vice presidents and others of that rank. They’re used to having their photo taken and are easy enough to work with.”

portrait photographer is finding a background that’s not trite, contrived or clichéd. Sometimes on location the first thing I want to do is turn and run. Then I have to find a place with nice existing light and a nicely shaped background that will also complement the subject. PEOPLE, PEOPLE! Most of the people I photograph these days are CEOs, executive vice presidents and others of that rank. They’re used to having their photo taken and are easy enough to work with. I rarely run across someone with an attitude or who will give me only 5 minutes to make the portrait. It can be a challenge, but one of the reasons I like what I do is that every day is like a field trip for me.

©Stan Kaady

illumination across the ceiling and walls. It’s just amazing. It gives me a windowlight look I can blend with the existing light. Sometimes a minimalist approach works best. I’ll use just a couple of Nikon SB-800 hot-shoe mount flashes (or ones of similar size) when I can’t dial down the big lights far enough. HEADS UP Headshot sessions last about 10 minutes, beginning with the application of a little powder makeup to knock down the shine on the subject’s cheeks, nose and forehead. For lighting standard headshots, my formula is simple: a small Plume Wafer 80 • www.ppmag.com

soft box to the subject’s left or right, a gray background 5 to 6 feet behind the subject, and a small light bouncing off the background to create a separation between subject and background. A silver card opposite the soft box adds a little more separation and a moderately hard edge. I shoot about 30 frames, cull the best shots, and do minor image adjustments. I use Adobe Bridge and Photoshop CS3 to create a private proofing gallery for the client, then make more extensive image enhancements on the ones he picks. BACKGROUND CHECK One of the challenges for the corporate

What about those who can’t smile? Those who find it difficult to even speak and eat? Now you can help them smile, too.

images courtesy

of Operation Smile

During the month of October, PPA Charities is conducting Family Portrait Month, a national fund-raising effort. The proceeds will benefit Operation Smile, which provides free reconstructive surgery to children and young adults around the world suffering from cleft lips, cleft palates and other facial deformities. Join in this causerelated marketing program to attract new clients, encourage return business, and help create a smile. Find out more about Family Portrait Month and how you can help the children of Operation Smile: www.PPAcharities.com | www.FamilyPortraitMonth.com | www.operationsmile.org or contact Bert Behnke at 708.267.0657 or [email protected]

charities

Julia Gerace enjoys the diversity of her work, although headshots remain the foundation of her business. “A headshot is more than a portrait,” she says. “It’s the actor’s first introduction to a director.” PORTRAITS All images ©Julia Gerace

By Jeff Kent

J

ulia Gerace always had a flair for the theatrical. A music major in college, she began her career working in theater band pits, often as the intermediary between

the musicians and the director. During programs, she would pore over the actors’ headshots. Gerace has also been an inspired shutterbug since childhood. When she married and had kids, her enthusiasm for photography was renewed. Theater and photography came together in 2004 when she was working on a production that included some 80 teenage actors. Gerace offered to set up a studio at the theater to make headshots for display in the lobby. The director agreed, awarding Gerace her first major professional gig. Many of the actors returned to Gerace for more images and updated headshots. Several agents got wind of her progressive style and began sending their clients for headshots. Soon, parents and high school seniors began to call. Clients in New York, New Jersey and all over New England began traveling to Gerace’s studio in Shelton, Conn. Enthused by her blossoming career in professional photography, Gerace joined PPA and the Connecticut Professional Photographers association (CPPA). She took classes, sought mentors, and began entering print

More than portraits Julia Gerace builds theatrical experience into her repertoire

82 • www.ppmag.com

competitions. She was named Connecticut Portrait Photographer of the Year in 2005, 2006 and 2007. She also collected two Kodak Gallery Awards, five Fujifilm Masterpiece

PORTRAITS

Awards, and two Hallmark Awards for best color portrait. Four years into running her own studio, Gerace is enjoying the growing diversity of her work, although headshots remain the foundation of her business. “A headshot is more than a portrait,” she says. “Often, it’s the actor’s first introduction to a director. You have to say so much about the actor in that one shot. Is he approachable, easy to work with, open, dynamic? You also want an interesting composition and an attractive overall image. It’s a lot to think about for one image.” The key for Gerace is incorporating the subject’s personality and aspirations. “When I first meet a client, I ask about what he does and what he wants to do,” she explains. “I truly want to know everything he’s about, and that knowledge goes into the image. When I start shooting, I’ll discuss anything I think he’s interested in—TV shows, movies, music, whatever. I want him to relax, let his guard down and trust me.” To elicit the expressions needed to set her subjects apart in their headshots, Gerace asks them to put themselves into the moment and envision themselves at times when they are most happy, most relaxed, most confident. It could be the moment they go on stage, thinking about their grandchildren, or what they did the night before. The sessions include a lot of clothing changes, setting changes and a free-form shooting style. With all the professional actors and models represented in her portfolio, Gerace’s senior and family portrait clients know their images won’t be typical portraits. “I don’t suddenly shift gears from one type of work to another,” she says. “Whether they’re actors or kids or seniors,

84 • www.ppmag.com

I still know what I want to do. I want them to know that I’m interested in everything about them, that I want to portray them in the most flattering light. I still want to make images that are about them, not just

“Whether they’re actors or kids or seniors, I still know what I want to do. I want them to know that I’m interested in everything about them.”

how they look.” Gerace continues to shoot intuitively. “I don’t want to get stuck doing something one way,” she says. “There is no one hard and fast rule for creating great images. I believe in using lighting, posing, Photoshop, everything. I use as many tools as it takes to follow my inspirations.” Gerace’s studio is in a refurbished factory, and she’ll set up in stairwells, on loading docks, in the side alley and around the old windows and brick walls. She creates varying dynamics by combining lighting angles, natural window light and directional studio lighting. You’ll never see a Gerace image with flat studio lighting. She wants her portraits dramatic, full of impact and with a strong, expressive focus on the subject’s eyes. Inspired by the work of photographers like Patrick Demarchelier, George Hurrell, Annie Leibovitz, Kevin Aucoin, Renee Asmussen and Mark Seliger, Gerace would like to one day see her images gracing the pages of magazines and catalogs, maybe even the iconic Vanity Fair or Harper’s Bazaar. Meantime, she’s thrilled with her bustling business with actors, models, seniors, kids and families. “It’s a privilege to do this kind of work,” she says. “It’s great to be able to do something you love, and to work with creative people who appreciate what you do.” �

For more information on Julia Gerace, visit www.juliagerace.com.

June 2008 • Professional Photographer • 85

Strength in numbers BY STEPHANIE BOOZER

For Christian Oth and his exceptional team of photographers, every wedding is a work of fine art

©Christian Oth Photographers

ooking around his studio in New York’s hip Chelsea district, Christian Oth seems almost surprised by his success. Since moving into the lofty studio in fall 2005, this Austrian native has emerged as a leading creative force in wedding photography with his honest, yet fashionable documentary style. With five photographers working alongside him in New York, plus two at large in San Francisco and Sydney, Australia, Oth’s boutique approach to wedding photography generates a lot of buzz among posh brides. Each of the photographers on his team has his own successful editorial and commercial career, from sports photography to photojournalism. Oth encourages them to pursue their creative endeavors and maintain their independent artistic identities beyond weddings. “All of these guys have creative influences from elsewhere, which brings so much more to our weddings,” says Oth. With a decade of experience in commercial and editorial photography and a longstanding relationship with The New York Times Magazine, Oth launched his first wedding Web site in 2001. Fashion-forward, upscale Manhattan brides were instantly smitten. It helped to have early exposure to one of the most influential matriarchs of home, hearth, and nuptial ceremony, Martha Stewart. In a lucky twist of fate, Stewart was a guest at one of Oth’s first gigs. “She actually baked the cake,” says Oth. “It was just me and my assistant, but we came back with incredible pictures. That was one of my few initial lucky breaks.” Luck aside, Oth’s commitment to stunning imagery and rock-star customer service is the cornerstone of his success. With a photo editor and art director on staff, each wedding collection is edited to perfection, and the final album worthy of fine-art book status. “Our clients have to be treated like royalty,” says Oth, who makes his guests comfortable with a cappuccino or glass of wine, whatever they need. Oth’s prices start at $15,000 if he’s behind the camera. Otherwise, prices range upward from $4,500, depending on the photographer. Thus, brides have access to a wide pool of photographic talent, at an approachable range of prices, and can choose the photographer who best suits their personality and style. Oth’s personal style does guide the other photographers to keep the studio’s portfolio unified, yet each brings a unique perspective to every event. “It grew organically,” says Oth, who couldn’t be more pleased with his team. “When 90 • www.ppmag.com

“Having worked so many years on my own, it’s nice to have a community,” says Meredith Davenport. “Christian’s enthusiasm is the pulse of the place. He attracts positive, energetic people.”

York City photographer since I was about 15,” says Connell. He got lucky in the U.S. State Department’s Green Card Lottery program, winning a ticket to a new life in America, provided he found employment. He e-mailed three other photographers in New York, but in Oth he found the affinity he was looking for. “I love the freedom,” says Connell, who’s currently working on two independent creative projects—snorkeling with humpback

I started in wedding photography, I had no

years ago. Connell already had a successful

whales in the South Pacific, and documenting

idea that I’d have all of these really great pho-

career in Australia, with high-profile magazines

beachgoers in Australia and America.

tographers working with me five years later.”

and clients, including former Prime Minister

“Christian allows me to go after the pho-

John Howard for his daughter’s wedding.

tography I believe in.”

Australian photographer Shawn Connell was the first to approach Oth more than four

“But I had dreamed of becoming a New

Meredith Davenport, a hard-hitting

photojournalist, has been with Oth for about two-and-a-half years. For her, too, the relationship is rewarding, both in financial stability and as a change of pace. Often covering war and strife in Third World countries, Davenport finds a wedding day a refreshing break from the routine, though no less compelling. “I’ve been less stressed in war zones,” laughs Davenport. “It’s intense—I’m drawn to intensity in everything. I like being emotionally intimate with people, and weddings are very emotional.” Davenport and Connell agree that partnering with Oth is an almost perfect gig. They benefit from the steady work with clients, but dodge the day-to-day hassles of running a busy studio. And Oth couldn’t be happier. The business has grown from a one-man show into a multi-member creative force. To keep the team unified and driven, Oth holds bi-monthly meetings to toss around ideas, find out what everyone’s into outside the studio, and of course, discuss any wedding business at hand. Oth finds the collaboration of creative minds fosters a dynamic environment for everyone. “Having worked so many years on my own, it’s nice to have a community,” says Davenport. “Christian’s enthusiasm is the pulse of the place. He attracts positive, energetic people.” Due to his increasing wedding popularity, and the birth of his son, Oth cut back on editorial work two years ago, but still takes assignments with The New York Times Magazine when he’s able. For now, weddings are where it’s happening. “When I show up at the wedding, I love just immersing myself in it,” says Oth. “I focus on the creative energy of the occasion, and I’m determined to make it beautiful. All of the weddings I shoot are incredibly beautiful though, so it’s not that hard.” � Read more about Christian Oth and his talented team at www.christianothweddings.com.

calendar

August 23-27 C: Florida PP; Rosen Plaza Hotel, Orlando, Fla.; Alan Dust, 800-330-0532; www.fpponline.org September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin, [email protected]; www.ppok.org

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

Current Events July 20-23 C: PP of Mississippi/Alabama, Riverview Plaza, Mobile, Ala.; Wayne Rawson, 601-693-1966; [email protected]; www.ppma.net

September 13-16 C: PPA of New England, Radisson Hotel Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226; [email protected] September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum, 770-972-8552; [email protected]; www.gppa.com September 27-29 C: PP of Nebraska, Midtown Holiday Inn, Grand Island, Neb.; Brian Baer, [email protected]; www.ppofn.org October 3-7 C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; [email protected]; www.swppa.com

August 2-5 C: PP of Louisiana, New Orleans, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net

October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com

August 9-13 C: Tennessee PPA, Marriott Cool Springs, Franklin, Tenn.; Ernie K. Johnson, 615-509-5737; [email protected]; tnppa.com

October 12-13 C: PP of Colorado, Denver, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.ppcolorado.com

PPA EVENTS

January 11-13, 2009 Imaging USA, Phoenix

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

January 10-12, 2010 Imaging USA, Nashville

June 6 117th Annual International Print Competition Deadline for Entries July 22-23 Judges Workshop, Daytona Beach October 9-18 PPA Fall Cruise October 27 Super Monday

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

Image Review Online submission: August 8 & October 10

October 12-14 S: PP of Mississippi/Alabama, Guntersville State Park, Ala.; Wayne Rawson, 601-693-1966; [email protected]; www.ppma.net October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected] October 20 S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com October 20-21 C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Mary Gueller, 920-753-5302; Jim Buivid, 262-377-5118; Deb Wiltsey, 866-382-9772; wppa-online.com October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected] October 26-28 S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-6272; [email protected] November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

Future Events January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected] February 6-10, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat, wilber@jeffcoatphotography; www.ppofsc.com February 13-15, 2009 C: PP of West Virginia, Morgantown, W.V.; Tom Gilson, 304-232-3686; [email protected]; www.ppwv.org February 20-23, 2009 C: PP of Oregon, Embassy Suites Hotel, PDX, Portland, Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com

PPA-Approved Continuing Education Seminars PPA members receive both merits and the best published prices. July 12-18 C/E: Copan Honduras Study Abroad Excursion with Paul Wingler, Suzette Allen & Jon Yoshinaga; 800-483-6208; [email protected]; www.suzetteallen.com/copan

July 21-25 C/E: Basic Business Modules, Union College, Lincoln, Neb.; Quinn Hancock; 785-883-4166; [email protected] July 22 C/E: Escaping from the Box; Fort Worden, Wash.; Paul Rogers, 815-436-0422; www.paulrogersphotography.com

July 23 C/E: Kentucky PPA Merit Monday; Embassy Suites, Lexington, Ky.; Randy Farley, 606-928-5333 August 1-4 C/E: Oxford Painter Workshop, San Francisco, Calif.; Jeremy Sutton, 415-6263971; www.jeremysutton.com August 4 C/E: Print Competition Boot Camp; Batavia, Ill.; 630-761-2990 August 13 C/E: “Making Digital Photography Easy, Predictable & Fun” with Robert D. Lloyd, Malta, Ill.; Wend Weugeler, 815-356-1231; [email protected]

Lighting Systems For Digital and Film Cameras

The New EXPLORER 1500 Digital Power Supply • Uses one or two Speedotron Black Line Light Units and universal accessories. • Cost effective solution to gas powered generators where electrical power is not available. • Provides up to 225 full power flashes • Removable battery, “The Juice Box” module with built-in charger 1500 Watt-seconds at full power

HIGH PERFORMANCE ADVANCED FEATURES ILLUMINATED LCD DISPLAY VERSATILE Two-Year Warranty

www.speedotron.com • [email protected] 310 South Racine Avenue • Chicago IL 60607 • call us: 312.421.4050 • fax: 312.421.5079

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August 25-27 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com August 28-29 C/E: The Artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; www.artistrymag.com September 12-17 C/E: Great Gatsby Impressionist Workshop, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com October 20-23 C/E: Painter Creativity, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com November 2-6 C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com November 14-16 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com

Future events February 16-18, 2009 C/E: The Artistry Corel Painter Retreat, Malibu, Calif.; 818-981-2803; www.artistrymag.com February 19-20, 2009 C/E: The artistry GARTEL Marketing Seminar, Calif.; 818-981-2803; www.artistrymag.com

February 20-23, 2009 C: PP of Massachusetts; Steve Meier, 781-829-4282; [email protected]; www.ppam.com February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth, Va.; William Garrett, 434-836-2751; [email protected] February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Mary Gueller, 920753-5302; Mary Mortensen, 262-7548889; Deb Wiltsey, 866-382-9772; wppa-online.com March 15-18, 2009 C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected] March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com March 28-31, 2009 C: PPSNYS, Desmond Hotel, Albany, N.Y.; Kelvin Ringold; 315-451-3716; [email protected]; www.ppsnys.com April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783; [email protected]; mnppa.com April 4-8, 2009 C: Northern Light, Minnesota, Jeff Fifield, 218-722-377; [email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, Minn.; 56455; 763-390-6272 April 25-28, 2009 C: SEPPA, Athens, Ga.; Tom McCollum, 770-972-8552; [email protected]; www.4seppa.com August 8-12, 2009 C: Tennessee PPA, Marriott Cool Springs, Franklin, Tenn.; Ernie K. Johnson, 615-509-5737; [email protected]; tnppa.com

100 • www.ppmag.com

2008 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices. July 13-17 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604731-7225; [email protected]; www.imageexplorations.ca/ July 20-25 PPSNY Photo Workshop, Hobart/ William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-6563; [email protected]; www.ppsnysworkshop.com August 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com

August 24-27 Carolina Art & Photographic School, Randolph Community College, Archdale Campus, Creekside Park, N.C.; Bob Henderson, 336-288-1132; [email protected]; www.capsartschool.com September 28-October 2 Lamarr Williamson School of South Carolina; Springmaid Resort, Myrtle Beach, S.C.; John Wrightenberry, 803-781-2130; [email protected]; www.ppofsc.com Send all additions or corrections to: Marisa Pitts, Professional Photographers of America, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303; [email protected].

August 10-14 East Coast School, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected]; www.eastcoastschool.com

October 18-21, 2009 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015; [email protected] November 1-2, 2009 S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; [email protected]; www.ppiowa.com February 6-9, 2010 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; www.ppiowa.com February 26-March2, 2010 C: Wisconsin PPA, Radison Hotel, Green Bay, Wis.; Donna Swiecichowski, 920-822-1200; Carl Caylor, 906-779-1535; wppa-online.com April 10-13, 2010 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com November 14-15, 2010 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

March 4-9, 2011 C: PP of North Carolina, Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com April 2-5, 2011 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

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

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JUNE | 08

TODAY

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

© Bert Behnke

For instance, in the last year, our studio changed many of the ways we market to and nd customers…and what we sell to them. We have changed more in the last twelve months than we did in the previous twenty-seven years. Some of these changes were brought on by technology, some by the changing marketplace. Education reects these changes, too. Years ago, most photography conventions’ programming was heavily geared towards lighting and posing,

© Dennis Craft

offering little in regards to business and marketing. In fact, when business and marketing programs were offered, the attendance was very low. But recently there has been a strong surge in educational opportunities that help grow photographers’ business skills. PPA has made a conscious effort to offer business programs at Imaging USA, which has generated a new group of industry instructors—a wonderful resource for all PPA afliates and members.

© Dennis Craft

© Dennis Craft

now time to repeat this survey. Thanks to this upcoming study and analysis, we will have even more information to help you navigate your business. As your business and marketplace continue to change, PPA will continue to update the resources you need to stay on the cutting edge. Whether you are attending a PPA Local Afliate, PPA Afliate School, PPA Webinar, or Imaging USA itself, PPA is committed to making the best resources available. May your business continue to grow.

A few years ago, PPA also conducted a survey of studios around the country. The 2005 Studio Financial Benchmark Survey gave us, as members, a wealth of information about how we could make our studios more protable. It is

PPA News & Notes

Traveling this spring for PPA, I have found that every conversational topic seems to be about taking care of business. We’re in an industry that is not only changing rapidly in technology, but also in business practices.

PPA President

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

FRIENDS MET ALONG THE WAY Through my photographic journey, I have had the opportunity to meet many wonderful people. Some have inspired me with their photography, others with their business savvy. Over the years, some have become close friends, people I have spent time with outside of photography. One such person is Drake Busath of Salt Lake City, an incredible photographer with a successful business. I met Drake about ten years ago and count him as a great friend. I have had the pleasure of visiting his studio and spending time with his family.

Photography brought us together, but true friendship goes beyond the camera. A few years ago, my family joined the Busath family and a few other photography friends on a houseboat at Lake Powell. Friendship, laughter, great food, and fun…all started because of a camera. It will always be one of my family’s treasured memories.

renewed a friendship that started many years ago. My journey has become richer because of the people I have met, and I feel lucky to count Drake as a friend. This month, remember the friends that you wouldn’t have if it wasn’t for photography.

This April while representing PPA at the Asian Pacic Regional, it was a pleasant surprise to see Drake as one of the invited speakers. We crossed paths 6,000 miles from home and

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

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TODAY BOARD MEMBER SPOTLIGHT Kevin Casey, Collages.net, President & CEO Industry Advisor PPA Member since: 2003 Location: LANGHORNE, PA Pictured left: Kevin Casey and son

PPA News & Notes

“I’ve always liked what PPA does for the industry,” remarks Kevin Casey, PPA’s Industry Advisor. “It has one goal: to help photographers.” In his business, Casey also deals with professional photographers’ needs (split about even between wedding and portrait work). The company that provides online posting, printing, albums, press-printed books, workow solutions and more for pro photographers was conceived nine years ago when Casey received the photo of an employee’s baby and wondered how it could be shared. Now, pro photographers can save time, save money, and differentiate themselves through Collages.net’s comprehensive product line. “I tracked my early customers,” Casey remembers. “Many of them stopped using other advertising mediums (like Yellow Pages) because of the referrals they received by posting their events/ portraits online.”

And even though he is more of a watercolor artist than a photographer, Casey had to handle Collages.net’s workow when he was a one-man business. For instance, to build his business model in a predigital world (1999), he sped up the manual scanning process by taking digital images of paper proofs. Then, as photographers wanted to discourage customers from copying, he had the word “proof” etched onto glass and placed over the image before taking its picture. “It’s much smoother now. It is incredible to see how far this entire industry has advanced,” he says. Smoothing out the Collages.net process has given Casey an edge as the Industry Advisor. In his mind, there is a need to balance great photography with the stylish products many consumers look for. As Casey says, “The most successful studios keep current with the new trends,

colors, and styles of products and services. In today’s competitive market, it is important to keep an open mind. Today’s customers want variety and choice, so exposing them to the products now available is a fundamental key to success.” If it wasn’t enough to be the original creative and business mind behind Collages.net and PPA’s Industry Advisor, Casey is now the seventhfastest boardercross racer in his age group. (He was convinced to try boardercross, a snowboard race, by his 22-year-old son who is starting a pro-snowboarding career. They both went to the March 2008 Nationals.) While he might have trouble nding snow in Phoenix, Imaging USA 2009 will be the perfect place for him to share more business insights with PPA members.

IN MEMORY…ALFRED LOUIS DEBAT Alfred Louis DeBat, 76 passed away on March 30 after a lengthy battle with cancer. A graduate of Northwestern University’s Medill School of Journalism, DeBat traveled extensively as a photographer and served as editor-in-chief of several imaging publications, including PPA’s Professional Photographer, Photomethods, Darkroom Techniques & Creative Camera, and Digital Imaging Digest. He was also a member of the American Society of Media Photographers (ASMP) and PPA. Sought-after as a digital photo expert, DeBat most recently served as technical editor for major book publishers and edited several digital imaging and photography volumes.

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“DeBat was a great editor, photographer, and teacher,” says Kim Brady, photo editor and writer living in the Atlanta area. “Many who worked alongside Al considered him both a close friend and mentor in the eld of publishing, including me.” “He was always enthusiastic about innovations in photography,” says Larry Thall, a close friend. “For a man in his mid-70s, Al was able to adapt and embrace new technology.” DeBat is survived by Marla Kalbhen, who shared Al’s life and travels for 25 years; his daughter, Avril DeBat; a sister, a brother, two nieces, three nephews, and seven great nieces and nephews. A celebration of his life is scheduled for late this summer.

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

TODAY 2008 AFFILIATE COMMUNICATIONS COMPETITION PPA recently held its 2008 Afliate Communications Competition, designed to improve afliate publications and Web sites, and recognize those involved in producing these communication tools. The newsletters and Web sites were scored in the following three areas: » editorial content » overall appearance » service to members

CATEGORY I

Printed publication of 12 or more pages, 4-color, published at least 3 times per year.

CATEGORY II

Printed publication of 12 or more pages, 1- or 2-color, published at least 3 times per year. 1st Place: Scott J. Green, Detroit Professional Photographers Association Detroit Newsletter 2nd Place: Jon R. Smith, Professional Photographers of Oklahoma The Oklahoma Photographer 3rd Place: Ladd Scavnicky, Professional Photographers of Ohio The Contact Sheet

CATEGORY III

Printed publication of 12 or fewer pages, 4-color, published at least 3 times per year. 1st Place: John Fuller Royal, Professional Photographers of North Carolina Focus on Carolina 2nd Place: Dave Johnson, Twin Cities Professional Photographers Association In Focus 3rd Place: Jim Nardone, Professional Photographers of Central Ohio Click Topiks Hon. Mention: Linda R. King, Professional Photographers Guild of the Palm Beaches PPGPB Newsletter

CATEGORY V

E-newsletter distributed in HTML or PDF format, via e-mail or online, at least 3 times per year. 1st Place: Harriet Ahlstrom, Northern Light Professional Photographers Association Northern Light

2nd Place: Kimberly Sayre, Professional Photographers of the Greater Bay Area The Bulletin 3rd Place: Linda R. King, Professional Photographers Guild of the Palm Beaches PPGPB Newsletter (e-mail version) Hon. Mention: Arlene Welsh, Professional Photographers of Oregon In Focus

CATEGORY VII

Web site designed exclusively for a PPA afliate group or school. 1st Place: Linda R. King, Professional Photographers Guild of the Palm Beaches www.ppgpb.com 2nd Place: Jeff Johnson, Imaging Workshops of Colorado http://coloradoworkshops.com 3rd Place: Jeff Johnson, Professional Photographers of Nebraska http://ppofn.org Hon. Mention: Maydrick Arnaud, Professional Photographers Guild of Houston www.ppgh.org

PPA News & Notes

1st Place: Donna Jirsa, Professional Photographers of California Pro Photo West 2nd Place: Bill Hedrick, Texas Professional Photographers Association Texas Professional Photographer 3rd Place: Donald E. Hayden, Southwest Professional Photographers Association Southwest Image Hon. Mention: Karna Roa, Professional Photographers of the Redwood Empire PPRE

Hon. Mention: Jessica Galaska, Professional Photographers of Nebraska PPN News & Views

2008 AN-NE MARKETING AWARDS COMPETITION: ENTER NOW! Don’t miss the free critiques, new categories and great prizes this year! Entries must be postmarked by June 27, 2008.

Rules and submission guidelines are online—see the Competitions section of www.ppa.com.

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

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TODAY

PPA News & Notes

AFFILIATE SCHOOL SPOTLIGHT LONG ISLAND PHOTO WORKSHOP August 4 - 7, 2008 | Smithtown, Long Island (NY) Contact: Jerry Small [email protected] 516-221-4058 Web site: www.liphotoworkshop.com Tuition: $650 Members; $700 NonMembers ($50 discount before July 1) Course Information: Create Your Signature -Joseph and Louise Simone Mastering the Techniques: How To Be a Complete Photographer -Hanson Fong Professional Digital Imaging -Gary Small Corel Painter -Fay Sirkis Weddings -Cherie Steinberg-Cote Light is the Greatest Inuence -Dave Black

EAST COAST SCHOOL PHOTOGRAPHIC WORKSHOPS August 10 - 14, 2008 | Raleigh, NC Contact: Janet Boschker [email protected] 704-567-0775 Web site: www.eastcoastschool.com Tuition: $650 by June 15; $700 after June 15 Course Information: Photoshop CS3 for Prot -Suzette Allen Portraits and Lighting -Doug Box Intro to Portrait Photography -Bob Boyd I Want It All -Don & Nancy Emmerich The Complete Photographer -Hanson Fong Succeeding in the Fine Art Studio -Tim Kelly Seniors from Start to Finish -Fuller Royal Take it to the Next Level -Monica Sigmon & Michael Taylor Mastering the Light -John Woodward

UNIQUE PHOTO EXHIBIT by Robert (Bob) Alexander “Innovation” and “prestige” are words that have motivated Holmes Community College’s Workforce Training Center Branch in Ridgeland, Miss. Those guiding words were trumpeted loud and clear when the college held its First Annual Exhibit of Fine Art Digital Photography at the college last December. Why so innovative? It was the combination of great photography and storytelling

poetry that really caught the attention of attendees. Director Angela Crain and Coordinator Sherry Hager envisioned, decorated, managed and advertised the exhibit. Five classes entered about 50 prints that were placed in individual gold cloth settings. Then longtime PPA pro photographer and Digital Photography and Photoshop Continuing Education instructor, Robert Alexander, printed the 11x14 images and wrote poetry for each. Each poem was placed next to its respective print. On the adjacent side of each display, the photo’s creator placed an explanation as to why and how they made it. Almost the entire crowd wanted to read the poems and explanations, along with viewing the photos. It was such a success that the college leaders have expressed their desire

So hurry along, don’t dilly-dally. Cheer real loud at the pep rally. No home-runs or cheers from above, Can e’er replace a Brother’s love. © Linda Graves

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CAROLINA ART & PHOTOGRAPHIC SCHOOL August 24 - 27, 2008 | Archdale, NC Randolph Community College Contact: Bob Henderson [email protected] 336-288-1132 Web site: www.CapsArtSchool.com Tuition: $450 for a 4-day class Course Information: Painter for the Photographer -Fred Powell Introduction to Photoshop --Rose Mary Cheek Using Photoshop to Create New Products & Marketing Pieces -Bob Coates

Poem excerpt by Bob Alexander

to expand the idea to the other branches. In fact, the interest was so great that the photography classes have dramatically increased in attendance. The poem idea grew from an earlier exchange between Alexander and another PPA member and friend, pro photographer Eric Greulich from Indianapolis. Greulich had sent Alexander a photo, to which Alexander added a poem about the feeling he received from the photo. In response, Greulich shared something he learned playing in a college dance band: “adding good lyrics dramatically improves a song’s popularity.” The same seems to hold true for photography combined with poetry. Alexander stated, “Eric showed me how adding another dimension of artistic interest widens the magnetic attractiveness of each print. The viewer can glimpse the spirit in which it was made and the intended message is magnied.” One thing’s for sure: it denitely attracted attendees’ interest at the Mississippi exhibit.

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

3�DAY BUSINESS WORKSHOP NOW’S YOUR CHANCE TO INCREASE PROFITABILITY and receive instruction on essential elements for business success (in both a group setting and a one-on-one consultation). Q June 9-11: Ann Monteith, Carol Andrews & Sarah Petty Q August 4-6: Ann Monteith & Lori Nordstrom

BUSINESS BASICS WORKSHOPS: THE BUSINESS OF PHOTOGRAPHY Q July 19-20: Ann Monteith & Mary Fisk-Taylor THE BUSINESS OF WEDDING PHOTOGRAPHY Q August 10-11: Jen Roggi & Julia Woods

NEW WEBINARS (online seminars)

PPA and SMS are bringing education to you, and all you need is a computer and the Internet. Keep watching your inboxes for information on live business webinars.

NEW BOOKKEEPING SERVICES

Behind on your bookkeeping? Our Bookkeeping Program can help! With competitive pricing and programs tailored to meet your studio’s individual needs, SMS can help ease your headaches and get your studio off to a great start.

Classes fill up fast…Register today...800.786.6277 For more information, call Beth Moore at 800.339.5451 x244

Professional Photographers of America | www.ppa.com

LabTab

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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

June 2008 • Professional Photographer • 109

LabTab

110 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

June 2008 • Professional Photographer • 111

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab ad specs: Ad size: 31⁄2” x 21⁄2 12x rate: $400.00 gross per month Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge. Contact Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information.

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June 2008 • Professional Photographer • 113

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

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PROFE SSIONAL

3D LightMaster (www.3dlightmaster.com) . . . . . . . 116 Adorama (www.adorama.com). . . . . . . . . . . 97, 99, 101 Advanced Photographic Solutions (www.advancedphoto.com) . . . . . . . . . . . . . . . 109 Album Crafters (www.albumcrafters.com). . . . . . . . 114 AlbumX/Renaissance Albums (www.renaissancealbums.com) . . . . . . . . . . . . . 47 Allied Photographic & Imaging Lab (www.alliedphoto.com). . . . . . . . . . . . . . . . . . . 109 American Color Imaging (www.acilab.com). . . . . 49, 111 American Student List (www.studentlist.com) . . . . 117 ARK-LA-TEX Color Lab (www.altcolorlab.com) . . . . 112 Art Hands (www.arthandsinc.com) . . . . . . . . . . . . . 117 B & H Photo-Video (www.bhphotovideo.com) . . 86-87 Backdrop Outlet (www.backdropoutlet.com) . . . . . . 114 Back End Studio (www.backendstudio.com) . . . . . . 115 Backgrounds by David Maheu (www.backgroundsbymaheu.com) . . . . . . . . . . . 116 Bay Photo Lab (www.bayphoto.com) . . . . . . . . 37, 108 Big Black Bag (www.bigblackbag.com) . . . . . . . . . . 118 Bogen Imaging Inc. (www.bogenimaging.us) . . . . . . 53 Brightroom Inc. (www.backprint.com) . . . . . . . . . . . 113 Buckeye Color (www.buckeyecolor.com). . . . . . . . . . 113 Paul Buff Inc. (www.white-lightning.com) . . . . . . . . . 11 CPQ (www.cpq.net) . . . . . . . . . . . . . . . . . . . . . . . . . 55 Candid Color Systems Inc. (www.candid.com) . . . . . 110 Canon (www.usa.canon.com/dlc) . . . . . . . . . . . . . 15, 17 Canvas Artworks.com (www.canvasartworks.com . . 115 Capital for Merchants (www.capitalformerchants.com). 115 Christopher Imaging (www.chrisimaging.com) . . . . 110 Collages.Net (www.collages.net) . . . . . . . . . . . . . 18-19 Color Incorporated (www.colorincprolab.com) . . . . . . . . . 109 Corporate Color/Prolab Express (www.prolabexpress.com) . . . . . . . . . . . . . . . . 108

Contemporary Photography/J. Hartman (www.jhartman.com). . . . . . . . . . . . . . . . . . . . . 114 Custom Brackets (www.custombracket.com) . . . . . . 115 Custom Color Corporation (www.customcolor.com) 107 Dalmatian Lab (www.dalmatianlab.com) . . . . . . . . . 113 Denny Manufacturing (www.dennymfg.com). . . 115, 117 Denny Manufacturing (www.photonovelty.com) . . . 119 Diversified Lab (www.diversifiedlab.com) . . . . . . . . 109 Dury’s (www.durys.com). . . . . . . . . . . . . . . . . . . . . . 39 emotion Media Inc. (www.emotionmedia.com) . . . . 116 ESS Data Recovery (www.datarecovery.com) . . . . . . 116 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . 121 Fredericks Photo Lab (www.fredericksphotolab.com). 109 GP Albums (www.gpalbums.com) . . . . . . . . . . . . . . 63 GTI Technology Inc. (www.gtilite.com) . . . . . . . . . . . 58 Graphic Authority (www.graphicauthority.com). . . . . 12 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . 108 H & H Color Lab (www.hhcolorlab.com) . . . . . Cover III Hallmark Imaging (www.hallmarklabs.com) . . . . . . 109 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . . . . 111 I Shoot People Tour (www.ishootpeopletour.com) . . 95 Imaging USA (www.ppa.com) . . . . . . . . . . . . . . . 69-72 Imaging Spectrum (www.imagingspectrum.com) . . 114 Jonathan Penney Inc. (www.jonathanpenney.com) . 121 The Levin Company (www.levinframes.com) . . . . . . 118 Lustre Color (www.lustrecolor.com) . . . . . . . . . . 59, 112 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . 35 McKenna Pro (www.mckennapro.com) . . . . . . . . . . 108 Mamiya (www.mamiya.com). . . . . . . . . . . . . . . . . . . 23 Meridian Professional Imaging (www.meridianpro.com) . . . . . . . . . . . . . . . Cover II Mesilla Digital Imaging Workshops (www.mesillaworkshops.com). . . . . . . . . . . . . . 59 Michel Company (www.michelcompany.com) . . . . . . 117 Michigan Photo (www.michiganphoto.com) . . . . . . . 112 Midwest Sports (www.midwestsportslab.com) . . . . 111 Miller Professional Imaging (www.millerslab.com) . . . 33 Morris Group (www.themorriscompany.com). . . . . . 116

NAPP (www.photoshopuser.com). . . . . . . . . . . . . . 106 National Direct Marketing Services (www.ndmservices.com) . . . . . . . . . . . . . . . . . . 115 Neil Enterprises (www.neilenterprises.com) . . . . . . 118 Norman (www.normanlights.com) . . . . . . . . . . . . . . 27 North American Photo (www.naphoto.com). . . . . . . 111 Onlinephotofix.com (www.onlinephotofix.com) . . . . 121 Pacific Mount (www.pacificmount.com). . . . . . . . . . 114 Perfection Distributing Inc. (www.perfectiondistibuting.com). . . . . . . . . . . . 117 Photoprism Color Lab (www.photoprismcolorlab) . . 113 Pictobooks (www.pictobooks.com) . . . . . . . . . . 117, 118 Pictology (www.go.pictology.com) . . . . . . . . . . . . . . 119 Pictorico (www.pictorico.com). . . . . . . . . . . . . . . . . . 25 Photogenic Professional Lighting (www.photogenic) . . . . . . . . . . . . . . . . . . . . . . . 61 PocketWizard (www.pocketwizard.com) . . . . . . . . . . 43 Profoto (www.profoto-usa.com) . . . . . . . . . . . Cover IV Portrait Weavers (www.portraitweavers.com) . . . . . 118 Quantum (www.qtm.com) . . . . . . . . . . . . . . . . . . . . 85 Ramsey Resources (www.ramseyresources.com) . . . 113 Reedy Photo (www.reedyphoto.com) . . . . . . . . . . . 110 SanDisk (www.sandisk.com) . . . . . . . . . . . . . . . . . . . 3 Simply Canvas (www.simplycanvas.com) . . . . . . . . 110 Speedotron (www.speedotron.com) . . . . . . . . . . . . . 98 Studio Dynamics (www.studiodynamics.com) . . . . . 121 Studio Logic (www.studiologic.com) . . . . . . . . . . . . . 13 Studio Pro Group (www.studioprogroup.com) . . . . . 112 Successware (www.successware.net) . . . . . . . . . . . . 67 TAP Professional (www.tap-usa.com) . . . . . . . . . . . 119 Tyndell (www.tyndellphotographic.com) . . . . . . . . . 116 Unique Photo Supplies (www.uniquephoto.com) . . . . 4 United Promotions Inc. (www.upilab.com) . . . . . . . . 111 Used Camera Buyer (www.usedcamerabuyer.com) . . 51 White House Custom Color (www.whcc.com). . . . . . . . . . . . . . . . . . 8-9, 28-29 White Glove (www.wgbooks.com) . . . . . . . . . . . . . . 115 Xrite (www.xritephoto.com) . . . . . . . . . . . . . . . . . . . . 7 Publisher not responsible for errors & omissions

June 2008 • Professional Photographer • 119

ClassifiedAdvertising CLASSIFIED ADVERTISING RATES Classified rates: • $1.50 per word; • $2.00 per word/ words with all caps or bold face. • $10.00 per issue—Confidential Reply Box Ads (Optional)—$30 minimum per ad. Closing date is 20th of the second month proceeding issue date. Remittance must be received with order. NO ADS ACCEPTED BY PHONE. Remittance to: Professional Photographer Classified Ads, 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303; 800339-5451, ext. 221; FAX 404-614-6405.

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

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

BACKGROUNDS THE DENNY MFG. CO., INC. is the World’s Largest Manufacture of Hand Painted Backgrounds, Computer Painted Backgrounds, Muslin Backgrounds, Studio Sets, Props, Lift Systems, and related Studio Accessories. Contact us today to receive our FREE 180 page color catalog filled with exquisite products and ideas to help you succeed in Photography. Write P.O. Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit our Web site at www.dennymfg.com. STUDIO DYNAMICS’ muslin and canvas backdrops offer quality and value at outlet prices! Call 1-800-595-4273 for a catalog or visit www.studiodynamics.com CHICAGO CANVAS & SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track & Hardware for Moveable Curtains and Backdrops—Easily installed. Quick turn around time. Our prices can’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.com; [email protected] KNOWLEDGE BACKGROUNDS—The #1 manufacturer of quality handpainted canvas and muslin backdrops. Proudly handcrafted in the U.S.A. Call today toll free: 888-8497352 for your free copy of our 2008 Product Catalog; or visit us on the web at: www.knowledgebackgrounds.com

CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 31 years experience servicing the Hasselblad system exclusively. Previously with Hasselblad USA. Free estimates, prompt service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main Street, #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.

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CANVAS MOUNTING

INCORPORATION SERVICES

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

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

COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800593-3767 or visit our Web site www.SuccessWare.net. Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business— even when you don’t! More professional photographers trust Photo One Software, powered by Granite Bear than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio; personalized phone training for you and your staff; 75 minute no-hassle guaranteed support call-back time; 365 days of unlimited support and usable upgrades and a 365 day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 now for your free working demo or visit www.photoonesoftware.com. Photo One, Building better businesses, one studio at a time.

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

EDUCATION/WORKSHOPS FREE DIGITAL PAINTING TUTORIALS. The Digital Paint Shop has FREE goodies from a variety of artists including Painter Master Marilyn Sholin. Tutorials for Painter and Photoshop, actions, brushes, textures, eyelashes and more. The Digital Paint Shop is about everything Digital Art. Register for one of the Painting Workshops in Asheville, NC and other locations; www.digitalpaintingshop.com

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

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at [email protected]. PORTRAIT PHOTOGRAPHER—BEAUTIFUL BOISE, ID. We’re a rapidly growing studio in Boise, ID, specializing in fine art family portraiture— maternity through high school seniors. We’re looking for a team player with 5 years of portrait experience, DSLR mastery, lighting experience, digital retouching expertise, great client skills, and most importantly, a desire to learn, grow and have fun. Must be willing to learn how to sell. Ideal candidate is motivated to become a partner in the studio. Health and vacation benefits available. Qualified candidates only, send resumes and sample images to [email protected].

LAB SERVICES FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd. Beverly Hills, CA 90211 310-274-3445 www.goldencolor.com ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com SCHOOL/WEDDING Photographers. Low package prices starting at 19 images. Wedding 10x10’s, you design we print $2.49. www.PhotoPrintPros.com. PLATINUM GICLEETM FINE ART B&W from your digital file or negative up to 40 x 60. New DuraFiberTM Media provides deep blacks and waterproof, non-scuff surface, great for hand-coloring. Also available in sepia, color, split-tone. Call for free sample. Jonathan Penney, Inc., Master Printmakers. 631-874-3409. www.jonathanpenney.com SCHOOL & SPORTS PACKAGES “Green Screen”—With Hundreds of Different Backgrounds Galeone Photo Lab 2161 Greenspring Drive Timonium, MD 21093 410-252-5355 [email protected] Call for pricing. HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com

LEGAL PHOTOGRAPHY LEARN LEGAL PHOTOGRAPHY. Buy the “Guide to Becoming a Legal Photographer” and work freelance for attorneys. See www.nylawphoto.com/guide.htm

MARKETING NEED BODIES IN YOUR DOOR NOW? Inexpensive MARKETING SOLUTIONS that produce a HUGE RESPONSE for seniors children, family, weddings. FRANK DONNINO; WWW.FRANKSBABYPLAN.COM

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

PRESENTATION BOXES BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com PRESENTATION BOXES available for immediate shipment; 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800-861-4528. BUY DIRECT AND SAVE. NPD Box Company, 3000 Quigley Road, Cleveland, OH 44113. www.NPDBox.com

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

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.

H-B Photo E-Store Box Manufacturer, buy direct and save. Complete Line of presentation boxes, better quality at lower prices. Bags, Totes, Tissue, Ribbons, customize with your logo. WWW.H-BPHOTO.COM H-B PACKAGING GROUP CENTRAL FALLS, RI. Call 401-725-3646 for free samples.

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

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

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

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

QUAINT PHOTOGRAPHY STUDIO in Sterling, Colorado for lease or sale. This studio is very unique and is located on prime main street property. Sterling, Colorado is located in northeast Colorado approximately 125 miles east of Denver. The community consists of 13,000 people and is a smaller, friendly town. The property sits on 5 lots totaling 15,000 square feet. The large studio has been totally remodeled and is 3,000 square feet with all studio lighting, props, backgrounds, etc. There is an adjoining 2,000 square foot building that is equipped with scenery and props also. The backyard has extensive landscaping including a barn, pier, gazebo, pond, bridge, waterfall, and various settings. A great opportunity with limited potential for an energetic, artistic photographer. Please call 970-522-7408 for more information. Serious inquiries only. STUDIO ESTABLISHED in the Pittsburgh, Pennsylvania, area for over 20 years, with a great image and a very large client base. Owner is PPA Certified, Master Photographer & Photographic Craftsman. Wants to slow down. Will train and is willing to work for new owner to maintain continuity during transition. For information call 724-789-7371. WESTERN COLORADO—just hours from national parks. 40 year-old established studio plus client list. Amazing outdoor photo park. Thriving economy in this sunny college town of 150,000 - a great opportunity. Owner will assist your transition. Call 970-596-1975.

June 2008 • Professional Photographer • 121

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. ©Jeff Carsten

mal lives. Most of all, I wanted to show the bond between the parents and children.” Carsten got the go-ahead about a year later. In two months, he interviewed and photographed 20 families. The local nonprofit Charlotte Mothers of Multiples donated the money for the framing and installation, plus a little cash to offset Carsten’s printing expenses. Carsten donated his time, artistry and most of the cost of the prints. The exhibit became a permanent installation in a highly visible area of the NICN. “This exhibit took on a life of its own,” says Carsten. “As the photographer, I almost became invisible. I showed up at the opening and said a few words, but afterwards, the

A wall of hope EMOTIONAL SUPPORT FOR A NEONATAL INTENSIVE CARE NURSERY

C

pictures took over. They truly engaged people.” There were plenty of tears at the exhibition’s opening. Nurses and doctors who hadn’t seen the children since they’d been released were astonished at how well they had grown. The parents of the children relived their experience at the NICN, and

harlotte, N.C., portrait photog-

photograph 20 families with children who

families with children there at the time were

rapher Jeff Carsten’s inspiration

had been cared for in the NICN and gone on

inspired by the success stories.

for the “Wall of Hope” started with a portrait

to lead normal lives. Carsten wanted to take

of infant twins born prematurely. Weighing

down the families’ stories and display them

can be extraordinarily powerful when the

on placards alongside 20x24 black-and-

emotions are real,” says Carsten. “This proj-

only two pounds at birth, the

twins were placed under round-

“There is no question that photography

white prints. He felt the stories and images

ect had an impact that I hadn’t anticipated.

the-clock care in the Neonatal Intensive Care

would be as a source of inspiration and hope

I may have captured the images, but it was

Nursery (NICN) at the Levine Children’s

for other anxious families.

the children who really made them. I was

Hospital in Charlotte. The twins rallied, and

“Imagine your child in the NICN,” says

went on to pursue the normal business of

Carsten. “These are little babies hooked up

being babies. Meeting them at the studio,

to heart monitors and tubes, going through

Carsten was struck by the intense bond

surgery. Imagine how frightening it would

between the children and their parents in

be. I wanted to show that it’s not hopeless at

the wake of the family’s ordeal.

all. The majority of these babies get out of

Carsten approached the Children’s Hospital with an idea for a project. He proposed to

122 • www.ppmag.com

the NICN and survive. I wanted to show them as toddlers, as regular kids with nor-

almost irrelevant. I’d never seen that before, and it was very powerful.” �

To see more from Jeff Carsten, visit his studio online at www.southernlightphoto.com. Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]

© Mary Fisk-Taylor

Mary Fisk-Taylor & Profoto ComPact

“ Now we get perfect color balance, incredibly even illumination and consistency shot-to-shot. In the early days, my par tner Jamie Hayes and I had to make do with what we had, but Profoto was always on our ‘goal list’. When we used Profoto’s for the first time we were shocked by the difference we saw – beautifully natural lighting. Now we are a high-end studio and we have to produce the best possible results. Profoto is just the best there is.”

ComPact Kits now include ComPact and new ComPact R

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

914-347-3300 Profoto-USA.com