Professional photographer March 2010

©Brian Marcus/Fred Marcus Photography

MARCH 2010 | WWW.PPMAG.COM | $4.95

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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

Updates & tweets FOLLOWING OUR OWN ADVICE It feels like Professional Photographer has just arrived in the 21st century. After months (well, years) of thinking we should enrich our social media communication, we’ve launched our Facebook fan page and Twitter account at last! So far, we’re loving our new level of connectivity. It’s incredibly cool to be able to tell readers about new news items and those interesting tidbits we come across as we’re preparing each issue. Heaven knows we can never fit in all the juicy stuff we want to on the finite pages of the magazine. Our industry is going through an information revolution, powered by a confluence of new photographers, educators and online resources rushing to market. We can point you to online education like PPA webinars and other sources we find useful, reliable and worth what we know is your scant time. There’s so much fantastic information out there, like dpbestflow.org where you’ll find outstanding, wellresearched information on digital photo preservation (dp), best practices in photo technology (best), and your workflow (flow). And FridayPhotoSchool.com, where you can get instruction on the craft of professional photography. And Ed Greenberg & Jack Reznicki’s TheCopyrightZone.com, where copyright issues are made understandable. We’re also excited about hearing from readers in real time. What do you want to read about? What do you want to learn about? What do you want us to cover? How do you feel about certain topics? Who do you want us to feature? I promise you we’ll be asking for feedback and conducting surveys on a regular basis to find the answers to those questions and more. So log onto your “facey spaces and your tweety pages,” as Dennis Leary says, to both follow and friend us. We look forward to meeting you virtually in person! Our handles: facebook.com/PPmagazine and twitter.com/ PPmagazine. � Cameron Bishopp Director of Publications [email protected]

Find us on facebook.com/PPmagazine

4 • www.ppmag.com

Follow us on twitter.com/PPmagazine

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/strategic alliances assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

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

northeast region ad manager

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

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

southeast region ad manager

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

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

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

PPA - Professional Photographer 800-786-6277; FAX 404-641-6400; 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 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $19.95 one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 3606, Northbrook, IL 60065-3606 Copyright 2010, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

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CONTENTS PROFESSIONAL PHOTOGRAPHER MARCH 2010

Features 118

FORTUNE Reveling in the renaissance of film, Lisa Lefkowitz becomes one of the West Coast’s most successful wedding photographers By Jeff Kent

132

LEGACY The world of ultra-wedding photography with Andy and Brian Marcus By Jeff Kent

86

WEDDINGS: LIFE OF THE PARTY

12 Tips to break you out of the reception rut By Stephanie Boozer

92

WEDDINGS: IN THE GROOVE

Justin and Mary Marantz spread the love By Lorna Gentry

102

WEDDINGS: GEEK-CHIC

Dave and Quin Cheung feel client satisfaction is a serious commitment By Stephanie Boozer

108

WEDDINGS: NOVEL ROMANCE

Nichole Van Valkenburgh’s literary lens By Lorna Gentry IMAGE BY NICHOLE VAN VALKENBURGH

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

14

FOLIO

144 SCHOOL CALENDAR 147

PPA TODAY

162

GOOD WORKS

All images ©Justin & Mary

Departments C O N TA C T S H E E T 28 Imaging USA 2010 34 Bridal tips for a picture perfect-face 40 Promote and protect your work online 42 Studio design: Tool shed to gallery 44 “I Am Camera” opens in Chicago 44 Discrimination ruling upheld

PROFIT CENTER 49 What I think: Brian Marcus 50 Ask the experts 52 How I did it: Jill Liebhaber 54 Marketing in a post-recession

economy by Greg Stangl 58 Best practices: Social networking by Lindsay Adler

THE GOODS 61 What I like: 62 68 72 76 78

92

The wedding photography business Justin and Mary Marantz started four years

ago is on an enviable trajectory. After learning some tough lessons, they made adjustments and took off. Now they teach small business owners, many of them photographers, how to fuel business momentum of their own.

8 • www.ppmag.com

Nichole Van Valkenburgh Pro review: Nikon D3S by Ellis Vener Pro review: Horseman VCC Pro by Stan Sholik Pro review: Canon EOS 7D by Don Chick Product comparison: Camera holsters by Diane Berkenfeld Product roundup: Album design solutions by Betsy Finn

ON THE COVER: After Brian Marcus showed Ivanka Trump some initial captures of her wedding day preparations, “She got into a more composed, elegant stance that really speaks to who she is,” he says. “Then I knew we could create some great images.” Light flooded into the room from an open door behind the photographer, accentuating the sparkle in Trump’s eye. The warm light ringing her hair came from Marcus’s specially designed “gun light,” which an assistant held off-camera. Marcus subtly highlighted Trump’s diamond and platinum earrings, a selection from her own line of jewelry. Taken with a Nikon D3 camera; exposed for 1/125 second at f/2.8, ISO 1600.

Vis it u s WP at PI boo th 146 8

Building Your Brand White House Custom Colour, Your Professional Photographic and Press Printing Partner

Order Small Quantities “The ability to order small quantities of Press Printed Products provides us the freedom to change design elements as our programs evolve while at the same time keeps us from having to store and inventory large quantities.”

Compliment Your Marketing “We reinforce our brand design by using WHCC’s Press Printed Products for marketing, price lists, appointment cards, gift cards, etc. The exibility of paper stocks provide different looks that compliment our variety of photographic campaigns.”

Establish your brand identity with WHCC’s Press Printed Products Press Printed Products are the perfect way for expanding your studio branding. More and more photographers are establishing their brand by creating complimentary packaging and labeling all studio materials. Press Printed Products are a cost effective way to continue brand recognition and can be ordered in small quantities. Stickers can be used for return address labels, studio packaging, folios, and gift tags. Press

Printed Cards, Bookmarks, and Rep Cards also compliment your look, and with a variety of paper types, there is sure to be one that fits your studio’s style. Use Press Printed Products for thank yous, gift tags, appointment cards, gift certificates, and price lists. Presenting clients with a nicely branded package is not only visual appealing, but provides an added value to your product.

All images and quotes provided by Kay Eskridge, Images by Kay & Co., Phoenix, AZ Visit pro.whcc.com/go/Start today to open your WHCC account.

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

Create a Marketing Weapon “We offer photography sessions geared toward creating mother & child images that are incorporated into the design of Play Date Cards. Mom’s contact information is on the back along with our studio logo and info, making this your best new marketing weapon!”

Labeling Studio Equipment “Designing a sticker similar to our business cards and placing it on all of our traveling equipment provides a professional look while at the same time supporting our brand recognition and also serving as a security measure.”

Brand Your Packaging “We place stickers on the front of all our packaging products like boxes, bags and dvd cases. We have a ton of presentation bags with an old logo so instead of throwing them away we designed 4x5.5 stickers with a new logo that go right on top!”

Add Value to Your Prints “We include a printed certicate on the back of each framed portrait so I could create for my clients a sense in pride of ownership. A certicate authenticates a print’s origin, how it was printed, its value and information about the photographer.”

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

CONSTANCE S. RAWLINS M.Photog.Cr., CPP [email protected]

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

2010-2011 PPA board president *LOUIS F. TONSMEIRE JR. Cr.Photog., API [email protected] vice president *DONALD DICKSON M.Photog.Cr., CPP [email protected] treasurer *TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] chairman of the board *RON NICHOLS M.Photog.Cr. Hon.M.Photog., API [email protected] directors SANDY “SAM” PUC’ M.Photog.Cr., CPP, ABI [email protected] RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected] CAROL ANDREWS JENSEN M.Photog.Cr, ABI [email protected] SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

12 • www.ppmag.com

industry advisor KEVIN CASEY [email protected] PPA staff DAVID TRUST Chief Executive Officer [email protected] SCOTT KURKIAN Chief Financial Officer [email protected] THERESE ALEMAN Director, Marketing and Communications [email protected] CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected] CAMERON BISHOPP Director of Publications [email protected] SCOTT HERSH Director of Sales & Strategic Alliances [email protected] WILDA OKEN Director of Administration [email protected] BETSY REID Director of Education [email protected] COREY B. SHELTON Director, Web Strategy & Development [email protected] LENORE TAFFEL Director of Events [email protected]

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

BING ZENG PPA China Managing Director [email protected]

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

SANDRA LANG Executive Assistant [email protected]

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

*Executive Committee of the Board

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LIGHT A FIRE

heat up your business with PPA & Imaging USA HENRY B. GONZALEZ CONVENTION CENTER / JANUARY 16-18, 2011 / SAN ANTONIO, TX

Join PPA for the unmatched benefits, resources, ideas, support and education you need for the professional edge. And that includes FREE registration* to Imaging USA, the hottest convention and trade show for pro photographers in 2011! Over 10,000 joined us in Nashville for piping hot ideas and inspiration … and you don’t want to be left out in the cold next year.

Ignite your creativity & fan the flames of success with us. Go to www.ImagingUSA.org/make-it-big to sign up now. (Psst…here’s another special offer. If you use this URL to join PPA in March, April or May, you’ll also receive free admission to the PPA Tour 2010 location of your choice.)

www.PPA.com / 800-786-6277 / www.ImagingUSA.org *Offer includes one Imaging USA convention registration when you join PPA as a Professional Active member. Includes regular Imaging USA programming only. This offer has no cash value.

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.

©Phil Fazin

PHIL FAZIN While covering an event for RebelRodz magazine, Phil Fazin, of Phil Fazin Photography in Kings Park, N.Y., happened on this fortuitous composition. With a Nikon D2H and Nikkor 10.5mm f/2.8 G ED AF DX Fisheye lens, Fazin exposed “Bud” for 1/160 second at f/6.3, ISO 200. He performed minor retouching with Adobe Photoshop and LucisArt filters. “It was a natural, ‘glad to see you’ picture,” says Fazin. “I wish I could say I planned the shot, but it was the right time, right day.” philfazin.com

What the judge thought:

“Impact and storytelling make this unique

image a winner. The perspective of the wide-angle lens and deep depth-of-field not only draws your attention to the modern-day hot-rodder, but also includes a strong secondary subject and ancillary vehicles. The use of the door to frame the subject holds your attention on the subjects.” —Jon Allyn, M.Photog.MEI.Cr., F-WPPA, F-SEWPPA, F-SCPA, CPP and PEC Committee member

16 • www.ppmag.com

Nikoon® and D3S™ are reg re isteered traddemarrkks of N Nikon ko Corp r orat ora ion. on ©2010 ©20110 Nikon Inc Inc..

WHEN BARYSHNIKOV IS YOUR SUBJECT, YOU WANT TO SHOOT UNTIL DARK.

ONE D-SLR LETS YOU. INTRODUCING THE AMAZING NIKON D3S. GO TO WWW.NIKONUSA.COM/D3S TO SEE THE HD VIDEO “BARYSHNIKOV BY SELIGER,” CAPTURED WITH THE NEW NIKON D3S. See how celebrated photographer Mark Seliger uses the extraordinary image quality and low-light capabilities of the versatile new Nikon D3S at the Baryshnikov Arts Center. With an astonishing low-noise ISO range of 200-12,800 and performance at ISO 102,400 that must be seen to be believed. The D3S has a 12.1 megapixel, FX-format CMOS sensor. A ready-for-anything speed of up to 9 FPS, coupled with a 51-Point AF system for the ultimate in precision and razor sharpness. Add outstanding HD video capabilities and legendary NIKKOR ® lenses, and it gives Mark a whole new set of creative tools. Mikhail Baryshnikov was photographed at dusk at 1/50 s at f/4.0, ISO 12,800.

MARI LATOZAS While out walking late one evening in Rome, Italy, Mari Latozas, of Photography by Mari in Waterford, Mich., came upon this preoccupied gentleman who was taking frequent looks at his watch. “I was struck by the way he was lit by the street lights,” she says. With a Canon EOS 5D camera and a Canon 28-300mm f/3.5-5.6 L IS USM EF lens, Latozas exposed “Watching Time Go By” for 1/30 second at f/4, ISO 1600. www.photographybymari.com ©Mari Latozas

©Paul Kady

PAUL KADY Paul Kady, M.Photog., of The Loft Photography Studio in Kensington, N.H., captured “Weathering Time” for a 60-year-old father to pass on to his children. Shooting with a Canon EOS 5D camera and a Canon 24-105mm f/4 L IS USM EF lens, Kady opened the shutter for 1/100 second at f/5, ISO 100. The lighting on the subject was created with a 375WS Photogenic 375R soft box, a 3.5x5.5-foot Larson soft box, and a 100x180cm Aurora Lite Panel LP1018. The hair light was a Novatron 2040C flash, and a Novatron 2010C flash lit the background. www.loftstudiophotography.com

18 • www.ppmag.com

KEVIN CONNORS While photographing a commercial session for The Moxie Theatre in San Diego, Kevin Connors, M.Photog.Cr., of Coast Highway Photography in Solana Beach, Calif., couldn’t resist capturing a few images of actress Ché Lyons (left) for his own portfolio. Shooting with a Canon EOS-1Ds Mark II and Canon 24-70mm f/2.8 L USM EF lens, Connors exposed “A Portrait of Ché” for 1/100 second, f/7.1, ISO 100. Connor balanced a Profoto Compact 600 flash behind a 5-foot Photoflex OctoDome; a second Compact 600 with a strip light and grid diffused by a 48-inch Photoflex HalfDome served as fill. A third Compact 600 and Profoto snoot lit the background. After minor retouching in Adobe Photoshop, Connors used Nik Color Efex Pro Dynamic Skin Softener and Procontrast filters to finish the image. coasthighwayphoto.com

©Kevin Connors

©Peter Lik

20 • www.ppmag.com

PETER LIK “I have always been intrigued by boat jetties and wharfs,” says Peter Lik, M.Photog., of Peter Lik USA in Las Vegas, Nev. “The spider web on the right side and the worn and tired feel of the decaying wood all add to this photo, telling a thousand stories from the boatmen who have walked upon this jetty.” With a Linhof Technorama 617 medium-format camera and Schneider ApoSymmar 72mm f/5.6 lens, Lik exposed Fujifilm Fujichrome Velvia 50 film for 1/2 second, f/16 to create “Misty Blue.” Lik scanned the slide and removed dust spots for the final image. peterlik.com

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©Scott Walz

SCOTT WALZ Scott Walz, M.Photog.Cr., of Studio Walz, Inc. in Lexington, Ky., created “f1.4 and Be There” on a wedding gig. He exposed the image for 1/250 second, f/1.4, ISO 400, using a Nikon D2X camera and a Nikkor 50mm f/1.4 AF-D lens, with a 42-inch Photoflex LiteDisc white/silver reflector bouncing the ample window light. Walz perfected the skin and masked curves before converting the image to black and white and applying vignetting in Adobe Photoshop. “I selected the paper-thin depth of field of the Nikkor at f/1.4 and carefully focused on the reflections in her eyes,” says Walz. “The title is my play on the famous quote from Weegee (Arthur Felig), ‘f/8 and be there,’ and that photography is all about showing up and making art of what you find.” studiowalz.com 22 • www.ppmag.com

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ELAINE MCDONALD During a three-week photo tour of Europe, Elaine McDonald of Four Winds Photo Art in Colorado Springs, Colo., made a detour to the colorful fishing village of Burano, Italy. “I knew this was the shot I had come for,” she says. With a Nikon D200 and a Nikkor 18-200mm f/3.5-5.6 G ED VR DX AF-S lens, McDonald exposed “Crayola Canal” for 1/160 second at f/8, ISO 100. She used Adobe Photoshop to remove a couple of tourists, and applied the LucisArt Whyeth filter. www.fourwindsphotoart.com

ASHLEY FETNER On his first visit to the North Carolina Zoo, Ashley Fetner, of Ashley Fetner Fine Art Photography in Asheboro, N.C., was struck by the visage of this baboon. With a Canon EOS 20D camera and a Canon 70-200mm f/4 L USM EF lens, Fetner exposed “Patriarch” for 1/125 second at f/5.6, ISO 800. He enhanced the eyes and toned down the background to heighten the drama of the expression. www.ashleyfetnerportraits.com ©Ashley Fetner

©Elaine McDonald

TONY HOPMAN Tony Hopman, M.Photog.Cr., CPP, API, of Tony’s Studio, Inc. in Lakeland, Fla., carried his handy point-and-shoot camera, a Canon PowerShot SD700 IS, to a Sunday morning swap meet in Sumterville. “You just never know when the opportunity for a great image will arise,” he says. He came across this 1958 Oldsmobile and created “End of an Era,” to recapture the wistful memories of his youth. “It was a statement of America to an 11-year-old boy from Holland,” he says. www.mytonyonline.com

Matt Lucas | Lucas Photography 2009 PPA National Photographer of the Year Diamond Level | 2009 We Are Miller’s Ad Contest Winner!

I am Matt Lucas I Am Always Learning I went to college and graduated with a BS in Photography. Shortly after, I met my mentor whose teaching sent me light years ahead of the learning curve. Photography is changing every day, and at Lucas Photography, we feel that we always need to know more. We are very active in Missouri Professional Photography Association and the national PPA convention.This is where I learn hands-on how to do what I do, as well as meet other photographers who become friends for life. I Am A Senior Photographer I love to photograph high school seniors! I feel like I can relate to seniors and create timeless pieces of art for them and their parents. Most of our clients love color and saturation and that is one of the reasons they choose Lucas Photography, driving sometimes from other states – they want something different. I am most passionate about making our clients see that they are beautiful, leaving more confident than when they came in. I Am On Facebook Facebook has been huge for us! After every session, I tag my client so that their friends will see one of the images. I have people booking this year because they saw images of clients on Facebook and visited our Lucas Photography Fan Club page to see more. We have photographed more seniors from a larger variety of schools than ever before – schools we’ve never even targeted. I Am Second Generation I grew up in photography. My parents started Lucas Photography 37 years ago; my dad was my role model. I started printing black and white photographs when I was eight and photographed my first wedding at age 16. My parents began working with Miller’s right after opening and have been loyal customers ever since. Without Miller’s customer service and quality, Lucas Photography wouldn’t be where we are today. I am Miller’s. My lab is Miller’s Professional Imaging because I Expect More.

Expect More

To see how Matt uses Miller’s to grow his studio, please visit www.millerslab.com/MattLucas. To view more of Matt’s work check out www.lucasphotography.com.

CONTACT SHEET

Jump-start What’s New, Cool Events, Interesting People, Great Ideas, Etc.

Drawing a crowd of more 10,000 this January, PPA’s Imaging USA 2010 in Nashville set more than attendance records. “We loved Imaging USA this year! You could feel the energy and enthusiasm everywhere,” says Julia Woods, M.Photog.Cr., owner of Portrait Life in Washington, Ill. Could this signal an economic turnaround for professional photographers? “After Imaging USA, I put some of the business and marketing techniques I learned into practice and booked one of my top collec-

tions with the next four wedding clients who met with me,” says Adam Czap, owner of Adam Czap Photography in Northville, Mich. “I’ve only been sleeping a few winks a night because of all the ideas I gathered,” says Ana Schechter, of Anaphoto in New York City, a week after the event. “After days of marinating in that atmosphere, you’re already living and breathing the new era of your studio. It’s a game-changer.” ©Victor Bruce

©Victor Bruce

©Victor Bruce

WHICH IDEA FROM IMAGING USA WILL YOU IMPLEMENT FIRST?

Record-setting crowds left Imaging USA overflowing with fresh ideas and renewed enthusiasm

Projection! And I’m going to really push album sales a la carte! @amandamcmahon (mandamcmahon.com)

Wow. Lightroom shortcuts have changed my life. Thanks, Imaging USA, for the shortcut session! @mrslizcook (loveandlaughterphotography.com)

I’m working on my pricing, packaging, and changing my printing company. Also planning to use ProSelect and project! @maganslens (maganslens.com)

Storybook shooting from Jim Garner’s presentation … @ardent_photo (ardentphoto.com)

‘‘

I loved Imaging USA this year; it was like Disney World just for photographers!

©Victor Bruce

—MILOVAN MILES ANDONOV, M.PHOTOG.CR., CPP

©Victor Bruce

The positive, friendly personalities of the speakers—I’m going to try to be more like that. @Tammyn4As (tammyhudson.com)

Cutting out any packages I’m not excited about … Creating customer incentives for print orders. @sabrenadeal (scarterstudios.com/wordpress)

I can’t stop thinking about how amazing Drake Busath was at Imaging USA; he truly inspired me! @MeredithRowlen (meredithrowlen.com)

March 2010 • Professional Photographer • 29

CONTACT SHEET These folks were hardly the only ones who took away both new skills and inspira-

SO MANY COUNTRIES, SO LITTLE TIME Our long, strange trip to Imaging USA

tion from IUSA 2010. The hallways and classrooms at the Gaylord Opryland Resort and Convention Center teemed with photographers taking in seminars, lectures and hands-on workshops. The thronged Imaging tradeshow floor was another hot spot, where photographers found a host of new products to enhance their businesses. In a post-event survey, almost half of those

BY ERIN L. CLARK, CPP, & STEPHANIE MILLNER, CR.PHOTOG., CPP

polled said they’d purchased new gear and accessories at the expo. “It is so nice to be able to see all the products I’ve been

Living in Europe is great—lots to do, even more to photograph. But there’s not the same kind of photographic community as in the States. So, in January, we set out on an epic adventure to Imaging USA in Nashville. Our round-trip journey from Italy to Imaging took us to some 15 cities and four countries in 12 days. We both have access to free military travel, so we took Space-A flights from the major air terminal in nearby Ramstein, Germany. Flexibility is imperative with Space-A travel: You can’t really choose where or when you’ll travel. We aimed for anywhere in the United States. On departure day, of the six flights scheduled for the East Coast, one flight was full, four were cancelled, and another was delayed indefinitely. After a 14-hour wait, we boarded a last-minute flight to Dover, Del., on a C-5 jet. Flying in a C-5 is quite an experience. You shimmy up a steep and icy two-story ladder with your bags, find a space, and settle in for an 11-hour flight to America, facing backwards. From Dover we drove to Washington, D.C., with a photographer-friend. On Friday, after a frigid 13-hour van ride, we arrived in Nashville. We had a blast.

30 • www.ppmag.com

It was over in less time than it took to get there. The van ride back to Washington took almost twice as long, what with coffee and shopping stops. We got there at 5 a.m., a few hours before our return Space-A flight was to leave Baltimore. Only the flight was cancelled, as was the next one and the one after that. Desperate, we called every military airport on the East Coast determined to catch any flight to Europe. Nothing was scheduled for days. We bought one-way tickets to Italy that were surprisingly affordable; only we’d have to get to an airport in New Jersey. The next day we drove to Newark National for a flight to Rome, via Brussels, Belgium. Naturally, we made a quick stop for sight-seeing, waffles and chocolate, a necessity after 12 days of traveling. Was it worth it? Absolutely! Nothing beats seeing old friends and hearing great speakers. Would we do it again? Yes! And we’ll buy round-trip tickets on a commercial flight. Stephanie Millner, Cr.Photog, CPP, is a pet photographer in Rome, Italy. Erin L. Clark, CPP is a portrait photographer in Sicily, Italy.

interested in all in one place and to be able to ask the vendors questions,” says Brenda Ernst, of Love and Cake in Berkeley, Calif. Dawn McCarthy says she believes that the record-setting crowds simply prove that professional photographers want to make 2010 their strongest year yet—a whole new game.

MARK YOUR CALENDARS! Imaging USA heads to San Antonio, January 16-18, 2011. Details at ImagingUSA.org.

‘‘

Imaging USA 2010 was a non-stop, action-packed, wealth of knowledge with a side order of scratch and sniff … better described as the Trade Show Expo. Mark your calendars. This is a musthave experience for all photographers who want to better their business.

’’

—DAWN MCCARTHY

CORRECTION: FLOAT AND CLUSTER SWAP

We erroneously swapped the product images for the tying winners of the Display Item category in the Hot One Awards published in February. Below are the correctly identified products. We regret the error.

©Victor Bruce

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March 2010 • Professional Photographer • 31

bobbi+mike – A husband and wife photo team who love photography, being in love, and being loved. How lovely is that?! “Unique products make our clients happy, and we love that too. We love MpixPro.”

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CONTACT SHEET

Glamourpuss Bridal tips for a picture-perfect face l

photographing a birthday party, not a wedding. “If she’d been a bride, it would have been just awful,” she says. BY LORNA GENTRY

“I tell brides not to go to a tanning booth or use a spray tan right before the wedding,”

It could have been a disaster. Phoenix

fake tan lotion,” Schumacher recalls,

says Schumacher. “And I always recommend

portrait and wedding photographer Holly

grimacing. She had to make all the

brides use a professional makeup artist; it

Schumacher stared in horror through her

photographs black and white because there

makes my job so much easier.”

lens at the orange-faced woman she was

was no way to color correct that hideous

about to photograph. “She must have used a

tone. Fortunately, Schumacher was

If you have a bride who insists on doing her own makeup—or having a friend do it—

©Holly Schumacher

pass along some advice from the experts to save you hours of Photoshop repair. Here are 10 beauty tips from makeup artists Steve Moore of The Moore Agency in Atlanta and Deanna Rene of Scottsdale, Ariz., and a few from Schumacher, too. Pass on these tips during the consultation, post them on your website, and print them on a small laminated card to tuck into the bride’s makeup kit. 1. BLEND, BLEND, BLEND. You can use your everyday makeup, but use more than you normally use every day. Many makeup professionals use airbrush makeup, the method of choice for high-definition TV, because it’s lightweight, waterproof and gives flawless coverage. 2. SOMETIMES LESS IS MORE. Use less makeup for a day wedding and more for evenings. You can get dramatic with eye makeup. 3. DON’T SKIMP ON CONCEALER. Use a moisturized concealer on the thin,

“I tell brides not to go to a tanning booth or use a spray tan right before the wedding. And I always recommend brides use a professional makeup artist; it makes my job so much easier.”

CONTACT SHEET

All images ©Holly Schumacher

If the groom is red faced due to too much sun (or drinking), a little powder can help. That goes for shiny heads, too. And it’s a good idea to slip a tube of Chapstick in the groom’s pocket for his dry lips, as well as a handkerchief to dab well-wishers’ makeup smudges off his suit. 9. DON’T SPRINKLE ON GLITTER. In photographs, it tends to look like little white spots, as if there’s something wrong with the camera. 10. REMEMBER to apply foundation and powder to your neck, shoulders and décolletage—you want your head to look like it belongs to your body! Lorna Gentry is a freelance writer in Atlanta.

sensitive skin under the eyes. If your

it won’t white-out the bride under a flash.

concealer isn’t moisturizing, blend it with a

6. USE WATERPROOF MAKEUP

skin cream. For blemishes, first treat them

WITH STAYING POWER. You don’t want

with a natural or over-the-counter anti-

to spend your reception in the bathroom reap-

inflammatory, then cover with concealer.

plying your makeup. Foundation, eyeliner

4. DO A MAKEUP TRIAL RUN. It’s

and mascara all should be waterproof. And

the only sure-fire, stress-free way to make

in case you cry (and you probably will), have

certain your makeup will look beautiful.

a tissue or handkerchief handy to gently blot

5. NOT ALL MINERAL MAKEUP IS CREATED EQUAL. Titanium dioxide, a

your tears right at the eye. 7. KEEP YOUR LIPS MOISTURIZED

chemical used as sun block, can reflect

AND COLORED. Dry lips look dreadful in

flash, giving the bride a ghostly appear-

photos. Have someone carry your lipstick for

ance. In 2009 makeup artist Annie May

you and touch up often. Matte and gloss lip-

launched a line of mineral makeup espe-

stick both photograph well, and be sure to

cially formulated for photography called

use blended lip liner for enhanced definition.

Advanced Mineral Makeup. May promises

36 • www.ppmag.com

8. DON’T FORGET THE GROOM.

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CONTACT SHEET ©Arline L. Beets

Walk the line 8 Ways to promote and still protect your work online BY PIERRE STEPHENSON, CR.PHOTOG., CPP

and apply the info to files in a batch process.

services they own the rights to those images.

If you use Save for Web & Devices in Photoshop,

Having an open conversation about

select the setting to retain copyright and contact

copyright ownership is an opportunity to set

metadata in the file. Some digital SLRs let

the record straight. Tell clients they can

you input basic info to be applied at capture.

come to you ask for usage permission.

2. USE WATERMARKS. You may not

6. ADDRESS COPYRIGHT IN

want your image hidden behind a logo, copy-

YOUR CONTRACTS. Stipulate who gets

right symbol, or Do Not Reproduce notice,

the copyrights and any licensed usage of

but watermarks are great deterrents to online

your images. This is common practice for

image theft. When Tobi Bos of Hamilton,

wedding and commercial photographers,

Ontario, used a beta image reverse-search

but all too frequently it’s absent in portrait

engine called Tin Eye, she discovered her

photographers’ contracts. The simple act of

images were being used on other websites

having portrait clients sign a notice to acknowl-

for everything from product advertising to

edge that they understand and will respect

avatars. The images had been stolen from

your copyright can go a long way to ensuring

her blog and her logo cropped out. Now she

just that. It can be as easy as incorporating

heavily watermarks every image, making

one more line or paragraph in a document

sure the mark covers a major body part.

you already give clients: “I, [the client’s

3. PUBLISH THE IMAGES ON YOUR

name], understand and acknowledge that

WEBSITE. Retain control of your images

all images are the property of [your studio

by publishing them to your own domain

name], are protected under the Federal

names, and make sure the site includes a

Copyright Act, and may not be copied or

clear copyright statement. That’s not to say

reproduced in any way without the express

you should shy away from your social media

permission of [your studio name].” Always

pages, but be mindful that what you publish

have your attorney review any changes you

elsewhere can be traced back to you.

make to your contracts.

4. LICENSE USAGE INSTEAD OF

7. SEND A TAKEDOWN NOTICE.

SELLING RIGHTS. Eric Lockstein of Sun

Under the provisions of the Digital Millennium

Prairie, Wis., obliges clients who want to

Copyright Act, copyright owners have the

purchase digital files, but he retains his

right to alert the Internet service provider

copyrights and licenses usage only as a

(ISP) of a site where their images are being

Can you promote yourself online and still

package. “People who really want their

used without their authorization. For contact

protect your work from copyright infringe-

digital images are going to either get them

info, look up the ISP’s Copyright Abuse Agent

ment? There’s no one simple, iron-clad method

from me or find other ways,” he says. “People

or similar title, and request your work be

of protection, but there are effective tools at

will steal less if you give them the option to

removed from the offending site. You don’t even

your disposal. Use a combination of deterrents

buy. Turn it into value,” says Lockstein.

have to contact the infringing party yourself.

and make it obvious to viewers that the work

5. EDUCATE YOUR CLIENTS. Take

belongs to you, as well as how to contact you.

the time to talk about copyright ownership.

Register your work with the U.S. Copyright

We’re our own first line of defense against

Office (copyright.gov). If you need to

METADATA. Record the copyright status,

infringement. Clients might assume that

challenge an infringer in court, it’s the only

your contact and URL info, and copyright

because they’ve purchased prints or paid for

way you can recoup your legal costs.

1. USE FILE INFO AND IPTC

8. REGISTER YOUR WORK.

notice in the image files’ metadata. Set software like Adobe Photoshop, Lightroom and other digital asset management apps to automatically apply this information when you import the files from the memory card. In Adobe Bridge, create a metadata template (under Tools)

40 • www.ppmag.com

“Use a combination of deterrents and make it obvious that the work belongs to you, as well as how to contact you.”

All images © Jessica Claire

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CONTACT SHEET All images ©Karen Carey

STORYBOOK STUDIO Located in an old tool shed on an historic farmstead property near Philadelphia, photographer Karen Carey’s tiny cottage studio houses both a main gallery and private viewing room at a modest rent. It’s a chic little space that doesn’t add stress to Carey’s already busy life. “My clients are usually surprised when they ascend the spiral staircase from the main gallery up to the viewing room,” says Carey. “Despite the size limitations, I can showcase my work, present client images, and maintain the feeling of a real living space.” karencareyphotography.com

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42 • www.ppmag.com

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Everything after the photography

CONTACT SHEET

Dramatic photography

All images ©Greg Allen

Theatre troupe draws a thin line between people and pictures Photography takes center stage in Chicago

images displayed on a variety of media,

this month at the Neo-Futurist Theater with

including a scrim, sheets of paper, even the

the premiere of a new stage work, “I am

actors’ bodies. During the show the performers

Camera.” Conceived and directed by the

use small digital cameras to photograph

theater’s founding director, Greg Allen, the

members of the audience, whom they ask to

show uses photography as both medium

join them onstage. They stand next their

and subject in exploring identity and the

projected images as they and the actors

role photography plays in pop culture.

compare the captured personas with the

“Sometimes a 2D photograph even takes the

“real” people themselves. At various intervals,

done fine-art black-and-white photography

place of a 3D person,” says Allen. Is a picture

Allen skillfully mixes up images with real

in school before going into experimental

worth a thousand words or do words give a

people. “At one point we use photographs of

theatre 25 years ago. No matter the

more clear [understanding of] someone?

actors interacting with projected photographs

medium, though, Allen cites one theme that

Are photographs impressions of who we

that are then re-photographed.”

runs throughout his work: “I’ve always

project ourselves to be or are they genuine?” Allen examines these and more questions

These visual riddles are Allen’s way of prodding the audience to investigate their

in “I am Camera” through only two actors

own relationship with photography. An

and nearly 1,000 photographs. The actors

amateur photographer, Allen feels that this

interact through prints and projected

show brings him full circle as an artist. He’d

DISCRIMINATION RULING UPHELD Photographer cited for refusal to photograph same-sex commitment ceremony In a contentious legal battle played out in New Mexico, the state court recently upheld a ruling of the New Mexico Human Rights Commission (NMHRC) that stated photographer Elaine Huguenin violated the New Mexico Human Rights Act by refusing to photograph a same-sex commitment ceremony. The conflict began in 2006, when Vanessa Willock of Albuquerque called Huguenin’s studio, Elane Photography, about photographing the commitment ceremony. By e-mail, Huguenin responded that her business does not photograph same-sex weddings. In December 2006, Willock filed a claim with the NMHRC, alleging Huguenin had discriminated against her on the basis of her sexual orientation. The New Mexico Human Rights Act states that it’s discriminatory for “any person in any public accommodation to make a distinction in offering or refusing to offer its

services” on the basis of race, religion, skin color, sex or sexual orientation. The NMHRC ruled against Elane Photography in April 2008. Elane Photography subsequently appealed the ruling to the New Mexico state court on the grounds of freedom of expression and freedom of religion. Attorneys for the photographer argued that photography is a form of expression, and any attempt to control Huguenin’s expression is a violation of the law. On the religious grounds, the attorneys argued that the NMHRC ruling compels Huguenin to attend and express messages about a religious ceremony that violates her beliefs. The state court denied Huguenin’s appeal early this year, stating that Elane Photography is a “public accommodation,” i.e., a business that services the general public, and that the owners admitted to discriminatory policies. The court rejected the freedom of expression argu-

explored human identity.” —Lorna Gentry “I am Camera” runs through March 13 at the Neo-Futurist Theatre in Chicago. For more information, visit neofuturists.org.

ment, stating that anti-discrimination laws such as the New Mexico Human Rights Act, do not affect free speech or dictate the content of an individual’s expression; they do, however, prohibit discrimination through the withholding of publicly available goods, privileges and services. The court refuted the freedom of religion argument, stating that the New Mexico Human Rights Act does not force Huguenin to participate in or defend a belief system that is not her own. The only requirement would be for Huguenin to attend the event in order to perform her professional service. Further, the court noted that the NMHRC ruling does not prevent Huguenin from practicing her religion or maintaining her religious beliefs. “There is no doubt that the State of New Mexico has a compelling interest in reducing, if not eradicating, acts of discrimination, even assuming that results in a burden upon [Elane Photography],” the ruling concluded. At press time, various reports indicated that Elane Photography plans another appeal.

PAPER PRINTS ON

STEROIDS

From the people who brought you

SimplyColorLab.com

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Brian Marcus follows the family focus on fine photography What advice would you give to someone who’s just beginning in the photography business? Having real-life experience and on-the-job training is just as important, if not more, than some book you pick up or class you take. Work with whomever, whenever, even if you’re not getting paid. It will pay off later. Find your niche at the outset. Try to focus on your real passion and turn it into a career. What’s the best business lesson you’ve learned recently? This quote from Steve Pavlina: “If you do work you love, but it doesn’t generate income, your business will fail. If you do work you hate, but it generates income, your health will fail. If you can’t do what you love and make it profitable, you’ve either got a hobby or a headache, not a sustainable business. Don’t settle for anything less than passion and profit.” What’s your advice to photographers looking to move their business to the next level? Don’t sell your service; sell its value. Our studio was built on putting the customer first, and always providing consistent quality. We’ve never changed our focus, and we’ve been in business for 69 years. IMAGE BY BRIAN MARCUS FREDMARCUS.COM

March 2010 • Professional Photographer • 49

PROFIT CENTER

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

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

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

Ask the experts Meeting the pricing benchmarks, formatting a wedding contract Q: I do child and baby photography in a major metropolitan area. I’m new to the business. Using the SMS cost-based pricing benchmarks, my price for an 8x10 print should be about $140. How can I justify having prices so much higher than other photographers in my area without a proven track record? I plan to raise my current prices a little, but I’m afraid to go much higher. A: I found myself in a similar dilemma about 10 years ago when I began to understand COGS (cost of goods sold). I knew we would lose our client base if I raised prices to where they needed to be. I also acknowledged we didn’t have the skill, environment, or customer service at that time to attract the high-end clients who would accept higher prices. So I adopted the following foundation of truths to inspire me to make some extremely important decisions. • We are headed for failure if I don’t price for profit. • COGS on wall portraits are easier to accomplish than on an 8x10. • The most expensive part of what we do is the artwork. From there, we implemented the necessary changes. To ease our clients into the new prices, I created three different lines of finishing for a la carte prints: Silver, with no retouching and no finishing (mounting & spraying); Gold included minimal retouching and finishing; Platinum delivered full retouching and finishing. I then created a sample of each finish and was able to show the client the difference in the options. In the beginning, everyone upgraded to Gold, so I got rid of Silver. In time, I was able to get everyone to upgrade to Platinum and eventually did away with the Gold.

50 • www.ppmag.com

I gradually increased the price of our 3x5s and 5x7s until they got so close to the price of an 8x10 that I could group them into one category called gift prints. I directed our clients’ focus, verbally and visually, through our price list to packages that were limited to three poses, but included a wall portrait and six gift prints in the Platinum finish. The limited poses helped to reduce COGS and at the same time created a great value for the client. It was very scary when we made these changes, but when the doubts came, I would go back to my foundation of truths and know I was doing what I had to do. Ten years later, it’s easy to see how it was our first step on a journey to success. —Julia Woods Q: I just booked my first wedding and I need help. What kind of information should I include in my contracts? Is there other paperwork I should have my clients sign before the wedding day? A: Whether your clients are friends, family members or complete strangers, you need to have a signed contract with them that includes all the details of the assignment and the responsibilities of both parties. This contract is your opportunity to specify what your clients should expect after hiring you to do the job. Going over the contract with the client is an opportunity to discuss the clients’ needs to see how you can best accommodate them within your studio’s boundaries. In no more than two pages, your contract should clearly state some key points, among them: client contact info with the street address of all parties; date time and venue of the event;

where you’re expected to be before, during, and after the event; a description of the services and products you will provide; your cancellation and refund policy; the limitation of your liability in the event something goes wrong; and a separate model release if you intend to use the images in your own promotion. Make sure everyone invested (bride, groom, parents and anyone else who might have input) has a clear understanding of the contract. Get the signature of the person or persons who are responsible for paying your fees. Explain your studio’s policies and fully understand the clients’ expectations. Fully explain your services and all related costs, and any extra fees for travel, retouching, and other studio expenses. If you don’t want to go into every detail on the contract, present a price list and/or menu of services, explaining which parts of your fees are nonrefundable. It can be uncomfortable discussing your policy on cancellations and refunds; you never want to lose a client, but remember weddings involve relationships and relationships can end. Weddings do get cancelled and you need to specify an escape valve for yourself and your clients. Make sure your wedding clients understand what they can and can’t do with your images. If you do not want to give permission to reproduce your work, or if you will license certain uses of certain images, state it in the contract. You can find templates for a wedding contract, model release and licensing agreement at ppa.com. � —Maria Matthews, PPA Copyright & Government Affairs manager Got a question? The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

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Albums | Books | Professional Printing | Cards | Custom Design Services | Online Posting | Gallery Wraps For pricing and information on Collages.net’s complete product line, visit www.collages.net/pricing ©2010 Collages.net Inc. Photo ©Robert & Kathleen Photographers. All rights reserved.

PROFIT CENTER

BY JEFF KENT BY JEFF KENT

How Jill Liebhaber broke free of chain studio pricing and created her own brand of success.

In 2001, after graduating Northwestern University with a degree in painting and a few classes in black-and-white photography, Jill Liebhaber went to work at a portrait studio franchise, eventually becoming the manager. Yet she wasn’t really inspired by portraiture. At Imaging USA 2006 in Austin, she got inspired by portrait artists like Vicki Taufer, M.Photog.Cr., CPP, and Liebhaber’s perspective changed completely. “I was blown away,” she says. She saw how she could use her painting talents in children’s portraits and turn portraiture into art. Back home, Liebhaber worked on a business plan for a studio of her own. She’d heard about PPA Studio Management Services (SMS) and knew she’d have to be on a waiting list for its services, but just knowing help would be available gave her confidence to move forward. In May 2006, she got her business license and left the chain studio. She secured a storefront in her Chicago neighborhood and spent the summer setting up a portrait boutique. The official launch of her creation, Jookie, was in August. From the start, the business went pretty well. Liebhaber built a client base through participating in neighborhood events, wordof-mouth and small-scale local promotions. In the first five months, 117 sessions brought Jookie gross sales of $52,000, enough to keep rolling, even though Liebhaber declared a loss for the year due to the startup costs. That was to be expected. Liebhaber felt she had a good foundation. She was more concerned about workflow. She’d based her pricing on the high-volume, low-price model of her former employer. After five months, the pace proved unsustainable; something had to change. Liebhaber engaged SMS at the end of 2006, and asked for help in three areas: incorporation, managing business volume, and improving her price structure. Liebhaber’s SMS consultant, Bridget Jackson, explained that incorporating the business as an S-corp would lead to substantial savings

52 • www.ppmag.com

on self-employment tax, while helping her separate her personal and business accounting. Together they worked out a plan to bring in seasonal help. Jackson said she needed a full year’s worth of financial data to establish an employee budget, so that had to wait until 2008. Jackson helped Liebhaber budget for employee expenses based on the PPA benchmark of 6.9 percent of gross sales, and Liebhaber hired a part-time seasonal employee for the busy fall months. Liebhaber used only about 60 percent of her employee budget, so in 2009 she added a paid intern. The employees helped Liebhaber focus on her photography while maintaining the bottom line. “The scariest part was raising my prices,” admits Liebhaber. “I wanted to break free of the high-volume studio system.” Jackson and Liebhaber established a fouryear plan to gradually raise her rates without alienating her initial clientele. In 2007, Liebhaber increased the price of individual small prints in a way that made buying larger prints look much more attractive. She raised 4x6s and 5x7s to the same price, $48—her own costs were identical for these sizes. She also boosted 8x10s from $52 to $73. in 2008, Liebhaber raised the session fees, and in 2009, she bumped up print prices again to encourage sales of big-ticket canvases and wall prints. This year she’s making another small print increase in the final stage of the plan. “With higher small print prices, I get fewer clients who are just shopping based on price,” she says. “That led to more clients coming to me because they are interested in my work, not because I had low prices. People spend more per session now, so I don’t have to shoot as much. I can spend more time on each client, putting a higher level of artistry into the work as opposed to just churning out prints. It also freed up more of my time to market Jookie and develop the business.” Over the past three years, Liebhaber’s price increases have led to steadily increasing sales with steadily decreasing session numbers.

Jill Liebhaber

In 2007, her first full year of business, she shot 250 sessions. In 2008, with both her print and session price increases in place, she shot only 170 sessions while maintaining her gross sales. In 2009, with another print price increase, she decreased sessions to 160 but grossed about $10,000 more than the previous years. As is typically the case when prices go up, Liebhaber has seen a decrease in cost of sales—from 22 percent in 2007 to 21 percent in 2008 to 19 percent in 2009. “Those changes may not sound like a lot, but each percentage point drop in cost of sales represents several thousand dollars of money that Jookie keeps in net profit,” explains Jackson. By keeping more of what she earns, Liebhaber has been able to reinvest in the business and continue its growth. Through SMS guidance, she paid off her initial business loan more than a year ahead of time. She has been able to invest tens of thousands of dollars into Jookie over its first three-anda-half years without incurring any additional debt. In fact, Liebhaber has established an impressive cash reserve for the business, which allows her to promote the studio’s growth through marketing and capital expenditures. “Most important, she has a plan,” says Jackson. “She knows what she needs to have in place at all times, and she prepares for her busy season well in advance. She’s really set herself up for positive growth.” � Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Jill Liebhaber at jookiekids.com.

©Jookie, a portrait boutique

How I did it

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Albums | Books | Professional Printing | Cards | Custom Design Services | Online Posting | Gallery Wraps For pricing and information on Collages.net’s complete product line, visit www.collages.net/pricing ©2010 Collages.net Inc. Photo ©Robert & Kathleen Photographers. All rights reserved.

PROFIT CENTER

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

Marketing in a post-recession economy There’s light at the end of the tunnel. Can you see the better times ahead?

percent of the population. The most disciplined of the four groups in spending habits, they considered themselves to be tightwads before the recession hit. They tend not to be brand loyal, and they avidly seek coupons and specials. For photographers, these consumers

We’re finally hearing encouraging stories about an economic recovery, and businesses

he purchases when there’s money coming in.

are the most challenging to attract. Because

In down periods, the first things consumers

of prices, they tend to shop at chain studios

are beginning to focus on post-recession

cut from their budgets are extravagances,

consumers. Still, it’s important to under-

such as vacation homes and fine art. Next

stand what happened and how we can use

come luxuries like sports cars, spa visits and

affected by the recession, both financially

this information to plan for the future.

designer handbags. Then the routine

and emotionally. Six out of 10 people in this

Although both had profound effects on

rather than with independent photographers. The penny-pinchers are the most severely

indulgences go, like $5 coffee treats, dining

group are women, and the group represents

economies the world over, the current reces-

out and after-work cocktails at the bar.

29 percent of the population. For many of them

sion isn’t all that similar to the Great Depres-

Further economizing needed? Next to go are

in the last year, spending exceeded income.

sion of the last century, which dragged on

services such as house cleaning, lawn

for more than a decade. In the United States,

maintenance and mobile-phone plans. Last

whose annual household income exceeds

the unemployment rate hit 25 percent. The

to go are the essentials. Portrait services fall

$75,000. Although they have the greatest

shortage of money and even consumer goods

somewhere between indulgences and luxuries.

capacity to maintain their spending habits,

had profound effects on the entire generation

A recent study by the marketing and

The pragmatic spenders are mostly men,

their decisions are tempered by caution.

who came of age during the 1930s. Many

research company Decitica (decitica.com)

This group is highly attractive to marketers

would remain cautious spenders and frugal

outlines how the present economic downturn

in general, but industry studies show that 87

consumers to the end of their days.

has affected American consumer spending

percent of the purchasers of professional

habits in general. The study finds that four

portraiture are women. This group is a

habits of today’s consumers won’t be so

distinct groups of consumers emerged—the

challenge for photographers to attract.

drastic or long term after this relatively

steadfast frugalists, the involuntary penny-

brief economic hardship. In recessions, the

pinchers, the pragmatic spenders, and the

rialists. Equally divided among men and

consumption of goods and services tends to

apathetic materialists.

women, this group represents 20 percent of

I believe the changes in the spending

follow the model of last-in, first-out: The

The steadfast frugalists were non-spenders

The fourth group is the apathetic mate-

the population. Its members are predom-

last things the customer will give up buying

before the recession. Six out of 10 people in this

inantly Gen-Y. Apathetic materialists aren’t

when money is tight will be the first things

group are women, and they represent 20

much perturbed by the recession. Their spending habits and intentions for the

“The principles of marketing haven’t changed, but the perception of marketing has. Studio owners who took marketing for granted now realize its importance to business success. Many studios are now trying to re-brand themselves to stand out from competition … Now more than ever, those studios who continued to market their businesses [during the recession] are thriving, while those that did not are closing their doors or trying to catch up.” —WILLIAM F. CAMACHO, VICE PRESIDENT OF MARATHON PRESS

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future are the least affected of the four groups, likely due to their age and the stage of life they’re in—young, single, with limited disposable income. Youth-oriented marketers find them an attractive target. As soon as the economy stabilizes, I believe that the people who were spenders before the recession will be ready to spend again. Now’s the time for photographers to start mapping our post-recession marketing plans, and those plans will

probably look a little different this time. Henry Oles, president of the Virtual Back-

will be those companies that use this time to

quickly to both the positive and negative

strengthen customer relationships and work

changes—while remaining cognizant that

ground Company (virtualbackgrounds.net),

to develop a strong marketing plan that

although the economy will rebound, it will

puts it this way, “If the photographer isn’t

allows the business to grow and prepare for

look considerably different. For those who

working in a special niche, isn’t doing some

demand on the horizon.

aggressively prepare to confront these

really creative marketing, the future is

To be successful, studios need to adapt

differences, prosperity awaits. �

difficult. Some think that the public will rebound after experiencing poor quality photography and will return to the professional. Don’t hold your breath.” What does marketing look like in the new frontier? According to William F. Camacho, vice president of Marathon Press, “The principles of marketing haven’t changed, but the perception of marketing has. Studio owners who took marketing for granted now realize its importance to business success. Many studios are now trying to re-brand themselves to stand out from competition … Now more than ever, those studios who continued to market their businesses [during the recession] are thriving, while those that did not are closing their doors or trying to catch up.” Michael Redford, a successful studio owner, says, “It’s important to develop a backto-basics approach to marketing. Family and children’s portraiture remain strong because the amateur cannot shoot these images. Facebook for seniors is an important part of a marketing package. Our packages include a USB drive with selected images with an overlay of our studio logo for our clients to put on Facebook. We’ve always strived to market to the upper-income families, so our business was less affected by this recession then many other studios.” While there will continue to be a strong prosumer market for cameras and related equipment, a professional photographer who develops a comprehensive marketing and sales program will always have the edge. The winners coming out of the down economy

March 2010 • Professional Photographer • 55

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PROFIT CENTER

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

How to work the ’Net

TION. SEO gives you better visibility and

Best practices in social networking

increasing business. Find ways to make your

exposure, and therefore the potential for images, content and yourself more SEO-friendly through linking, metatags, and much more.

To get the most out of the effort and time

blog post and have questions, ask the author.

you put into online social networking, there

It is acceptable to ask questions of anyone,

FRESH AND UP TO DATE. The more

are certain best practices you should strive

just be polite and don’t be offended if they

often you update, the better. People like

to adhere to. The practices below apply to

don’t respond. Forums, like photo.net,

following bloggers who provide a consistent

blogging, Facebook, Twitter and any other

popphoto.com and ppa.com/community/

flow of content and information. Most

networking or promotional sites.

forums, are great places to ask questions and

important, your contact information should

participate in a creative community. On your

always be up to date and accurate. Even if

social networking: landing new clients,

social networks, consider taking polls or invit-

you’re not active on the LinkedIn network,

building your reputation as an expert in

ing questions from your friends and followers.

you should at least have an accurate

First, recognize the three main goals of

your area of photography, and interacting with other professional photographers.

ESTABLISH A REGULAR SCHEDULE. Most photographers don’t want to feel tied

KEEP CONTENT AND IMAGES

depiction of yourself there, including links to your website, blog and an e-mail address.

GET ACTIVE ONLINE. You get what you

to the computer, and some neglect online

put into any personal or business relationship.

social networking altogether because they

are the people you want to connect with?

The more active you are in a particular online

feel they don’t have the time. But using social

Define your target audience and figure out

community, the better your chances for inter-

media doesn’t have to be all or nothing.

which social networking communities

action and feedback from the other people in

Think of it as a necessary business task. Set

they’re involved in. For example, if you

the community. If, for example, you post tons

aside a little time every day to invest in your

target high school students, focus on your

of photos on Flickr, make frequent comments

networking, and you’ll find yourself looking

Facebook page. If you target magazine

on others’ photos, and join various groups, you’ll

forward to the interaction. It’s all about

editors or corporations, focus on LinkedIn.

draw significantly more views and comments

developing good habits. Determine your

on your images than if you were inactive.

audience, set your goals, and create a schedule

You need to consistently submit information

to keep you on task and productive.

your audience finds interesting. Define your

SHOW SINCERE INTEREST IN OTHERS. Make constructive comments on

USE ANALYTICS. As you continue to

SPEAK TO YOUR AUDIENCE. Who

CONTRIBUTE VALUABLE CONTENT.

specialty or special knowledge and put it out

what others have posted, and ask insightful

put more time and effort into social net-

there. Be thoughtful in the content you

questions. Social networking is two-way

working, you’ll find it satisfying and useful

provide on any social network. People will

communication. Seek out blogs with

to use analytics to gauge its success. You can

want to connect with you if they see you as a

interesting content and respond to readers’

see how often your pages are being viewed,

valuable source of information, advice and

comments about your own blog.

how people found them, how long they

service. People love behind-the-scenes peeks,

looked at each page, and more. Several

and timely comments on news and events.

be a distant and impersonal place. A key part

social networking sites have analytics built

Think about the emotions you’re expressing

of online success is portraying your personality

into the interface. For example, the pro

and the emotions you want to elicit. If you

so that others can relate to you. If people like

version of Flickr has analytics to show which

regularly test new equipment, people would

your personality and come to trust you (and

of your images are most popular and how

love to hear about your experiences and get

your reputation), they’ll be more likely to

many views and comments you get daily.

critiques to inform their own decisions. No

follow you on Twitter, subscribe to your

Facebook’s analytics for business pages,

matter what genre of photography you do,

blog, or engage your photographic services.

Insights, give you a variety of information,

you have something of value to share. �

BE PERSONABLE. The Internet can

ENCOURAGE DIALOGUE. The best way to build new relationships or rekindle old ones is through dialogue. If you read a

58 • www.ppmag.com

including viewer demographics such as age, gender, geographic location and more. USE SEARCH ENGINE OPTIMIZA-

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Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Nichole Van Valkenburgh stacks high tech next to vintage Little thing, big difference … A Manfrotto bracket for mounting my flash on a light stand, and a pair of PocketWizards. Getting my flash off-camera for an impromptu lighting setup is a must for my wedding and portrait work. Besides, my assistant was really tired of holding flashes for me! What hot new product are you going out of your way to use? I’m always on the look-out for light modifiers. I recently ordered Paul C. Buff ’s new Parabolic Light Modification System and I’m stoked to play with its range of possibilities. Has a piece of equipment ever changed the way you approach photography? I adore my Hartblei 80mm MC TS-PC Super-Rotator lens. It can turn just about any scene into something artistic and dreamy. Best business bargain you’ve ever scored? A blue 1948 Ford pickup that I christened “Harrison the Ford.” He’s the best backdrop I could imagine for sessions in my outdoor studio. He’s extremely patient and great with little kids, especially busy two-year-olds! IMAGE BY NICHOLE VAN VALKENBURGH NICHOLEV.COM

March 2010 • Professional Photographer • 61

THE GOODS: PRO REVIEW

Is ISO 1600 the new ISO 200? In practical applications, yes. That’s not all Nikon’s new pro camera has to offer. BY ELLIS VENER

Redefining the possibilities NIKON D3S

All images ©Ellis Vener

We’ve seen big changes in DSLRs over the last couple of years, including video capability, autofocus and performance improvements, longer battery life, and higher ISO for use in real-world applications. In that last category, we’re seeing not merely incremental improvements in signal-to-noise ratio, but astounding ones—as in seeing little difference between capture quality at the camera’s lowest native ISO (200 in the case of the Nikon D3S) and settings three to four stops greater.

This exposure was taken at ISO 1600 for 1/1,600 second at f/8 with available light from an overcast sky. Notice the extreme amount of fine detail in his eye and skin texture and the lack of noise considering the relatively high ISO setting.

62 • www.ppmag.com

200. No matter which baseline ISO number is

lighting effect I want to capture. I can do that

faster shutter-speeds, this improvement changes

Beyond giving photographers the ability to use

assigned, any setting above or below that is then

with a Nikon D3S.

our thinking about needing big, expensive large-

accomplished electronically by changing the

aperture lenses, and the amount of lighting gear

amount of amplification, or gain, that’s applied to

programmed to automatically apply noise

we need to lug around. Once on location, it

the analog input from the sensor during the

reduction algorithms to the raw NEF file as the

changes the way we use the ambient light, with or

analog-to-digital processing. With common

data passes through the Expeed processor. The

without augmentation. Like the arrival of video

DSLRs this aspect of signal processing, among

camera can definitely do an amazing job of

capability, ISO improvements actually change the

others, is always done internally. That remains the

producing fine to decent image quality over a

economics of the business.

case whether you have the camera do the raw to

range of effective ISO, from 16000 (Hi 0.3) to

TIFF/JPEG processing or do it yourself with a

an incredible 102400 (Hi 3.0). But I find that

raw processing application.

images straight out of the camera shot in the

Because of the slightly imprecise way baseline ISO sensitivity settings are determined with digital cameras, they are something of a

But if I can shoot at ISO 1600 and get nearly

Once the D3S is set for ISO above 3200, it’s

12800 to Hi 1 (25600) range have far less noise

proprietary secret. There are ISO standards based

the same results in terms of noise and dynamic

than you previously would have captured, and

on monochrome, but not on color targets. When

range that I’d get at ISO 200 (comparing the

are very usable. In practical terms, the D3S can

there’s virtually no visible difference between

results in two 12x18-inch prints), without a lot

make sharply detailed photos in light so dim you

images shot with the camera settings at what we

of processing or post processing, then I can base

can barely see anything. As you move up the

finally know as ISO 160, 200, 240, or 320,

my setting within that four-stop range on my

sensitivity scale beyond ISO 3200, what you

determining an ISO base setting becomes sub-

creative preference for the outcome with my

gain in low-light capability you begin to pay for

jective. With the D3 cameras, Nikon calls it ISO

choice of the aperture, shutter speed and the

in dynamic range, losing detail in the extreme

Fisheye joins the Lensbaby Optic Swap System. And another door opens.

photo by chris hornbecker

March 2010 • Professional Photographer • 63

MARK SELIGER IN MOTION Behind the scenes of the Nikon D3S ad campaign l We got a sneak peek into the creation of Nikon’s newest ad campaign for the D3S camera. The concept: artists working together, one art capturing another. The

BY DIANE BERKENFELD

project reunited commercial photographer Mark Seliger with his longtime friend Mikhail Baryshnikov, dancer extraordinaire and a captivating photographer in his own right.

Photos courtesy of Mark Seliger and Nikon USA

Mark Seliger’s portrait of Mikhail Baryshnikov was taken with the Nikon D3S set to ISO 12800 for an exposure at f/4 for 1/50 second.

Seliger captured Baryshnikov in motion with available window light during cloudy conditions at f/5.6 for 1/500 second, ISO 8000. The shadows are rich and dark with no noise issues.

64 • www.ppmag.com

Seliger has earned complete artistic freedom on most assignments; Nikon’s only mandate was the centerpiece of the campaign, a portrait of Baryshnikov taken on the roof of the Baryshnikov Arts Center in New York. Then the photographer was free to pursue his own vision—photographs of a day in the life of the Center and its environs. There was video capture as well, some of it storyboarded beforehand, some of it extemporaneous. You can see the footage and more still images from the shoot at nikonusa.com/d3s. As a Nikon shooter, Seliger appreciates the intuitive operation of the D3S. He’d been using a Nikon D3 for more than a year, so the transition to the new model was smooth. “It’s a darn fine camera,” says Seliger. “I’ve definitely made it part of my repertoire.” During the shoot, even unpredicted rain proved no problem. Seliger praised the D3S’s capacity to capture high-quality images in low light, a significant advantage in commercial photography. “You can practically shoot in the dark with the D3S,” he says. In his own studio, “We keep things really simple here,” Seliger says. He uses minimal artificial lighting, choosing available light whenever possible. “This camera’s not a one-trick pony,” he says, noting the HD video feature that allows him to seamlessly shoot stills, then video, then back to stills without missing a beat. “That was exciting.” The D3S’s 9 fps capture rate is another big bonus for Seliger. Although he doesn’t shoot at quite the pace of a sports photographer or photojournalist, “You still want your camera’s buffer to be able to keep up with the speed at which you’re shooting, and the D3S does that,” he says. “[It] allows me to capture spontaneity in my subjects.” And that’s something Seliger’s famous for.

highlights and eventually getting noise-obscured

Physically, the D3S is almost identical to the

View and then either push the center button

detail in the deepest shadows. To my eyes, the

D3 and D3X, save the two new control buttons

on the multi-selector or press the Pv button

D3 and D700 topped out at a fully usable, if

at the bottom corners of the large rear high-

to the right of the lens mount (press again to

slightly grainy, ISO 1600, but with the D3S, that

resolution LCD, which is protected by hardened

stop recording). It would be nice to have the

grain and noise pattern only begins to show

glass. The left button triggers the info display,

higher resolution (1,080p) of Canon’s EOS 5D

at ISO 6400 or 12800, depending on the

and the right button activates Live View. The

Mark II or EOS-1D Mark IV cameras, but

lighting conditions.

helpful info panel display tells you at a glance all

Nikon’s 720p HD still yields high quality,

of the major camera settings, including auto-

and it doesn’t eat up as much storage. The

focus point selection.

valuable video features include controls to trim

For still photography, the D3S has four available image area recording formats, one of them new to Nikon. As with previous models, it has the

When using Live View mode in still

a movie clip in-camera, saving the edit as a

23.9x36mm, full-resolution 12.1-megapixel FX

photography, the autofocus switches from the

copy and keeping the original intact; that’s

format; the standard Nikon DX/APS-C, 23.5x15.6mm

default phase detection mode to a slower contrast

well suited for wireless transfer. You’ve also got

format that uses the central area for 5.14-megapixel

detection mode, in which the camera analyzes the

aperture control and the use of the entire ISO

resolution; and the 20x30mm, 10.56-megapixel

actual data feed from the sensor. There are two

range. In use, DSLRs are proving to be noisy

capture with a 4:5 aspect ratio. The new format is

Live View modes, one for handheld use and one

beasts, so if you want to record audio along

20x30mm, 8.41-megapixel APS-H. Mount a DX

for tripod-mounted use. In the latter mode, you

with your video, invest in an external micro-

Nikkor lens and the camera automatically chooses

can magnify the view on the LCD for precise

phone, and perhaps an audio mixer to get

the DX recording mode, but DX lens detection

manual focusing.

professional results.

can be switched off in the control menu.

To start movie capture, you first activate Live

In 720p HD mode, the D3S can shoot

Soft Focus for the Lensbaby Optic Swap System. The classic portrait lens reborn at 50mm.

photo by john panian

March 2010 • Professional Photographer • 65

THE GOODS: PRO REVIEW

All images ©Ellis Vener

This image was taken at Eddie's Attic, a small bar in Decatur, Ga., where the light levels on the stage were very low, around EV 3.3, or roughly 2.0 foot candles. The exposure is 1/320 second at f/2.8 with ISO set to Hi 1 (ISO 25600 equivalent). The signal-tonoise ratio at a high ISO setting of an older camera like a Canon EOS 1D Mark III or Nikon D3 would have limited me to about ISO 3200. That would have meant an exposure in the 1/60- to 1/80-second range, or using flash. The relatively low signal-to-noise level at Hi 1 allowed me to use a short exposure to freeze the action, preserve the feel of the ambient light, and not have to spend time on noise reduction in post processing.

continuously up to 5 minutes; in lower resolution formats, the limit is 20 minutes. High-quality HD capture aside, cameras of the current generation are stop-gap video solutions because of their ergonomics and autofocus limitations. They’re designed to be held up to the photographer’s eye and for viewing the image through the reflex finder. But in video capture modes, the SLR body’s mirror is swung up out of the way, and you view what you’re shooting on either the built-in LCD or an external monitor. Perhaps as HD-SLRs evolve, the camera body will evolve as well. �

specs:

Nikon D3S

SENSOR: FX full-frame 36x24mm CMOS MAXIMUM RESOLUTION: 12.1 effective megapixels (4,256x2,832) IMAGE AREA: FX (24x35.9mm) 4,256x2,832 pixels; 1:2 (30x20mm) 3,552x2,368 pixels; 5:4 (30x24mm) 3,552x2,832 pixels; DX (16x24mm) 2,784x1,848 pixels LIVE VIEW: handheld and tripod modes MOVIE MODES: HD 1,280x720/24 fps, VGA 640x424/24 fps, QVGA 320x216/24 fps ISO RANGE: 200-12800 (expandable from ISO 100 to 102400) METERING: 1,005-Pixel 3D Color Matrix Metering II, variable center-weighted, spot AUTOFOCUS: 51 focus points (15 cross-type sensors); single-point, Dynamic and Auto-area AF modes

66 • www.ppmag.com

VIEWFINDER: Approx. 100% coverage SHUTTER SPEED: 1/8,000 second to 30 seconds, bulb MAXIMUM FRAME RATE: up to 9 fps in FX mode FILE FORMATS: JPEG, RAW (Nikon 12/14-bit NEF), TIFF, WAV MEDIA: Dual CompactFlash slots LCD: 3-inch diagonal 920,000 dot VGA TFT with 170-degree viewing angle LENS MOUNT: Nikon F mount, compatible with Type G or D AF Nikkor (all functions), DX AF Nikkor (all functions except FX format, 1:2 30x20 image size and 5:4 30x24 image size), others with limited function INTERFACE: Hi-speed USB, NTSC, PAL, HDMI, 10-pin terminal MSRP (LIST PRICE): $5,199.95

welcome to the Family

Manfrotto presents a new generation of tripods to the carbon fiber tripod world. Extremely light weight with incredible performance, fast and easy to use. 100% Carbon Fiber Tubes / 100% High Performance / 100% Manfrotto Quality

THE GOODS: PRO REVIEW

If you’ve dreamed of having a view camera look, you can bring technical movements and control to your Canon or Nikon digital SLR body for swings, tilts, shifts and more. B Y S TA N S H O L I K

Transformative HORSEMAN VCC PRO

We professional architectural, industrial and

The company is importing the Horseman

still life photographers who’ve been using

VCC Pro made by Komamura Corporation

technical/view cameras now face difficult

of Japan. Though the VCC Pro mounts to

decisions. Film, processors and particularly

any film or digital Canon EOS or Nikon

instant proofing material are hard to find.

body, it’s being targeted primarily at digital

We have to develop a new workflow if we’re

SLR users. Adding even more appeal to this

swings, left and right shifts and tilts (but no

moving to digital, but we still need to use view

solution is the growing availability of full-

rise). The lens panel accepts adapters for

camera movements and bellows extension.

frame digital SLRs with resolution approach-

Mamiya 645, Pentax 645, Hasselblad V-

ing that of medium-format digital backs.

series, Linhof Standard, Copal #0 mount

format digital backs to existing 4x5 cameras,

The VCC Pro will meet many of the needs of

view camera lenses, Rodenstock Rodagon

as well as view cameras expressly made for

current view camera users. Moreover, its

and APO-Rodagon CCD lenses and M39-

medium-format digital backs. These will fill

ease of use could open doors for photographers

thread Schneider Digitar lenses. Canon and

our needs, but at a cost that’s hard to justify

who have yet to investigate the creative

Nikon lenses are out because of their limited

in the present economy.

possibilities of using swings, tilts and shifts.

image circle and inability to focus at infinity.

There are options for adapting medium-

Direct Source Marketing (dsmww.com)

The VCC Pro has the look and solid feel

Horseman VCC Pro with the recessed lensboard tilted forward, used with Rodenstock Rodagons, Schneider Digitar 28mm f/2.8 and other M39 thread lenses.

There is no electrical contact between the

has a far more affordable solution that incor-

of a view camera. The front standard features

lens standard and the camera body, so the

porates digital Canon and Nikon SLR cameras.

a nicely designed lens panel, left and right

lenses must have an aperture control ring—

All images ©Stan Sholik

operation is entirely manual. The camera’s fixed rear standard permits rise and fall movements and left and right shifts, but no swings or tilts. A bag bellows joins the two standards, which are mounted on a flat bed rather than a square or circular rail. The front standard moves about 3 inches from the rear standard to the front of the bed track, and the track can move up about 3 inches farther, for a possible extension of 6 inches.

With the 28mm Digitar and a Nikon D700 mounted on the Horseman VCC, there was enough fall on the rear standard to keep the verticals vertical on this model home. Since the VCC lacks levels, I used the virtual horizon on the D700 and levels in the hot shoe to orient the camera.

68 • www.ppmag.com

specs:

Horseman VCC

TYPE: Auxiliary equipment allowing swing, tilt, shift and rise/fall movements when attached to the lens mount of a digital SLR camera. COMPATIBLE LENSES: Rodenstock Rodagon lenses 60mm to 135mm, Hasselblad lenses, Pentax 645 lenses, Mamiya 645 lenses, large-format lenses 90mm to 210mm TRACK EXTENSION: 72mm (2.8 inches) CAMERA MOVEMENTS: Lens standard — [Tilt] 15° forwards / 10° backwards, [Swing] 15° each (L/R), [Shift] 30mm each (L/R); Back — [Rise/Fall] 15mm each, [Shift] 20mm each (L/R) CAMERA MOUNT: Canon EOS Mount, Nikon F Mount MSRP: $1,699

The shift control on the rear standard is driven with a micrometer drive and locked in position with a lever (shown at the right of the base). Positions are clearly marked so that you can precisely position the standard for stitching images together.

I had to tilt the camera upward while doing this photo because I ran out of movements when the 28mm Digitar bumped into the VCC’s mounting ring for the Nikon D700.

All these capabilities make the VCC Pro highly versatile, particularly for still life, close-up and macro photography. What’s really needed, though, is more advanced optical design. The camera is willing, but particularly for architectural shooting, the

The micrometer drive for rise and fall on the rear standard operates smoothly and precisely. Markings show the amount of rise or fall in millimeters.

present lens selection is weak. The problem lies in the depth of the DSLR body; the

contact with the metal ring that mounts the

lens-flange-to-sensor distance (flange focal

VCC to the DSLR, limiting the range of rise

length) needs to be at least 60mm to avoid

and fall and left and right shift to just a few

interfering with the camera’s mirror operation.

millimeters, far too few to be of much use

For architectural photographers needing a

for architectural photography.

wide-angle lens, only the Schneider Digitar

Where the VCC Pro does fully come into

28mm f/2.8 meets this criterion. Direct

its own is in the studio, especially for close-

Source Marketing was able to loan us one

up and macro work. For my in-studio tests,

for this article. Superb as this piece of optics

I used the 28mm Digitar, a 47mm Super

is, when focused at infinity, its body makes

Angulon (in Copal #0 shutter), and my

There was just enough fall movement before the 28mm Digitar bumped into the VCC’s mounting ring for the Nikon D700 to correct the verticals from this angle.

March 2010 • Professional Photographer • 69

THE GOODS: PRO REVIEW

With the lenses that I had at my disposal, the VCC Pro really came into its own in the studio for close-up work. This image was taken with the Nikon Macro 120mm f/5.6 Nikkor-AM(ED) lens mounted on the VCC Pro and a Nikon D2X camera.

The photo above, left, was taken with the movements zeroed at f/8 with a 47mm Super Angulon. Using the front tilt, I was able to gain more depth of field, which is most noticeable in the increased sharpness of the husk of the dried maize at the top of the photo. Since the movements do not occur on the optical axis of the lens, the camera needs to be repositioned to reframe the shot after adjustments are made.

Nikon Macro 120mm f/5.6 Nikkor-AM(ED)

Shooting tethered and evaluating focus on

in millimeter increments. This allows you to

lens with M39 thread. The Digitar works

the monitor would work better, but when

use the rear standard for stitching images

well at studio distances, where there’s enough

the camera is horizontal, there’s not enough

together. The VCC provides four-frame

bellows extension so that the lens body does

clearance for the USB cable between a

stitching with a full-size CCD or FX imager

not hit the lens mount, but it’s a bit too wide-

Nikon DSLR body and the rear standard.

that yields image quality equivalent to that

angle for most work. Neither the 47mm nor

It’s fine when the camera’s vertical.

of medium-format digital backs.

the 120mm could focus on objects at normal

Clearances are tight elsewhere, and my

The controls for tilt, swing and shift

working distances, but served well as close-

hands aren’t that large. Attaching the remote

on the front standard are not micrometer

up and macro lenses. (I’ve heard that using

release to the Nikon accessory socket is very

driven, but they operate smoothly and lock

Rodenstock Rodagon lenses or medium-

tight work. Even attaching and releasing the

securely, as do the large focusing knobs.

format lenses would overcome this

camera body from the bellows and rotating the

On location, I found myself wishing there

limitation, but I wasn’t able to test them.)

camera from horizontal to vertical takes some

were levels on the VCC Pro. The virtual

New lenses are likely in the future.

getting used to with the limited clearance.

horizon on the Nikon D700 helped, and

In studio, I could use the lens tilt to increase

Aside from these minor annoyances, the

I had my hot shoe level with me, so that

the depth of field, always welcome with

design and quality of the Horseman VCC

close-ups. Large lens movements introduce

Pro are excellent. The micrometer drives for

minor color fringing. Evaluating focus

rise and fall and lateral shift on the rear

Pro puts view camera controls in the hands

through the viewfinder does get tricky.

standard are very smooth and well marked

of a Canon or Nikon digital SLR owner. �

70 • www.ppmag.com

was a minor issue. With the right lens, the Horseman VCC

THE GOODS: PRO REVIEW

Canon’s new EOS 7D boasts extended high ISO, smart viewfinding, full HD and enhanced autofocus. B Y D O N C H I C K , M . P H O T O G .C R . , C P P

Sweet sophistication CANON EOS 7D

The Canon 7D is a digital camera techie’s

Canon’s design tweaks in key parts of the body,

The 7D has an incredible ISO range of

dream with its host of cool features, not the

I can hold the 7D with confidence that it won’t

100 to 6400 (native), to an extended 12800.

least of which is 18-megapixel resolution.

slip out of my hand. I noticed too that the

I set up a GretagMacbeth ColorChecker

Reading the 275-page manual is time well

on-off switch is in a more logical place—on the

chart and a mannequin head to test digital

spent—really!—to acquaint yourself with all

top of the body, next to the mode dial. That’s

noise across the entire range (below). As

the new features and the incredible number

where my left thumb naturally rests when I

expected, the lower ISO captures had no

of menu options in this bad boy.

hold the camera with both hands. Canon also

noise in shadow areas. Noise didn’t appear

added a switch for starting video capture, so

until the ISO 1600 range. At ISO 6400,

there’s no time lost in navigating menus.

noise was abundantly evident, and at ISO

First, I noted the improved grip. I love my Canon EOS 40D’s ergonomic design, but with All images ©Don Chick

ISO 100

ISO 12800

12800 the noise in the shadow areas was extreme. But even with a noisy ISO 12800, you can at least capture images in previously unthinkable low-light conditions. I ran an ISO 12800 capture through the Imagenomic Noiseware Professional plug-in (imagenomic.com), and even at the default settings, it removed a significant amount of

A GretagMacbeth ColorChecker chart plus a three-dimensional object with shadows show how noise levels from the Canon EOS 7D change with native and extended ISO settings. ISO 800

72 • www.ppmag.com

ISO 1600

ISO 6400

noise to produce a completely usable file

The Canon has incorporated manual expo-

(below). Wedding photographers will

sure control in the 7D’s movie capture. Previous

appreciate these high ISO capabilities, especially

models had only automatic exposure control.

at receptions, when the lights are usually

The upgrade of manual exposure capability

dimmed. Combining a fast lens with a high ISO

gives you the ability to override the exposure

setting will give you many more salable images.

during complicated lighting situations. To

One of the fun 7D features is full HD

begin recording, simply flip a switch on the

video. The possibilities for making multi-media

back of the camera from still to video capture

products or dynamic marketing are limited

and push the start/stop button. The camera

only by your imagination. There are three

has a built-in microphone that records sound

video resolution options: Full HD—high

in monaural. For far better audio capture,

definition recording quality, 1,920x1,080

get an external microphone to capture in

pixels at 30, 25 or 24 progressive frames per

stereo and to avoid having the sounds of the

second; HD—1,280x7,20 at 60p or 50p fps;

camera adjustments ruin your audio track.

and the least—640x480 at 60p or 50p fps.

Another new feature is the quick control

Why all the options? Well, for instance, 24

button on the back. Quick control brings up

fps is a U.S. standard and 25 fps is a European

a summary of shooting settings on the LCD

standard. If you shoot in 60p or 50p fps, you

and allows quick checks or changes of key

can slow down the frame rate in your output

settings. Navigate the settings with the

playback and have a slow-motion effect. Genius.

multi-controller.

In addition to the new features, you still get classic portrait quality from the Canon EOS 7D. Exposure: 1/60 second at f/6.3, ISO 100, no flash.

Any techno-geek will appreciate the new electronic level. Push the Info button twice and the LCD monitor displays a diagram showing the current pitch and roll of the camera; it’s reminiscent of a flight simulator game. When mounted on a tripod, this feature will enable quick alignment of the camera both vertically and horizontally. There’s also a new multifunction button next to the shutter release. Press the AF point select button, and each press of the M.Fn button toggles through the auto focus modes, a real time saver. You can also use M.Fn to fire a pre-flash from the built-in flash unit to enable the camera to correctly calculate the flash exposure. The 7D has what Canon calls an “Intelligent

This sample from a much larger file shows how the application of noise reduction software can make a photograph taken at ISO 12800 into a usable file.

March 2010 • Professional Photographer • 73

THE GOODS: PRO REVIEW GET YOUR LIGHT RIGHT. coverage. A grid display option in the viewfinder is available to aid composition. Improvements in autofocus have been made in this model. Zone autofocus and auto select 19-point autofocus are engineered to minimize focusing errors, letting the camera interpret which focus point the photographer wants. As a portrait photographer who rarely photographs sporting events or moving

The best light modification tools for any situation.

objects, I’ll opt for the traditional single-

Your favorite light modifiers in the right sizes, with the right fabrics.

point autofocus. With the shallow depth of

Kits include 1 fabric, a frame, and a shoulder strap carrying case.

exactly where to focus. For testing purposes,

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field of a fast lens, I want to tell the camera I took some photos at a junior high basketball

Using Zone autofocus at a junior high basketball game scored more correctly focused images than single-point autofocus.

me to capture more images. Rather than a single focus point, the camera uses a zone of focus points to interpret your focus point. Combined with the high-speed drive

Viewfinder.” It has a 100-percent field of

capability, it let me capture more correctly

view, wide-viewing angle of 29.4 degrees,

focused images.

and high magnification of 1.0. That means

Is the Canon EOS 7D is worth the invest-

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you can frame the image knowing that

ment? If you’re in the market for a feature-rich,

narrow reflection for tight subjects

capture will be exactly what you’re seeing in

18-megapixel camera with high ISO capability

the viewfinder. It’s refreshing to look

and HD video, then yes, seriously consider

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adding this new camera to your bag. �

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74 • www.ppmag.com

specs:

Canon EOS 7D

SENSOR: 22x14.9mm (APS-C size) CMOS sensor, 1.6X lens conversion IMAGE PROCESSING: Dual DIGIC 4 Image Processors RESOLUTION: 17.9 megapixels (5,184 x 3,456 pixels) VIDEO: Full HD video at 30p (29.97 fps), 24p (23.976 fps) and 25p with an array of manual controls, including manual exposure during movie shooting and ISO speed selection METERING: 63-zone SPC TTL metering with selectable modes AUTOFOCUS: 19-point all cross-type AF, TTL-CT-SIR AF-dedicated CMOS sensor ISO RANGE: ISO 100 to 6400 native, extension to ISO 12800 SHUTTER SPEED: 1/8,000 second to 30 seconds, bulb; maximum 8 shots per second CONTINUOUS SHOOTING: High-speed maximum 8 shots per second; low-speed maximum 3 shots per second; maximum burst rate for JPEG (Large/Fine) about 94 (CF) and 126 (UDMA CF), for RAW about 15 (CF or UDMA CF) PRICE: $1,699

THE GOODS: PRODUCT COMPARISON

If you’ve never liked using a traditional camera strap, take a cue from the Old West and try shooting from the hip with these new alternatives.

won’t come undone accidentally. Velcro running the length of the belt doubles over to secure it to itself, and comfortably adapts the belt to any waist size. Holster

BY DIANE BERKENFELD

Quick draw

WHO SAYS YOU CAN’T TAKE IT WITH YOU?

slipped onto the belt, you secure it with the elastic loop attached to the protective flap. The Spider Holster’s locking mechanism gives you complete peace of mind, but unless you do handstands, your camera won’t come off anyway. You can set the lock to engage (or not) every time you reseat the camera.

You’re on the edge of a packed dance floor,

The two-part Spider Holster has a quick-

camera on your hip, trigger finger itching

release plate that screws into the camera’s

Holster can carry the weight of an SLR

to shoot. There’s your shot! You snatch the

tripod socket and a holster that fits on a

body and a large lens with flash attached.

camera from its holster, raise it to your eye

regular belt or the sturdy optional accessory

For heavier gear, SpiderPro recommends

in one fluid sweep, and nail it. You’re a new

belt. A knob on the plate slips into the holster

using the optional Spider Belt. I tested it out

breed of gunslinger sans the violence. If you

to hold the camera upside down at your hip.

with a Nikon D300s attached to a bracket

like that scenario, look into these new

The plate also has its own tripod mounting

with a portable tungsten light and an 18-

holsters and sling-style straps for cameras.

socket on the bottom, so you don’t have to

200mm lens. It was a little cumbersome,

detach it to use the camera with a tripod

but it worked. Videos on the SpiderPro

(spiderholster.com).

website show how it all works together.

I’ve been putting two ergonomic holsters and one sling strap through their paces since last fall’s PhotoPlus Expo. They're all designed

The Sun-Sniper-Strap from California

The stainless steel and aluminum Spider

I asked a few photographer friends to

to afford quick camera access and alleviate

Sunbounce is similar to the BlackRapid

test these carriers as well. A couple in high-

the neck and shoulder pain of toting a

R-Strap reviewed in PP’s October 2009

end wedding studios said they wouldn’t

camera, lens and flash on a traditional strap.

Web Exclusives (ppmag.com). It screws

feel comfortable in the midst of 300

into the camera’s tripod socket to hold the

reception guests having their camera

camera upside down on an adjustable strap

dangling upside down from a bracket, but

across your chest, providing fast and easy

it all comes down to personal preference.

The Spider Holster and the Sun-SniperStrap attach to the bottom of your camera.

The Sun-Sniper-Strap, distributed by California Sunbounce, suspends the camera at your back, held by a connector to the tripod socket.

access to grabbing the key shot. The length of strap that rests on your shoulder is well

venue was a little too small for the number

padded (sun-sniper.com).

of guests. The Spider Holster worked the

The HoldSLR holster hooks onto the

best there, too, and I wasn’t at all concerned

chest strap of a backpack or to a belt. The

about walking through the crowd. I liked

camera slips into the holster lens first. This

the ease of using the Spider Belt lower on

holster comes with a body cover for outdoor

my hip than a regular belt.

use in inclement weather (holdslr.com). I tried all three accessories in numerous

76 • www.ppmag.com

I used the carriers at an event where the

The HoldSLR was also good in a crowd. With the camera in front, I instinctively felt

situations. The Spider Holster worked best

it was well protected. Keeping a hand on the

for me. I used it with the optional acces-

grip as I walked felt even more secure. The

sory belt, which has a flap of material to

Sun Sniper Strap, on the other hand, with

keep the camera from rubbing against your

the camera at my back, felt less secure in

pants. Releasing the belt buckle requires

this crowd.

pushing a center button while pressing the

Changing up the Nikon for a Canon EOS

plastic side clips, so you can be confident it

5D Mark II, 24-105mm lens and flash on the

into the holster when I needed to fix the

sells for $54.87. Available at Midwest Photo

subject’s hair or pose, without losing time

Exchange, the HoldSLR sells for $69.95.

finding a safe place to put it down. A quick

Purchase the SpiderPro system (holster and

draw from my hip and I could resume

belt) for $109.99 at spiderholster.com. �

shooting. Sessions felt more fluid. Gravity keeps the HoldSLR on your belt, but I’d feel more secure if it had another strap to keep it in place. The lens slips into the collapsible “boot,” a fabric-covered steel

The added protection from wear on your pants and the low-slung design make the Spider Belt a handy option for the Spider Holster.

cage. A body cover is included. The product designer is a nature photographer, so it’s The HoldSLR slips onto your belt and secures the camera by holding the lens in a cylindrical “boot.”

meant to withstand the rigors of hiking. The Sun-Sniper-Strap has steel cables running through it, so it wouldn’t be easy for

hot shoe made no difference to performance;

someone to slash it and run off with your

any DSLR with lens attached will feel at home

camera. It does take the weight off of your

attached to any one of these camera carriers.

neck, but transfers it to your shoulder.

For portrait shots, I don’t always shoot on

All three can be used in multiples, so

a tripod, so the holsters were a real

you can work with two cameras. Available

convenience. I could simply slip the camera

from retailers online, the Sun-Sniper-Strap

March 2010 • Professional Photographer • 77

THE GOODS

PRODUCT ROUNDUP BY BETSY FINN, CR.PHOTOG., CPP

14 Album design solutions that will save you time and inspire your creativity

DESIGN AGLOW offers a selection of hip album templates for wedding and portrait photographers. All of the templates are simple

Layout the easy way Designing albums from scratch can be a hassle. First you have to come up with a creative look, and then you have to manually lay out the pages. For the studio owner, the time it takes to produce an album would be better spent on marketing and growing the business. If you’re looking to lighten your album workload without hiring another employee, the solutions below could be the answer.

ALBUM DS album design

to use (automations run on Photoshop actions) and customize,

software works like a toolbar

and are flexible enough to work seamlessly with albums from any

for Photoshop CS and later.

vendor. Design Aglow offers a huge selection of other products as

Using Photoshop’s working

well, from fresh marketing materials and smart selling tools to

area for designing the album,

inspiring learning products. Album templates range from $45 to $75.

Album DS automates the

designaglow.com

process by keeping track of the pictures used, placing the

FOCUSED BY WHCC is an expanding line of high-quality

images in the layout, applying

templates designed by photographers and artists, including people

effects, and allowing direct

whose names you’ll recognize. There are templates for press-

access to templates,

printed cards,

backgrounds, masks, clip art, styles, frames and more. The entire

stickers, books,

process can be automated, just by selecting the templates and images

and albums, as

and leaving the work to Album DS. Prices start at $349. albumds.com

well as designs for new WHCC

CHECK STUDIO allows you to give your printed albums a custom-

products, such

designed look without all the work. Most book designs are set up for

as image

78 • www.ppmag.com

10x10 pages, but can be easily altered

boxes,

to fit larger or smaller square

CD/DVD

formats. Features include layered

cases and

PSD files with easy-to-use clipping

mini

masks, editable type and detailed

books. The

PDF instructions. Book designs

fully

are filled with beautiful backgrounds,

editable

patterns and artwork, and details

Photoshop PSD-layered templates are set up for simple drag-and-

such as antique frames and

drop efficiency. All templates comply with White House Custom

custom shore scenes. Templates

Colour (WHCC) specs. Templates are available for individual

start at $150 each; package deals

purchase starting at $25, and in sets for a discounted price.

are available. checkartstudio.com

focused.whcc.com

THE GOODS

GARY FONG’S ALBUM DESIGNER, which runs in Photoshop, will automatically assemble images onto your page design. Simply drop the images from your browser onto the spread, and move them around on the digital canvas. Album Designer comes with a host of border types, such as sloppy borders, virtual mats, photo corners and drop shadows. Buy it now at the special price of $99.95; regular price $199.95. garyfonginc.com line of templates and other products, such as Photoshop actions, textures and Lightroom presets. The album templates are easily customizable, can be purchased individually or in sets, and most important, are affordable and easy to use. Some products are in PSD format and require Adobe Photoshop. JensFabulousStuff.com

KUBOTA AUTOALBUM allows you to design albums completely in Photoshop, using Smart Object technology. AutoAlbum includes a time-saving

GRAPHIC AUTHORITY sells an extensive line of drag-and-drop

dashboard interface for

templates, featuring high-resolution, fully editable graphics,

quick template searches

©Clint Huffaker

with guaranteed

and launches. Priced $399,

print quality. The

the software includes over 500 layouts. kubotaimagetools.com

collection of photo book layouts and

PAGE GALLERY BY YERVANT allows you to create collages and

folded card designs

album layouts in less than 3 minutes per spread. Page Gallery

comprises more

operates as a skin over Photoshop so you can switch seamlessly

than 30 products,

between programs. Drag-and-drop your images into your selected

and nearly 1,000

layout and make your own adjustments. Page Gallery includes more

layered templates

than 5,000 templates, and is compatible with most popular album

and custom edge

manufacturers’ products. Retail price, $590. yervant.com

designs. Photographers can use the designs as sold, or customize to suit their style. Prices start at $79.95 for individual collections; bundle two collections for $339.95, three for $499.95. graphicauthority.com

JENSFABULOUSSTUFF.COM, founded by Kate Thram and Jen Hillenga, the co-owners of Momento Images, offers an expanding

80 • www.ppmag.com

Many problems. One solution. Introducing the new Plug-In Suite 5 from onOne Software. Featuring the new PhotoTune 3 plug-in for color correction and dynamic range enhancement, the Plug-In Suite 5 solves 6 of the most common problems you face as a digital photographer.

The award-winning Plug-In Suite 5 includes: 1

Genuine Fractals 6 for Enlarging Images

2 NEW PhotoFrame 4.5 for Edge & Framing Effects 3 NEW PhotoTools 2.5 for Photographic Effects 4 NEW FocalPoint 2 for Selective Focus 5 NEW PhotoTune 3 for Color Correction 6 Mask Pro 4 for Removing Backgrounds

Making Digital Photography

Easier, Faster, Better

PhotoTune 3 is just one of six products included in the new Plug-In Suite 5 and was used on this landscape photo to correct the white balance, increase the dynamic range and improve the overall color of the scene so it matched what we saw when we shot it. PhotoTune 3 is accessible from within Photoshop, Lightroom and Aperture and not only improves the color of your landscape photos, but also includes specialized tools to color correct skin tones in your portrait photos as well.

© 2009 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc. The onOne Software logo, PhotoTune and Plug-In Suite are trademarks of onOne Software. Lightroom is a trademark of Adobe Systems, Inc. Aperture is a trademark of Apple, Inc.

onOne Software’s Plug-In Suite was voted the best set of Photoshop plug-ins in 2008 in the Studio Photography magazine Reader’s Choice Awards.

For a limited time, save $50 on Plug-In Suite 5 when you visit... www.ononesoftware.com/50pn

THE GOODS

PHOTODUDS

offers drag-and-drop themed design elements and

templates to dress up in your studio’s own style. You can mix and

graphics blocks, opacity settings, and background and border styles and colors. ProSelect will generate hi-res image files to send to your lab or album company using Photoshop automation; you can even generate album assembly specifications. ProSelect Pro sells for about $601. Composite Album Collections I and II are sell for about $125 and $80, respectively. TimeExposure.com

STUDIO-ASSIST is a Web-based product builder and asset manager from Artefact Studio. Photographers can build extraordinary

match elements to create unique products. PhotoDUDS will bring out the designer in you. Prices range from $25 to $125. photoduds.com

PIXEL CREATOR PRO V5.0 works seamlessly within Photoshop— if you can open it in Photoshop you can use it with Pixel Creator Pro. Use Creator’s automation tools with any third-party template, products with Studio-Assist’s advanced tool set, yet the program is simple to use. Design multi-layered projects with special effects, build slideshows, folios and albums. Go to bit.ly/7U2qet to view a quick including those from Graphic Authority, photoDUDS, and your own

YouTube demo. Your assets are stored on Artefact’s secure cloud

layouts. Compatible with Windows and Mac, Photoshop CS2 and later;

servers. No fee to use Studio-Assist for members Artefact Studio. To

32-bit and 64-bit versions in CS4 . Retail, $379. pixelcreatorpro.com

get started, simply create your own profile on the Studio-Assist site. artefactstudio.studio-assist.com

PROSELECT PRO, primarily a sales and workflow solution, includes a book builder for any size book, whether it’s a digitally composited

TOFURIOUS offers Photoshop album templates in a variety of sizes

book or traditional matted album. Scalable page templates can include

and styles. The templates are minimalistic and simple for clean

designs that won’t go out of style. Tofurious templates use Photoshop-based masking for easy drag-and-drop image placement and page merging, and include crop lines for full bleeds. Sample over 40 template pages free; hundreds of pages are available, starting at $30 each. tofurious.com �

82 • www.ppmag.com

%R/T 100.00

b

90.00 80.00 70.00 60.00

a

50.00 40.00 30.00 20.00 10.00 0.00 400

500

600

700

L

THE GOODS: PRO REVIEW

Not sure what do with your HD video capability? Try Western Digital’s solution for displaying impressive shows for your clients with those still and video files. BY BRUCE DORN

On the big screen WESTERN DIGITAL WD TV LIVE

When it comes to selling albums or display

huddled around the screen created an

way to feed this beast a mixed menu of

prints, I’ve always subscribed to the philosophy

atmosphere lacking in both comfort and

digital stills and full-HD 1080p video led us

show big, sell big. We enjoy profitable album

charm. I needed something more

to a delightful little media player from

sales by trolling with big, beautiful books.

convenient and impressive.

Western Digital. This neatly designed WD

Our displayed prints are sofa-sized and have

Many photographers are successfully

TV unit is a compact, capable media player.

price tags to match. Until recently, the task

using digital projection in sales presentations,

It was easy to install, simple to operate and

of producing those thick books and huge

but our client lounge has way too many

completely affordable. We recently upgraded

framed canvases was as outsized as the

windows and ambient light for crisp pro-

to the new WD TV Live media player with

products. But these days, as HD video capture

jection. We figured that a wall-mounted

networking capability.

is becoming commercially viable for pho-

monitor would be a better solution for our

All Western Digital WD TV media

tographers, showing big is easier than ever.

situation. After thorough research, in-store

players are ready to plug-and-play directly

viewing and fingernail chewing, we chose a

from a USB drive, and that suits us just fine.

definition capture, we displayed our images

52-inch LCD television monitor. (Colors on

As a part-time digital safari guide, I use the

on our largest computer screen, a 30-inch

plasma screens strike me as over saturated,

excellent little bus-powered WD My

Apple Cinema Display. We had to schedule

and the screens are highly reflective—not so

Passport drives to back up my laptop

client screenings around my workflow when

good for a room with all those widows.)

everywhere I go, even the wilds of the

In our early experience with high-

the computer was free, and having everyone

Our search for an elegant and economical

African bush. The drives serve as temporary

All images ©Bruce Dorn

archives until I can load the images on our studio’s massive RAID array. With the WD TV Live player, I can plug in a My Passport drive, relax in front of my beautiful Sony LCD, do a little editing, all the while conserving all kinds of storage space—if you think still captures eat up storage, wait ’til you start using HD video. With two USB ports in and an HDMI out, the WD TV media player couldn’t be simpler to install. You can even hook it up to old-school composite video connections. The first models were already plug-and-play, and the new WD TV Live media players add

The WD TV Live media player is a great solution for presentation in our client lounge.

84 • www.ppmag.com

home network connectivity. They can also access social media imaging sites such as YouTube, Flickr, and Pandora.

• Social media surfing; you’ll need broadband connectivity. • Turn any USB drive into an HD media

zooms and pans. Search by file name, partial file name, date, and recently viewed. • Reviewing video clips is a snap with full

The WD TV Live media player allows

player. Anything that can be recognized as a

control of fast-forward, rewind, pause,

seamless media presentation with minimum

mass storage device will work, including cam-

zoom, and pan.

hassle, and on a mind-blowing scale. Now

eras, camcorders, and portable media players.

• Music playback controls include fast-

I’ve escaped from behind my computer monitor,

This gadget is the perfect companion for my

forward, rewind, pause, shuffle, and repeat.

my clients are more comfortable, I’m more

growing collection of WD Passport drives.

• Copy, move or delete files stored on a

relaxed, our images are more impressive and

• Use multiple USB drives. With two

our sales have increased. That’s what I call a

USB ports, I can connect my camera without

camcorder using on-screen menus. You

win, win, win, win, win situation!

unplugging my main USB drive. The WD TV

must be connected via USB or Ethernet.

Here are some key features of the WD TV Live HD media player:

menus sort content according to type. All

USB drive, network drive, camera or

But all that’s just icing on the cake. For me,

my video files are grouped into one location

any time away from the computer screen is a

and separate from my music and still captures.

mini-vacation. I love sharing our work in its

navigation. The WD TV Live media player

• Access files throughout your home or

full 52-inch LCD screen glory. Who knew such

comes with a nifty little remote control and

studio network. No more sneaker-net. Move

a tiny little gadget that sells for $150 would

intuitive navigation menus.

files via Ethernet with hard-wired con-

have such a large impact on our business? �

nections or use your own WiFi adapters.

westerndigital.com

• Full 1080p HD video playback and

• Support for numerous file formats, including TIFF, JPEG, Canon video compression, H.264, MOV, MPEG and many others.

• Create custom slideshows with a spectrum of transitions and background music. Add

Bruce Dorn’s studio, iDC Photography is in Prescott, Ariz. (idcphotography.com).

March 2010 • Professional Photographer • 85

Tired of routine reception photography? Explore some new ideas or get a fresh take on the tried-and-true standards. Those party pictures can be compelling documentaries of significant relationships. WEDDINGS

T

By Stephanie Boozer

©Becka & Nate of Studio222 Photography

here are certain reception shots you simply cannot fail to shoot—the couple’s introduction, the cutting of the cake, the fatherdaughter dance, everything that tradition and expense mandate. After all, a lot of money goes into throwing a party of record,

and its glory is fleeting. But you don’t have to be stuck in a boring routine. Try rethinking your approach. TAKE THE PULSE. “Every reception has its own cadence,” says Tasha Owen, of Tasha Owen Photography in Tacoma, Wash., who spends a few precious minutes getting an early read on the party vibe. “Sometimes the crowd is very hands-on and wants to interact with you, and at other receptions, that’s just not your part. I try to find the calm in the storm and start anticipating what’s going to occur.” Owen also keeps a sharp eye on who the guests are photographing. If there’s a group of sorority sisters or family members gathering for a candid shot, she’ll cross the room to get her own perspective on the scene. “They’re doing the work for you—they know who’s supposed to be in that shot,” she says. “Pay attention to the guests and they’ll guide you to the heart of the reception.” TAKE A SEAT. “Something we’ve

started doing helps immensely, sitting with the guests,” says Becka Knight of Studio 222 Photography in Orlando, Fla., who realizes that sounds a little unorthodox. But when

Life of the party 12 Tips to break you out of the reception rut 86 • www.ppmag.com

the relationship is right, Knight finds couples make the suggestion themselves. “We never have to worry about missing anything that might come up when we’d

otherwise be seated far away, refueling.”

get a ton of variations in the lighting and

camera) and turning the camera during a

Knight sees a psychological transfor-

mood of the first dance. And once you’ve

long exposure. You’ll stop the motion of

mation in guests’ demeanor that makes

nailed your ‘safe’ shots, start playing around

your main subject while the ambient light in

them feel more comfortable around her.

with lens flares and backlighting.”

the room will blur. We use this very sparingly

“They perceive us as friends instead of

This is a great opportunity to experiment,

though, as it can get old pretty quickly.”

vendors,” she says. “That kind of trust is

Scott adds. “It’s officially time to break the

TAKE IT DOWN A NOTCH. “The

invaluable both at the reception and after,

monotony,” he says. “We’ll do some shutter

ability to shape and mold your flash under

because they become our biggest cheer-

dragging by bringing a light in close (or on-

all circumstances will help set you apart

leaders along with the bride and groom. If we become friends, in addition to taking amazing photographs, we become not only memorable, but remarkable.” BE LORD OF THE RINGS. “As portrait and wedding photographers who photograph people all day long, it’s a refreshing change of pace to grab the rings, find interesting locations or textures and let yourself be creative in a way you don’t often have the opportunity to be,” says Chris Scott, of Chris and Adrienne Scott Photographers in Nashville, Tenn. “We love the chance and the challenge of creating interesting ring shots in a different location at every wedding, and our couples love the results.” TRIUMPH WITH THE TRIPOD. “It’s essential for any reception that we shoot,” says Christian Oth, of Christian Oth Studio in New York. “Most of our receptions end up being indoors after sunset, and the tripod can do a lot of things, like timed exposures.” One of Oth’s signature shots starts with mounting the camera on a tripod and setting the exposure at f/8 for for 1 second. “The long exposure blows the people out, and you get beautiful details on the table,” he says. “You also get the suggestion of the human element because the people are blurred just enough.” MOVE THE FLASH. “Take the flash off of the camera for the first dance and fatherdaughter, mother-son dances,” says Scott. “We typically use two lights, one stationary and one carried by an assistant. With some simple hand signals to our assistant, and just moving around the dance floor, we can

©Chris & Adrienne Scott

‘‘ ’’ Take the flash off the camera for the first dance and fatherdaughter, mother-son dances.

—CHRIS SCOTT

WEDDINGS from the competition,” says Canadian Dave

Dialing down the flash makes it almost

which enables us to capture true emotion.”

Cheung, of DQ Studios in Calgary, Alberta.

imperceptible to guests, yet renders dra-

“Think of well placed off-camera flashes as

matic lighting with a hint of spot to guide

imagery they literally couldn’t see with their

in-camera dodging and burning. Use your

your eye into the focus of the image. “We

own eyes is one of the most gratifying parts

flash to dodge and guide your viewer. Another

hide the flash so that it’s totally unob-

of the job,” adds Dave.

great effect, slightly underexposing ambient

trusive,” says Quin Cheung. “Our flashes

COLOR IT BEAUTIFUL. “I want my

and accenting with flash, can help minimize

are going off at very low power, so they

party shots to look especially lively, and colored

distracting backgrounds, people and clutter.”

don’t interfere with whatever is going on,

lights really help create a sense of action and

“Being able to surprise your clients with

excitement,” says Brian Dorsey, of Brian Dorsey ©Brian Dorsey Studios

Studios in New York, who was cited as one of the top 10 wedding photographers in the world by American Photo magazine. “Not everyone’s budget can support a large-scale lighting design company. When I want to kick up the energy on the dance shots a notch, I’ll place a gelled flash head—deep blue is my favorite—up high near the band and trigger it from my camera. I can use it as a cool rim light or kicker and it really makes the images pop. It’s not the same as spending $20,000 on Bentley Meeker’s Lighting & Staging, but it works pretty well in a pinch.” GET ENLIGHTENED. “Sometimes we find opportunities to photograph details of the reception before it’s dark,” says Oth. “We do get light coverage on that, but we also make sure to go back and get shots after dark as well. For example, the cake: you can get amazing pictures of the cake when it’s sunset, but when you go to put the album together, you don’t want to have a mismatch of a daylight cake detail next to the couple cutting it at night.” IF YOU’VE GOT TIME, SELL IT. “If you’ve got some downtime in the reception, or an assistant who does, and a laptop, why not run a slideshow of main images from the day?” says Scott, who finds it can lead to new bookings. “Most people are floored you’re showing images from the day, and will crowd around to see them, dragging over other people to take a look. We are hyper-sensitive to getting things right incamera during the day, knowing that people

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WEDDINGS

are going to see untouched images that night at the reception.” Eric Sartoris, of Anthology Photography in Austin, Texas, also has good luck with same-day slideshows. “We run a slideshow on a projector screen or large monitor, even incorporate the day’s captures with a premade slideshow that includes childhood and other pre-wedding photographs of the couple,” he says. “We’ve gotten incredible responses from this.” CREATE A DIVERSION. Another trick that both Scott and Sartoris say amps things up at the reception is setting up a photo booth. “One light and a backdrop, or a blank wall, and you’re in business,” says Scott. “We encourage our couples to bring props for the booth and we end up with

©Tasha Owen

hilarious photos to show for it at the end of the night. We’ll typically have a slideshow of

sales afterward.” Sartoris’ Live Photo Booth

and her family, it’s important not to neglect

images up on our blog within a day or two

has been a huge success and “a source of

the groom’s family. “I run a studio with eight

of the wedding. It’s an easy sell on the front

added excitement at many of our receptions.”

photographers,” says Oth, “and I have to

end and a great way to make some extra money in print, album and DVD slideshow

THE GROOM HAS FAMILY, TOO. So much attention is focused on the bride

specifically train them to do that.” Oth also reminds his photographers, as grim as it might sound, “There may be a grandparent there who will soon pass away,

©Chris Scott

and this could be the last occasion they’re photographed with the couple. These are often the most cherished pictures.” When Oth and his team are grabbing table shots, he backs off with an 85mm lens. “It’s a little removed, and I can shoot into people talking to each other,” he says. “It gives beautiful coverage of human interaction, which is so important later on.” LAST WORDS—DON’T MISS ANYTHING! “Think of it as What did the bride pay for?” says Oth. “It’s very important to get all of the details, the flowers, the tables and so forth. But don’t make it look like you’re shooting down a checklist. Be aware of the details and cover them beautifully, especially if you want to get published in a magazine or blog.” �

90 • www.ppmag.com

Talent and passion are a winning combination for this pair of New England wedding shooters. Justin and Mary Marantz fell in love and built a following of loyal clients. Now they spread the love with other photographers. WEDDINGS

By Lorna Gentry

In the groove

H

Justin and Mary Marantz spread the love

and business smarts, with an extra boost from word-of-mouth advertising throughout New England from faithful clients. “We build good relationships with our

e’s an alumnus of the

right-brained. She’s left-brained. They’re

clients from the start, so when we’re at the

Rochester Institute of

perfect for each other.

wedding we feel like friends,” says Justin.

Technology. She’s a Yale

All images ©Justin & Mary

juggernaut is fueled by their style, charisma

Based in New Haven, Conn., wedding

Adds Mary, “Some of our clients have

Law School grad. He was

photographers Justin and Mary Marantz

billions of dollars in the bank and some had

on his way to a career in

launched their business four years ago. It’s

to work extra jobs to afford us, but they are

commercial photography.

been on an enviable trajectory ever since.

all good people [whom] we could be

She was poised for a career

Despite the recession, bookings are up nearly

friends with in another life.”

in a private law firm. He’s

40 percent this year over last. The Marantz

That camaraderie is aided by the fact

WEDDINGS that the Marantzes are practically newlyweds themselves, having wed three years ago. Mary was still in law school when she met Justin, who was working for a commercial photographer in New Haven. He was already on the career path he’d dreamed of, but he was turned off by the cutthroat politics of the commercial market. He started shooting weddings on the side, and Mary later became a silent partner helping with business matters. Justin began teaching her to shoot, and they fell in love, with each other and with wedding photography. By 2006 they took the plunge and started the wedding business, both working as full-time photographers. The launch came with a few bumps, they

“It’s all about work-life balance. We’re not even close to being perfect, but we focus on clients we love—those who are spreading the word—and we build relationships with other photographers and vendors. We also carve out time for ourselves and look for ways to separate from the work.” —JUSTIN MARANTZ

WEDDINGS say. “The biggest mistake we made was

“Another mistake was taking clients we

they gave us good word-of-mouth advertising.”

doing what everyone else was doing,” Justin

knew wouldn’t be a good fit because we

says. “Everyone was doing bridal shows and

needed the work,” says Mary. “When you do

20-city “Spread the Love” tour, which has taken

print ads, so we did too. We spent a lot of

that, you spend all your time and energy putting

them from Maine to Florida, and coast to

money with little return. We saw that most

out fires and doing damage control. The first

coast. They teach small business owners,

of our referrals were word of mouth, and

year we wasted time trying to keep those

many of them photographers, how to build

started building those relationships and

clients happy doing things we don’t do. So

business momentum so their companies work

doing things to keep clients talking.”

we switched to people we connected with and

for them rather than the other way around.

This month the couple wraps up their

“We’re teaching people how to not make the same mistakes we made,” says Justin. “It’s all about work-life balance. We’re not even close to being perfect, but we focus on clients we love—those who are spreading the word—and we build relationships with other photographers and vendors. We also carve out time for ourselves and look for ways to separate from the work.” The idea for the workshop came to Mary while honeymooning in St. Lucia. If that sounds unromantic, consider her heartfelt writing. Mary blogs daily about their clients, stuff they like, and her love for Justin. Take this recent post: “We stand out in the parking lot as the sounds of Keith Urban float out of the open car door windows … You take my hand and press it against your chest … and we dance … You rest your arm around the small of my back and pull me in a little closer … And we sway. Between the yellow lines of a La Quinta parking lot … we sway and you whisper, ‘I still love going on adventures with you.’” “I get inspired when I look around at weddings or at our lives,” says Mary. Intuitive and insightful, Mary shares her feelings and sharp observations on the blog, which generates reader response and builds customer loyalty. It’s beyond branding, she says, “It’s making a lovemark,” a reference to Kevin Roberts’ book, “Lovemarks: The Future Beyond Brands” (PowerHouse, 2004), on making emotional connections with clients. A January post about a Burberry-themed wedding they photographed struck a deep

emotional chord, not only with the bridal couple, but other clients as well. The theme was inspired by the favorite necktie of the groom’s late father. The pattern, Mary wrote, “made them feel closer to him … on a day when they were missing John’s dad so much … it was amazing to look around and see him everywhere … as a reminder to hold on to the people we love with both hands. And I can think of no better start to a brand new life than a tie like that.” Accompanying Mary’s writing are dozens of warm and natural photographs. Mary and Justin have complementary shooting styles—uncluttered yet detailed, with plenty of visual juxtaposition and texture. They both shoot Nikon D700

WEDDINGS digital SLR cameras with a variety of lenses. Mary’s favorite is a 50mm f/1.4, while Justin prefers his 85mm f/1.4. They use natural light 80 percent of the time. When they need a little extra, they bounce an off-camera light into a 45-inch white umbrella “for separation, especially in dark corners for Rembrandt lighting,” says Justin. The setup lends itself to their sensibility. Their style is a kind of emotional shorthand that communicates with potential clients: “We’re romantic, too,” it says. “We get it. Let us tell your story.” � To see more of Justin and Mary Marantz’s photography, visit their website, justinmarantz.com.

“Everyone was doing bridal shows and print ads, so we did too. We spent a lot of money with little return.” —JUSTIN MARANTZ

images © Amelia Lyon Photography

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Dave and Quin Cheung embrace romance, and it shows in their every image and in the effort they put into building great client relationships. Says Quin, “I’m proud to say that so many of our couples are our best friends.” WEDDINGS

By Stephanie Boozer

Geek-chic

O

work with Dave when they got married. But that was 11 years ago, and Dave was working in the family business, selling pianos—the

For this happy couple, client satisfaction is a serious commitment ne minute into a conversation with Canadians Dave and Quin

each other is simply effervescent. “We like to make people smile and

couple met, incidentally, through music. In photography, though, the opposites were a natural mesh. “Our differences really worked well together,” says Quin. “We’ve grown

laugh,” says Quin, half of the self-proclaimed

into something inseparable ... synergistic,

Cheung, and

“geek-chic” duo behind DQ Studios in

and the images we come away with are so

you can’t help

Calgary, Alberta. “He’s the ‘geek’ and I’m the

much better than they would be otherwise.”

smiling. Their

‘chic,’” she laughs.

genuine passion

for their work and

“We’re quite opposite personality-wise,” says Quin, who had vowed to never, ever

“We’re also mildly competitive, and that pushes us,” says Dave. The path to this bliss wasn’t exactly All images ©Dave & Quin Cheung

WEDDINGS

“We say we’re your photographers for life; it always ends up being true.” —QUIN CHEUNG

straight. The couple had no idea they’d wind up shooting weddings, or even working behind a camera. Dave held a pre-med degree in biochemistry, and Quin was a business school graduate holding a corporate job at global giant Accenture. On the side, the couple kept their musical passion alive by starting a garage band, and frequently performed at weddings. “Quin’s an awesome bass player,” Dave says. With the birth of their first son, Quin’s priorities changed. Her corporate ambitions seemed lackluster. She needed a job that allowed time for family and fed her soul as well. Dave wanted exactly the same thing. A spark had been quietly smoldering ever since their pre-baby backpacking trip through France. “We fell in love with street

104 • www.ppmag.com

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WEDDINGS shooting,” says Quin. Collectively they decided to fan that flame, and they met with a photographer they knew from their wedding gigs. “He took us under his wing and showed us everything about the business.” It was love at first click. The Cheungs limit their yearly bookings to 15, partly to keep fresh creatively, and partly because they retouch every single image their clients see, anywhere from 600 to 1,000 images per wedding. That’s hard evidence of how highly the Cheungs value customer service. “A DVD of [raw] images may not be the best thing in terms of how the client will remember the event,” says Dave. “As photographers, we’re trying to capture and distill the day so they can enjoy it for years to come. When they sign the dotted line, all

toward not only artistry and profitability,

they’re really getting is a promise that we’ll

but client satisfaction as well. As we learn to

show up on their wedding day. We have to

service our clients better, increasing

without mistakes and obstacles. Trial and error

shift our thinking from being mere service

profitability has been a nice byproduct.”

led to some of their greater successes, includ-

providers to actually being promise keepers. Our job isn’t done after the wedding.

It sounds costly to spend so much time

always ends up being true,” says Quin. The growth of the business didn’t come

ing the creation of the problem-solving products

on each client, but the Cheungs find it

QuiKeys and QuiKlips. QuiKeys, a USB

“Clients often don’t fully understand until

translates into better relationships, repeat

plug-in keyboard used in conjunction with a

after the wedding what an impact the imagery

business down the road, and higher sales.

Wacom tablet, provides a shortcut to actions

will have,” he continues. “We’re working

“We say we’re your photographers for life; it

in Adobe Photoshop and Lightroom and in album design. QuiKlips is a belt clip for flash units that keeps them instantly accessible. “We never meant QuiKeys to be a product to sell,” says Dave, who developed it to streamline their own digital workflow. But it didn’t take long for the buzz to build among fellow photographers, and QuiKeys were a hit. Products aside, the Cheungs’ success stems from their dedication in the service of photography. “A wedding allows you to enter into somebody’s life who would otherwise be a stranger,” says Quin. “I’m proud to say that so many of our couples are our best friends. We wouldn’t trade these relationships for anything.” “We’re hopeless romantics,” Dave agrees. “We want to help our clients start off on the right foot; that’s why it matters so much to us.” � Click over to dqstudios.com for more geekchic portfolios, blog posts and product info.

106 • www.ppmag.com

Romance lives! Wedding clients seek photography that captures their passion on the first day of happily ever after. Nichole Van Valkenburgh delivers that, and more, with subtle photo enhancements. WEDDINGS

N

By Lorna Gentry

All images ©Nichole Van Valkenburgh

ichole Van Valkenburgh knows what her wedding clients want: photographs that capture their passion on the first day of happily ever after. “A lady’s imagination … jumps [rapidly] from admiration to love, from love to matrimony

in a moment,” Jane Austen wrote in “Pride and Prejudice” nearly 200 years ago. Despite the sobering contemporary realities of relationships and marriage, Americans are still enthralled with the enduring notion of romance and wedded bliss. A former college English professor, the Utah wedding and portrait photographer is well versed in literature, and is especially fond of the Pre-Raphaelites, the Brontë sisters and Jane Austen (indeed, she named her daughter after the author). Van Valkenburgh also has an undergraduate degree in art history. When she focuses her Canon on a bridal couple, these sensibilities naturally come into play, to give the images drama and romantic tension. Her juxtaposition of texture, color and environment makes for photos that surprise and charm. In just four years she’s earned a national reputation and a business growing by wordof-mouth alone. Environment is an important element in Van Valkenburgh’s romantic aesthetic. Influenced by the provocative integration of people and place in Andrew Wyeth’s paintings and Willa Cather’s novels, Van

Novel romance Nichole Van Valkenburgh’s literary lens 108 • www.ppmag.com

Valkenburgh incorporates the disparate, often rugged Utah landscape in her images. In isolating the subject in nature, she shows his connection to it, as well as his vulner-

WEDDINGS ability. It’s this compelling, intimate perspective that separates her work from the competition’s. “In Utah you don’t have to drive far to go from the Rocky Mountains to the desert Southwest,” she says. “It gives you great opportunity to create the grand vista, and great art prints. Often people think my photos have been altered in Photoshop, but it’s really that beautiful here.”

GOWNS AND HIKING BOOTS Van Valkenburgh will go anywhere for the perfect shot. She lives in southern Utah County, about 90 minutes outside Salt Lake City, and drives a Jeep to navigate the craggy back country. With her clients, various pieces of furniture and yards of gauzy tulle

WEDDINGS

on board, Van Valkenburgh stops at ghost towns, sparsely populated mining towns, salt lakes, and mountains. A couple once asked her to photograph them in their favorite canyon—a three-hour hike. “Some brides have something very specific in mind and they come to me because they are confident I can do it,” says Van Valkenburgh. “I will, too, as long as it’s not illegal or tacky.” She’s fond of setting upholstered furniture outdoors. “I like the unexpected juxtaposition of the elements,” she says. “It’s in that mix where true art happens, that causes you to really focus on what you’re looking at. Furniture also helps clients feel at ease, as well as helping with posing and logistics.” Light is always a character in Van Valkenburgh’s portraits, so getting it just right is critical. “Ninety percent of my wedding photos have light [added] on them somewhere because it enables me to

get the light right,” says Van Valkenburgh. “I shoot RAW and use Photoshop Lightroom heavily.” Van Valkenburgh’s travel light kit includes a Canon Speedlite 580EX II, which she uses with a soft box or 60-inch umbrella. In addition, she’ll use as many as six AlienBees and Vagabond battery packs. “In my portable studio for formals, I have at least two lights, usually plugged into Vagabonds. At receptions, I use PocketWizards for two to three strobes I’ve set around the room.”

SUBTLE TOUCHES Post-production, Van Valkenburgh works with a palette of colors from muted to vivid. The image drives the choice, she maintains. “If the color is so strong it overpowers a subject, I’ll tone it down. I have a 1948

112 • www.ppmag.com

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WEDDINGS

Ford pickup truck painted the brightest

textures to separate the subject from back-

moonlighting eclipsed her day job as an

blue on the planet. I don’t like it much, so I

ground,” she says, “but I’m not a fan of

English teacher at Brigham Young

always mute it. But I also have a 1920s red

making texture more important than

University. She took a sabbatical from the

velvet couch that packs a visual punch.”

the subject.”

university three years ago and has never

Van Valkenburgh uses an array of

She taught herself Photoshop, but

patterns, vignettes and other digital effects

learned photography from her hobbyist

to enhance her portraits. She dislikes busy

husband, David, whose SLR film camera

backgrounds, but relishes experimentation

she inherited when they married a decade

with styles and the collection of textures

ago. As her talent grew, so did her freelance

she’s worked with for years. “I like using

portrait commissions, but eventually the

looked back. �

To see more of Nichole Van Valkenburgh’s work visit her website, nicholev.com. Lorna Gentry is a freelance writer in Atlanta.

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GROW YOUR BUSINESS Explore marketing and selling techniques to connect with clients. March 31 – Drive more clients to your website: Tap into the Power of SEO Blake Discher BEHIND THE CAMERA Receive instruction and inspiration on lighting, posing and composition. April 26 & May 5 – The Power of Lighting Tony Corbell, Cr.Photog., API SPONSORED SERIES FREE AND EXCLUSIVE TO PPA MEMBERS Adobe offers 2010 webinars on digital imaging workflow. Canon features the tips and tricks of their Explorers of Light.

INTENSIVEWORKSHOPS ART MEETS BUSINESS (3-DAY WORKSHOP) Get ready to refine your vision and balance art and business, from posing and lighting to marketing, pricing and more with Julia Woods, M.Photog.Cr., and Tim Walden, M.Photog.Cr., F-ASP. May 31 - June 2 August 16 - 18 October 4 - 6

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All images ©Lisa Lefkowitz

Fortune Reveling in the renaissance of film, Lisa Lefkowitz becomes one of the West Coast’s most successful wedding photographers BY JEFF KENT

en years ago, when Lisa Lefkowitz accepted the invitation to shoot a friend’s wedding, she had no idea it would change her life. Trained in editorial photography and educated in fine art, Lefkowitz had cut her teeth on assignments for Us and Rolling Stone before veering toward fine art photography in college. When the native New Yorker moved to the San Francisco Bay Area to teach photography at an extension of CalBerkeley, she felt she’d be part of the fine art scene indefinitely. That’s when the request came, and as it happened, all her creative impulses began to intersect. “Wedding photography allowed me to combine all the things that I loved into one art form,” she says. Her art photography had been criticized for looking “too commercial,” but the same aesthetic had tremendous appeal to wedding audiences. Lefkowitz began the transition to professional wedding photographer. At first, she went high-volume over high priced, filling her schedule to capacity. “I didn’t really understand how big a role business takes in running a photography studio,” she says. “I thought of professional photography as a way to get paid for doing art. It took me awhile to get a grip on branding and marketing and business.” When she did, the change was dramatic. She went for a boutique-style business model centered on high-end clients by working out a four-part plan.

‘‘ ’’

Don’t sell yourself short. Have confidence in yourself and your unique artistic vision. If you believe in your work and manage your business well, there are so many great opportunities in this field.

First, she’d shoot with an eye for getting her work published. Capturing the style and details of clients’ weddings, she produced vibrant lifestyle images fit for magazine spreads. She established relationships with magazine editors, making her images readily available as needed. Her work found its way into

Martha Stewart Weddings, Brides, Elegant Bride and other glossies. That opened the gates of commerce. When the wedding planners took notice, it was time for part two of her plan, endearing herself to key vendors. That called for a big change in her marketing model. Rather than marketing directly to brides, Lefkowitz focuses on building a network of referrals among vendors. These days, most of her business comes from wedding planners and other professionals, and the clients they send her shop for quality, not prices. “The brides I work with now are not going on TheKnot.com to find a photographer,” she says. “They consult their planner, get vetted contacts, and then interview a very select group of photographers. They want to know that they’re working with the best of the best. That’s exactly the kind of client I want.” The third part of Lefkowitz’s business plan focused on her brand. “I decided not to be everything to everyone,” she says. “Instead, I present a cohesive body of work. When you do that, people will either respond to you or they won’t; to succeed, you have let go of the clients that aren’t right for you. Having the confidence to pursue that mindset is very important.” The final part of the plan was to give her business an elegant presence in an upscale area of San Francisco. Her space there is strictly for meeting with clients, not for shooting. It’s meant to be the

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embodiment of the boutique studio

Lefkowitz now books 15 to 20 events, at

experience she was after.

rates well into five figures. She’s working

in part because of her propensity for

The hard work and planning has paid

Artistically, Lefkowitz’s work stands out

with couples who put a premium on

medium-format film photography. She

dividends. From shooting 30 to 40

photography, allowing her continuing

shoots about 75 percent of her wedding

weddings a year for low four-figure rates,

growth as an artist and a professional.

images with a Contax 645, exposing

Fujifilm NPZ and NPH, using natural light whenever possible. Clients love the handcrafted feel, liberal use of selective focus and vibrant color of her images. “Film is central to the look of my images, and to my creative process,” she says. “I try to embody the artisan nature of film throughout my branding, my business language and my studio offerings. With the advent of digital, many wedding images have tended to be overly processed. My clients have reacted against that, seeking out a classic, fine art style.” To other photographers seeking success, Lefkowitz says start with faith in your talents. “Don’t sell yourself short. Have confidence in yourself and your unique artistic vision,” she says. “If you believe in your work and manage your business well, there are so many great opportunities in this field.” �

To see more from Lisa Lefkowitz, check out lisalefkowitz.com.

WHEN IT COMES TO BRANDING, CONSISTENCY IS KING Last year, Lefkowitz decided to undergo a comprehensive rebrand. Her former brand was more whimsical and visually resonant with the classic, fine-art image her studio had developed. So she hired a professional brand agent and changed everything, from her website to her packaging. The idea was to create a consistent look of quality. “If you want to compete in an upscale market, every part of your business needs to be consistent,” says Lefkowitz. “You can’t have weak links and expect to attract the most discerning clients.” 128 • www.ppmag.com

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Customer Relations 800-815-0702 212-741-0466 Mon–Thur. 9–4:30, Fri. 9-1, EST • FAX # 212-463-7223

CP-3800DW

Professional 9810

Digital Color Photo Printer 8” x 12” Prints, 112 MB Memory, USB 2.0

Up to 8” x 12” as fast as 45 seconds per 8x10 Print speed of 45 sec for first print (8x10)

INC.

SPECIAL

STORE: 212-675-6789 Store & Mail Order Hours: Mon.-Thurs. 9-7:30pm • Fri to 3:30 (Store till 1:30) • Sun. 9:30-5:00

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The Professional’s Source™

420 Ninth Ave. Corner of 34th Street

New York, N.Y. 10001

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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2010 B & H Foto & Electronics Corp.

Alpha A850 D-SLR

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D3000 D-SLR

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800-947-9964 212-444-6664 Fax:

212-239-7770 Flash System '-3
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Digital SLR's and Accessories............. #64 Lighting Kits and Backgrounds ............#78

Store & Mail Order Hours:

Tungsten 3-Light Miniboom Kit

Tota Light 2-Light Kit

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032010

LEGACY The world of ultra-wedding photography with Andy & Brian Marcus BY JEFF KENT

“My dad always used to say, ‘It’s better to have 50 unbelievable photographs than 100 mediocre ones.’ It’s true. Before I push the shutter, I always ask myself, Would someone buy this photograph? If the answer is no, then I don’t take it.” —Andy Marcus

All images ©Andy & Brian Marcus/Fred Marcus Photography

ast October, when heiress, businesswoman and co-host of Celebrity Apprentice Ivanka Trump married Jared Kushner, publisher of the New York Observer, there were a few must-haves in their wedding plan: custom-made Vera Wang wedding gown inspired by the one Grace Kelly wore in her 1956 wedding to Prince Rainier III of Monaco; diamond and platinum jewelry from the bride’s own Ivanka

Founded in 1941 by German-Jewish immi-

million-dollar annual revenues, Fred Marcus

Trump Fine Jewelry Collection (with a price

grant Fred Marcus, the studio is one of the

Photography covers hundreds of high-end

tag close to $270,000); rarefied guest list,

nation’s most high-profile wedding photog-

weddings and gala events yearly. Among the

including Rupert Murdoch, Adam Duritz,

raphy operations. Fred’s son, Andy, recognized

studio’s other celebrity clients are Howard

Natalie Portman, Barbara Walters, Regis

as one of today’s foremost wedding photog-

Stern, Eddie Murphy, Donald Trump, Billy

Philbin and Rudy Giuliani; and photography

raphers, is taking the business to new heights

Baldwin and Mary Tyler Moore, not to mention

by Fred Marcus Photography of New York.

with the help of his son, Brian. With multi-

many prominent families of New York.

TRUMP CARD When undertaking the coverage of any larger-than-life wedding event, says Brian Marcus, thorough planning is crucial. For the Trump-Kushner wedding, it was Andy Marcus’s job to scout the venue, the Trump National Golf Club in Bedminster, N.J. Then he and Brian figured out how they’d divide their efforts among the event’s three main sites—the clubhouse, the nearly 20,000-square-foot primary tent, and a second tent with space enough to hold the 500-some wedding guests. The photographers pored over the guest list, noting the key attendees. “That sounds minor, but it’s one of the most important things we do,” says Brian. “People respond when you call them by name and demonstrate that you know who they are. Not only is it respectful, it also helps establish warmer relationships with the guests, making our job a lot easier.” Knowing there’d be a high demand for images from the media, the Marcuses brought along a professional retouch artist to the wedding. Trump wanted the immediate release of some of the photographs to the New York Post. Just before the ceremony, she selected four from the collection the photographers showed her. Those four were retouched and fired off to the Post, well in time to make it to the cover of the next day’s first edition. The Post’s photo editor was so happy with the quality of the images, he asked to have more images sent throughout the day. With the couple’s approval, the Marcuses downloaded, retouched and forwarded images throughout the event, and fresh wedding images appeared in every edition the next day. The media blitz didn’t stop there. Barbara Walters asked them to make a picture of her with the father-of-the-bride, Donald Trump. With The Donald’s approval, that night the photographers had the cap-

136 • www.ppmag.com

“People respond when you call them by name and demonstrate that you know who they are. Not only is it respectful, it also helps establish warmer relationships with the guests, making our job a lot easier.” —BRIAN MARCUS

ture retouched and sent to the producer of Walters’s talk show, The View, where it aired the following day and a couple of times subsequently. Regis Philbin also requested an image, which aired on his morning show, Live! with Regis and Kelly. You’d think it would be only natural to dial up a new code of conduct with special allowances for A-list guests, but the Marcuses adamantly insist that they treat every one of their clients—and their clients’ guests— like regular people. “We are always ourselves,” says Brian. “We have a way of doing things that works, and to change that for anybody would be silly. After all, they hired us, our way of working, so we stick with the system that works.” “We start by building a high level of trust,” explains Andy. “They have to know that you respect them, that you will do your best for them, and that you won’t publish or release images without their okay.” From day one, the Marcuses work on

establishing a bond that’s as much friendship

says Brian. “We listen to our clients. We under-

as business relationship. They emphasize

stand what they want. Then we guide them

to be there. Brian learned the trade from

service, putting clients’ minds at ease that

through the process. After meeting with us

Andy, who learned it from his father, and

everything will be handled with the utmost

for the first time, they leave more educated

both pass along their knowledge to the other

professionalism. “It’s all about being real,”

and confident than when they came in.”

photographers the studio employs. The result

Of course, the quality of the images has

is consistent high quality. The studio’s philos-

or 3,000 images,” says Andy. “As a professional

photographs than 100 mediocre ones.’ It’s

ophy of successful coverage includes having

photographer, it’s your responsibility to

true. Before I push the shutter, I always ask

the images tell a compelling story, with no filler

select the best images for your clients. That’s

myself, Would someone buy this photograph?

or sub-par captures. “No photographer does

part of the service. My dad always used to

If the answer is no, then I don’t take it.”

a service to his clients by giving them 2,000

say, ‘It’s better to have 50 unbelievable

There is no magic behind the Marcuses’

“There are a lot of little things that add up to

important to understand what it takes to

our reputation. It’s so important to understand

level until you build that base. In spite of

what it takes to create true quality. You can’t go to the next level until you build that base.” —ANDY MARCUS

create true quality. You can’t go to the next great marketing, if you don’t do a great job, word gets around and it ruins you. We’ve made sure that everything that comes out of the studio meets level of quality that’s been consistent over the last 40 years. My father drilled those principles into me, and now I’m teaching them to my son. That

success. The studio has built its brand over

shows that strong fundamentals remain the

approach, that commitment, has made all

the decades by adhering to strong principles,

best bet for longevity in the ever-changing

the difference.” �

and never resting on its laurels. In today’s

world of wedding photography. “There are a

age of new media marketing and overnight

lot of little things that add up to our

success stories, Fred Marcus Photography

reputation,” explains Andy. “It’s so

To see more from Fred Marcus Photography, visit fredmarcus.com.

Speedotron has the answer to all of your portable power needs

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Affiliate Schools Calendar Professional Photographers of America Members receive service merits and the best-published rates for registration. March 21-26 Triangle Institute of Professional Photography, Pittsburgh, Pa., www.triangleinstitute.org April 11-16 New England Institute of Professional Photography, Hyannis, Mass., www.neipp.com May 2-7 Texas School of Professional Photography, Dallas, Texas, www.texasschool.org May 2-7 Mid-Atlantic Regional School of Professional Photography, Cape May, N.J., www.marsschool.com May 3-7 Wisconsin Professional Photographers School at Treehaven, Tomahawk, Wis., www.wiprophotoschool.org

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May 23-27 Florida School of Professional Photography Daytona Beach, Fla., www.fpponline.org June 6-10 Kansas Professional Photographer School Newton, Kan., www.kpps.com June 6-10 Mid-America Institute of Professional Photography, Cedar Falls, Iowa, www.maipp.com

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www.speedotron.com 144 • www.ppmag.com

May 16-20 Imaging Workshops of Colorado, Littleton, Colo., www.coloradoworkshops.com

June 13-16 Winona School of Photography, Nashville, Ind., ppofi.org June 13-17 Illinois Workshops, Grafton, Ill., www.ilworkshops.com

June 20-24 PP Oklahoma School, Shawnee, Okla., www.pposchool.com June 20-25 West Coast School, San Diego, Calif., prophotoca.com/wcs June 21-24 Great Lakes Institute of Photography, Traverse City, Mich., www.glip.org July 11-15 Image Explorations, Shawnigan Lake, British Columbia, Canada, www.imageexplorations.ca July 12-15 Lamarr Williamson School of Professional Photography, Columbia, S.C., www.ppofsc.com/school July 17-22 East Coast School Photographic Workshops Raleigh, N.C., www.eastcoastschool.com July 18-23 PPSNYS Photo Workshop, Geneva, N.Y., www.ppsnysworkshop.com August 1-4 Carolina Art & Photographic School, Creekside Park, N.C., www.capsartschool.com August 1-6 Georgia School of Professional Photography Clarksville, Ga., www.gppaschool.com August 2-5 Long Island Photo Workshop Long Island, N.Y., liphotoworkshop.com Send all additions or corrections to: Affiliated Schools, Professional Photographers of America, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303.

“Successware’s income and expense statement and sales reports provides the financial data we need at our fingertips, taking the fear out of decision making.” Sarah Petty | Sarah Petty Photography | Springfield, Illinois

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

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

SUCCESSWARE.NET | 800.593.3767

images © Allen’s Photographic

PHOTOGRAPHY SUPPLIES A CONSTANT CHANGE—EVERY BODY IS DIFFERENT. That’s one reason why photography works for us. But because of the constant changes, you need constant, continual education. We found such education with PPA, Professional Photographers of Washington, and print competitions. Still, the education that moves us the most is the education that comes from our charity work. We’ve taught New Guinea people to record their history with photography, photographed schools and documented work for Latin America Childcare, and recorded happy times for the children in the Royal Family Kids Camp.

WE CREATE THESE IMAGES AND TREAT THESE PEOPLE WITH DIGNITY…AND EVERY TIME IT FEEDS OUR SOULS.

Ralph & Mary Jo Allen, M.Photog.Cr. | Allen’s Photographic | PPA Members since 1978

TWO OF THE MANY FACES OF PPA

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

PPA today MARCH 2010 President’s Message P e Louis Tonsmeire, Cr.Photog., API :: 2010-2011 L 0 2011 PPA P President

What an honor it is to become president of Professional Photographers of America! PPA has afforded me so many opportunities, and I’m so thankful for all the friends I have made the world over. As the start of springtime, March is the perfect time to focus on renewal. It’s time to put to use all those new ideas that we received at Imaging USA in January (if you haven’t already)! And by the way, if you were not at Imaging USA, you missed the time of your life. So let me go ahead and invite you all to San Antonio, January 16-18, 2011. You won’t want to miss it—I promise! But regardless of where you’ve gathered your new ideas from, the important thing is to get them working in your studio. As our customers come out of hibernation with the promise of a hopefully early spring, they will be looking for the best in image making from PPA members. To better your own skills, you have to continue your education throughout the year. PPA gives us so many opportunities for education and benefits that it’s almost impossible to take advantage of everything offered. From upcoming webinars to a Super Monday class (coming soon in May), you are sure to find great ways to make 2010 even better. PPA members are a part of a proud fraternity. For over 130 years, it has been the leader in the photography industry. We can’t forget the history of this association. It gives us the strength to be

the innovators and to lead with new ideas and new members in the coming decades and beyond. But we cannot do this if we ourselves are not willing to change with education…or share our experiences. So I leave you with this: Let PPA be the strength behind your business and continued success throughout the year, but remember to reach out a helping hand to your fellow photographers. Encourage a friend or competitor to join PPA. As Jenny and I visit affiliates all over the world, we look forward to extending our own PPA friendships more and more. We all succeed as a community of ONE. See y’all later!

Louis Tonsmeire, Cr.Photog., API 2010-2011 PPA President

images © Victor Bruce

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

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

ARE YOU

READY TO ENTER? Many photographers look to competition as a way to fine-tune their imagery, push their creativity and learn from others. Many, like Susan Michal, a PPA board member, say that competition has made them a better overall photographer. While PPA Affiliates offer their own photographic competitions throughout the year, the PPA International Photographic Competition—the “main event”—is coming up next month! Are you ready to enter by April 29, 2010? Below are a few commonly asked questions (and their answers) to get you started: Q. Who can enter the PPA International Photographic Competition? A. Any photographer can enter as long as the rules are followed. Keep in mind that PPA members’ entry fees are highly discounted… so non-members may want to join PPA before they enter! The competition is held once a year, and images that earn a place in the General Collection and the Loan Collection are displayed at Imaging USA in the International Photographic Exhibit.

Q. How many images can I enter into the competition? A. You may enter up to four images in Photographic Open and four images in Electronic Imaging competition categories. Photographic Open entries can include any photographic image (portrait, wedding, children, landscapes, wedding or event albums and commercial images). Electronic Imaging entries are judged based on the maker’s computer artistry and abilities with various image manipulation and 3-D modeling programs.

Q. What is an exhibition merit? A. Exhibition merits—earned by success in competition—are part of the requirements necessary to complete the coveted PPA Master of Photography degree. One exhibition merit is earned when a competition image is accepted for exhibition at Imaging USA. When an entry is further accepted into the Loan Collection, it receives an additional merit.

Q. Can I watch the competition judging? A. Yes, the judging is open to the public, and it is a great learning experience to be able to hear judges’ discussions about an image. The judging dates will be published on PPA.com. Q. How do I get my results? A. The results are posted on PPA.com shortly after the competition.

The Association Connection Louis Tonsmeire, Cr.Photog., API :: PPA Member since 1988 :: Location: Cartersville, GA

What’s the connection between education and relationships (relationships between you and other photographers, that is)? Louis Tonsmeire, PPA’s new president, would tell you that the connection is association. Tonsmeire knows—from experience—that education and relationships are key in a photographer’s survival. “Whether it’s one-on-one

education with a mentor or learning through an Affiliate School program, we have to stay in touch with what is going on. We don’t want our work to become stale or our business practices outdated,” he says. One of the best ways to grab that needed education is through membership in a photographic association like Professional Photographers of America (PPA) or its affiliate

associations. Tonsmeire’s long-standing association memberships have put him in the right places to learn about these educational opportunities. It’s just more accessible (and many come with discounts!). Associations are also a hotbed for possible mentors, Tonsmeire’s preferred method of education. “Friends in the industry are necessary,” he comments. “All of us run

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

Q. Can I get a critique of my images? A. Ordering a critique of all your images can be one of your best educational tools. One of the judges will sit down with your images and go through them one by one, which you can watch in an online video format. The judge will point out areas that could possibly be corrected or improved upon, with the goal of improving your images and making you a better photographer and competitor. Q. Can I submit digital files for judging? A. Yes, beginning with the 2010 International Photographic Competition, you may submit either digital files or prints if you are entering the Electronic Imaging category, the Photographic Open’s Commercial category, or an album. (In 2011, you’ll have the option to enter digital files or prints for all categories.) Q. What size do my images need to be if submitting prints? A. If you are submitting a print, the image can be any size but must be presented on a 16x20 mount. If you have your Master of Photography degree, the overall presentation may be any size, up to 20x24 and with a minimum of 80 square inches. (In 2011, more size options will be available to all entrants.) Q. Do I get my images back (if I submit prints)? A. Yes, in most cases, you will receive your image back after they are displayed at Imaging USA. There are some exceptions, however. If, for example, an image is selected for the Loan Collection, that image will not be returned as it will be traveling with the rest of the collection. For those who don’t care to get their prints back, you may submit them in any appropriate cardboard shipping box (rather than a print case), and the images will not be returned.

into stumbling blocks, and who better to help us out than a photographer who has been there before?” Often, finding your first mentor can be difficult. Have you ever felt that you’d love to talk to and learn from a certain well-known photographer… but that he or she was too much of a “rockstar” to have time for you? Have you been too nervous to even ask? Just

remember that everything starts with a connection. All relationships—with mentors, friends and clients—are built out from that initial connection. And here’s where associations come into play again. An association membership just makes it easier to approach someone you’d like to learn from in this mentoring fashion. As part of an association, you may already have a connection

© Auralee Dallas

Q. If my image does not merit, can I enter it again? A. Yes, if you would like to make changes to your image and try again, you are more than welcome to enter it as many times as you would like until it is merited. However, once that image receives a merit, it cannot be entered again. Q. Why should I enter photographic competitions? A. Photographic competitions have many benefits, but the educational and marketing values are both priceless. The bottom line is that it will help you become more confident…and a better artist! Get ready for the 2010 International Competition – deadline April 29, 2010 (more information will be available soon at PPA.com’s Competitions page). Check with your local affiliate association for upcoming image competition entry deadlines and rules. Send questions about regional or international competitions to Jim Dingwell ([email protected]). Learn more about how competition can help you by reading past articles on PPA.com.

with your ideal mentor. After all, you already have several areas of common ground if you are fellow members. Plus, you can generally count on those who’ve joined an association to be open to such networking. In fact, this networking/mentoring relationship is important for both student and mentor. Most instructors say they learn from their classes all the time. There

are always new ideas and new thoughts to be shared…you just have to connect to hear them. “We have all the connections of PPA on our side,” adds Tonsmeire. “And the most important things we can take back to our own businesses are these relationships and the education that stems from them.” Are you part of this association connection?

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

PPAtoday | March 2010 | news from Professional Photographers of America

WELCOME TO THE NEW BOARD Guiding the world’s largest, non-profit professional photography association is tough, and PPA is fortunate to have the right visionaries at the helm. Our board of directors understands exactly what you face and knows the education and resources you need to be successful. After all, they are practicing professional photographers just like you. Join us in welcoming this year’s board of directors: Louis Tonsmeire, President Cr.Photog., API

Ron Nichols, Chairman of the Board M.Photog.Cr.Hon.M.Photog., API

Don Dickson, Vice President M.Photog.Cr., CPP

Sandy Puc’ M.Photog.Cr., CPP, ABI Ralph Romaguera, Sr. M.Photog.Cr., CPP, API, F-ASP

Tim Walden, Treasurer M.Photog.Cr, F-ASP

Carol Andrews M.Photog.Cr., ABI

Michael Gan M.Photog.Cr., CPP

Susan Michal M.Photog.Cr., CPP, ABI

Constance Rawlins M.Photog.Cr., CPP

Doug Box M.Photog.Cr., CPP, API

Kevin Casey, Industry Advisor President & CEO of Collages.net

Don MacGregor M.Photog.Cr., API

MEET THE NEWEST BOARD MEMBER Constance Rawlins, M.Photog.Cr., CPP, has operated a studio in McComb, Mississippi for the past 12 years, photographing high school seniors, weddings, and various portraits. After she joined PPA in 1999, she earned her Certified Professional Photographer designation in 2003, her Photographic Craftsman degree in 2007 and her Master of Photography degree in 2009. The work to earn these PPA degrees has helped Rawlins be a better photographer and a better overall businessperson. A Past president of Professional Photographers of Mississippi/

Alabama and the Central Mississippi Photography Association, Rawlins has also gone through all the steps of leadership in her local and state affiliates. She has also served on the regional SEPPA Board of Governors. Yet another example of her dedicated service is her position as the Imaging USA Convention Chair in 2009 and 2010. Rawlins is proud to now serve PPA on its prestigious board of directors. Each board member has a unique point of view driven by their own personal and business experiences, and she is elated to be a part of a team working to create a greater collective vision for the success of PPA.

WHERE WILL YOU BE ON SUPER MONDAY? Where you will be on Super Monday, May 17, 2010 is a very good question. After all, there are peer-led classes held all over the place on Super Monday—the goal is to bring education as close to as many photographers as we can! From Washington to Florida, Minnesota to Texas, these classes are offered by professional photographers who have a special

expertise they want to share. And share they will…about genres of photography (like photographing children or weddings), certain techniques (like lighting or post-processing), or even business skills. So where will you be going? The first place to start is www.ppa. com/supermonday. Browse the classes in your state—you might find what you’re looking for in a nearby city. And don’t stop there because you might discover a class that could fine-tune the skills you need a few states away. Just remember to check the date of the class, for while the majority will be held May 17, some may be different. Start planning your educational day-trip now, and drive toward your goals of better photography and more profitable business management.

IN MEMORY Arthur Whitty, M.Photog.Cr. At the age of 70, Arthur Whitty passed away December 5, 2009, in Ellsworth, Maine. He served five years in the U.S. Army and opened his own photography studio in 1966. In his 30 years of running the studio, Whitty served as a past president of New Hampshire

Professional Photographers Association and as a long-time member of PPA. He will be missed—not only by his family and friends, but also by the professional photography community. He spent much of his life preserving the memories of others. Now it is up to us to remember him.

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

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab

March 2010 • Professional Photographer • 151

LabTab

152 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

March 2010 • Professional Photographer • 153

LabTab

154 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

March 2010 • Professional Photographer • 155

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

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Sto-Fen Products (stofen.com).............................161

Miller Professional Imaging (millerslab.com)26-27, 152

Successware (successware.net) ............................145

Morris Group (themorriscompany.com).................159

Taopan (taopanmag.com; b--studio.com) .............157

MPIX (mpix.com)......................................32-33, 155

Tyndell (www.tyndellphotographic.com) ...............158

National Direct Marketing Services (ndmservices.com) ........................................158

United Promotions Inc. (upilab.com).....................152

Nikon (nikonusa.com/D3S)....................................17

White House Custom Color (whcc.com)...10-11, 38-39

North American Photo (naphoto.com) ..................153

White Glove (wgbooks.com).................................157

The Click Group (clickconnectioncorp.com) ...............9 Collages.net (collages.net/pricing) ....................51, 53 Color Incorporated (colorincprolab.com) ................152 Contemporary Photography/J. Hartman (jhartman.com) ..........................................159 Corporate Color/Prolab Express (prolabexpress.com)................Cover III, 151, 157 Dalmatian Lab (dalmatianlab.com) .......................156 Denny Manufacturing (dennymfg.com) ...................12 Denny Novelty (photonovelty.com) ........................42 Diversified Lab (diversifiedlab.com) ......................154 Dury’s (durys.com) ...............................................111

156 • www.ppmag.com

Portrait City Lab (customcolor.com) .....................154

Profoto (profoto-usa.com) ....................................23

Studio Logic (studiologic.com) ................................6

Wacom (wacom.com/i4).......................................115

NILMDTS (nilmdts.org) ........................................42 Onlinephotofix.com (onlinephotofix.com/magpp)...161 OnOne Software (ononesoftware.com/50pn) .........81 PCL West Imaging (pclwest.com) .........................155

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

March 2010 • Professional Photographer • 157

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March 2010 • Professional Photographer • 159

ClassifiedAdvertising COMPUTER/SOFTWARE 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.

SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800-593-3767 or visit our Web site www.SuccessWare.net. NEED HELP WITH PRICING? The Business Savvy Photographer can help! Easy to use software that can help with pricing your weddings and/or portraits, starting at $59.99. Instructional DVDs by Canon Explorer Ken Sklute also available. Visit our site at HowMuchDoICharge.com 602-546-7777.

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.

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

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

EDUCATION/WORKSHOPS “The Art of Digital Photo Painting: Using Popular Software to Create Masterpieces” book is now available on Amazon. Join Corel Painter Master Marilyn Sholin in Asheville, NC and other locations at a workshop. Free tutorials and registration at the Digital Paint Shop. www.digitalpaintingforum.com/shop Visit WWW.PROPHOTOBUSINESSFORUM.COM—A private online community of business conscious wedding and portrait photographers just like you. YOU’LL NEVER BE THE SAME. YOU’LL BE BETTER!

FRAMES CREATIVE DRAGONFLY—custom 4” & 6” wide solid wood frames. You design it, We make it. www.dragonflyframes.com

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].

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BLANK MEDIA

LAB SERVICES

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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

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

160 • www.ppmag.com

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

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PHOTOS WANTED VINTAGE PHOTOGRAPHS from 1860’s-1970’s: Movie Stills, Celebrity Candids, Music, Sports, Crime, War/Political, Wire Photos, Negatives, Glass Slides, and Transparencies. WILL BUY ENTIRE COLLECTIONS! FINDERS FEES PAID! Ralph 800-392-4050 or [email protected]

PRESENTATION BOXES BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVE., NORFOLK, VIRGINIA 23508; 757-4401147 (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, 11760 Berea Rd., Cleveland, OH 44111. www.NPDBox.com H-B PHOTO professional photography packaging for your branding. Visit our e-store for the best quality at lower prices. Boxes, CD packaging, totes, tissue, ribbons, 18 COLOR CHOICES, add your logo. WW.H-BPHOTO.COM, H-B PACKAGING GROUP CENTRAL FALLS, RI; toll free 866-570-8915.

RETOUCHING PORTRAIT PHOTOGRAPHERS You can retouch quickly with superior results. Guaranteed. WWW.3DLIGHTMASTER.COM 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

ProductMall

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5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com • $10 off /with ad

STUDIOS FOR SALE AWESOME DALLAS AREA PHOTOGRAPHY STUDIO: A well established, newly remodeled, state of the art studio for sale. In business over 20 years with a great reputation and large client base. Big, spacious studio, with lots of equipment, backgrounds, props, specialty scenes, and big screen protection room. Owner wants to slow down. Will assist with the transition. Call 214-837-5823. A WELL-ESTABLISHED, SUCCESSFUL TURNKEY PHOTOGRAPHIC BUSINESS IN A HIGH VISIBILITY, FASHIONABLE AREA OF NORTH FLORIDA. OPEN FIFTEEN YEARS, NOW WITH FULL FILM AND DIGITAL PROCESSING, WIDE FORMAT PRINTING, LUCIDIOM AND FUJI KIOSKS, SPACIOUS-EQUIPPED STUDIO, LIGHTING, CAMERAS, BACKGROUNDS AND MUCH MORE. READY TO HAND OVER TO CONTINUE MAKING A PROFIT RIGHT AWAY. THE BUILDING, OVER 4000 SQ.FT., WITH LARGE PARKING LOT, IS AVAILABLE FOR LEASE OR PURCHASE. OWNERS ACCOMMODATION AVAILABLE ON SITE. THE BUILDING WILL BE WORTH $1,000,000. NOW OFFERING BUILDING AND BUSINESS TOGETHER FOR 900K. OWNER AVAILABLE DURING TRANSITION. [email protected] OR CALL MON-FRI 904-399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST.

CLASSIFIED ADS CAN WORK FOR YOU! Place a classified ad in the next issue of Professional Photographer to reach over 50,000 qualified buyers. For information contact: Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200 • Atlanta, GA 30303 800-339-5451, ext. 221

LOS ANGELES PHOTOGRAPHY/Production Studio, located in the Artists District. Bldg. is 19,000 sq ft free standing on 22.000 sq ft of land. It is concrete tilt-up with dock high loading, built specifically for a photography and production studio in 1978. Exacta Photographers, Inc has been a successful business since 1970, grossing an average 1 million per year. Fully equipped w/hot lights for TV commercials and strobe equipment for fashion, etc. 7 air conditioned sets (10,000 sq.ft.) a fully equipped color lab/ computer stations/executive offices, huge inventory of backgrounds for sets, cameras, lens, etc. Owner retired. A great opportunity for the right person. For info call 626-445-7459. STUDIO FOR SALE: Central New York near Syracuse. High quality portrait studio, w/ excellent reputation, specializing in high school senior portraits (350 - 500 yearly), family portraits, underclass contracts. In business for 35 years. More than 3,000 sq ft. Beautiful country location with valley view on approx. 2 acres. More than 220k in equipment, furnishings, computers & state of the art digital equipment. 3 camera rooms, large projection room and beautiful environmental studio right outside the door. 2 income apartments in the building. Owner looking to wind down and also has other business interests. Will assist in transition, will finance. Call Tom 315-750-8538 or email [email protected]. www.pictureswithpride.com

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.

March 2010 • Professional Photographer • 161

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.

dard price he needs for his print packages, then works with the school to set the retail prices for the community. The school keeps every dollar collected beyond Cerier’s fees. So, for example, if Cerier’s price for a print package is $10 and the school charges $20, then the school keeps $10. SchoolPictures.com’s intake doesn’t change if a school charges more. “We recommend certain packages that we think will work well for the school’s community, and suggest pricing based on the families in the area with children in the school. The school can charge less or more than our suggestion, depending on their needs.” Cerier’s separate commencement photography business is his main source of income, so SchoolPictures.com needs to generate just enough to cover the expenses plus a Skip Cerier hands off his first check to a Michigan school in the amount of $19,300.

©Lance Sparks

modest profit. “When you operate altruistically versus capitalistically, you can do more,” Cerier says. “Before we make any

Education emergency fund

business decision, we ask ourselves, How

SCHOOLPICTURES.COM GIVES MILLIONS TO MICHIGAN SCHOOLS

SchoolPictures.com raised $542,000 for

W

will our decision help our clients?” In 2009, the midst of the recession, 180 schools. In all, SchoolPictures.com has raised more than $2.5 million for schools

ith the languishing

economy and a dimin-

ishinging tax base, the

trait business aimed at helping schools make ends meet. “This whole thing got started as

throughout Michigan. For photographers interested in advanc-

a dad trying to help his kids’ school,” says

ing the mission of SchoolPictures.com in

school system in Michigan

Cerier. “I approached the principal with my

their own area, Cerier is happy to host

is in desperate need of funds.

idea. Once he understood what I was trying

visits to the SchoolPictures.com facility,

Basic supplies are running out,

to accomplish, he invited me to give a pres-

share the business model, or offer partner-

and consolidation in some areas

entation to all the other principals in the

ships with SchoolPictures.com.

has swelled the per-class student count to 40

district, and suddenly I was in the school

and more. The purchase of new technology

picture business.”

and advanced learning initiatives are in serious jeopardy. Fighting the tide of financial despair, photographer Skip Cerier launched a school por-

162 • www.ppmag.com

Learn more or get involved by visiting www.schoolpictures.com. �

Instead of offering schools a cash incentive to sign a contract, Cerier’s SchoolPictures.com allows the schools to determine how much money they will make. Cerier sets the stan-

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

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