Professional Photographer May 2010

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P ROF E S S I ONA L

EDITORIAL

director of publications

Job for a pro

CAMERON BISHOPP [email protected]

AMATEURS NEED NOT APPLY “[Families] are the highest degree of difficulty in the photographic profession. It’s more pressure than anything I’ve ever done in my career,” says Drake Busath, our cover artist for this issue devoted to creating family portraits. “I’ve shot everything you can think of,” says Busath. “Fifteenhundred weddings, commercial work, the governor, the president of the United States, and I’ve never had a harder assignment than the family I photographed yesterday. “It was 20 people, all one shot. The Dad has cancer and is going in for chemo tomorrow. Mom wasn’t feeling too creative, and the kids were like 15 moving targets.” If lighting, posing and dressing one portrait subject takes professional skill, then what kind of expertise does it take to capture five, seven, 20 people in one frame? The kind that only a seasoned photographer can deliver. I asked Busath, Frank Frost and Rod Evans, all accomplished family photographers profiled in this issue, to share their observations on the aspects of group and family portraiture that are most in need of improvement in the work they’ve seen lately: 1. Posing. As Frost says, “A family of six means you have 12 arms, 12 hands and 12 legs to pose … People want to look the way they think they look. Clients want attention paid to the way they are posed, but they don’t want to look posed; they expect a professional to make that happen.” 2. Lighting. “Avoid putting people outside with lots of overhead light and getting those dark raccoon eyes,” pleads Evans. 3. Evoking natural expressions from a group of all ages. “It’s people skills … Expression is everything,” says Frost. “Parents want natural smiles.” 4. Taking and keeping control of the mood and behavior of the crowd. Learn to be firm, yet kind and affable. 5. Clothing choices and location. You want everyone to coordinate with one another, but do they really have to look like they’re in uniform? A portrait needs to reflect a coherent vision. Happily, our three family guys cover how to do all of that and more in these pages. Portraits are important moments in the history of a family. As Busath says, “There is no re-doing this.” Now don’t feel intimidated. Just read up and be prepared. � Cameron Bishopp Director of Publications [email protected]

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senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and 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 MAY 2010

Features 92

BIG FAMILY Drake Busath, master of multi-generation portraits, streamlines large family photography By Stephanie Boozer

104

ESSENTIALLY YOU To stay afloat in treacherous economic waters, you’ve got to learn to surf the waves By Fuzzy Duenkel

74

FAMILIES: BALANCE

Rod Evans’ composition and posing tips for groups By Rod Evans

78

FAMILIES: TAKE IT OUTSIDE

From Frank Frost’s perspective, there’s no better camera room than the great outdoors By Stephanie Boozer

86

GENERATIONS: ALL IN THE FAMILY

Cook’s Photography has been innovating for more than 130 years By Jeff Kent IMAGE BY FRANK FROST

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

14

FOLIO

112

SCHOOL CALENDAR

115

PPA TODAY

130 GOOD WORKS

©Fuzzy Duenkel

Departments C O N TA C T S H E E T 18 Alexa Meade: Living portraits 20 Father’s Day promotion 24 Countdown to Accuphoto launch 26 Roadside family photography

PROFIT CENTER 31

What I think: Jason Cook

32 Ask the experts 34 How I did it: Michelle Tibbils 38 Release me!

by Ed Greenberg & Jack Reznicki 44 Create a great blog

by Mary Hanson 48 What to blog

by Lindsay Adler

THE GOODS 53 What I like: Frank Frost 54 Internet: Help customers find

you with Google Analytics by Allen Murabayashi 60 Data storage: Ultimate security

by Ethan G. Salwen 66 Pro review: Topaz Adjust,

Simplify and Detail by Kirk R. Darling 70 Actions: Craig’s Actions

104

by TJ McDowell

Fuzzy Duenkel says photographers should do the work they truly love to do and

leave the rest to other photographers. Find the story you want to tell and use your professional skills to tell it, and you'll be giving your clients exactly what they've come to you for: personal, meaningful portraits.

8 • www.ppmag.com

ON THE COVER: Think getting a flawless portrait of a family of 16 is next to impossible? Not if you rethink your approach. Sneak a quick behindthe-scenes look at Drake Busath’s technique for lighting, posing and compositing super-sized family groupings, and see why it’s not quite as complicated as it seems. Go to the Current Issue area on ppmag.com to download a free tutorial on how Busath created the panoramic image.

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Gallery Wraps “Last year, I introduced a special collection of Gallery Wraps which incorporates almost 50 of my couple’s favorite images from their wedding and outlayed onto a gorgeous Gallery Wrap! For my clients that didn’t order a wedding album, this gallery wrap is a perfect solution to generate post wedding revenue for me and at the same time be quite the conversation piece in my clients’ homes! It has been a huge hit with both my clients and photographers alike as it not only provides a quality new product that hasn’t really been seen before, but it is also very easy to design with the templates available at focused.whcc.com!” Kevin Jairaj KJ Images Photography, Keller, TX

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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] COREY B. SHELTON Director of Online Strategies & 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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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.

©Bonnie Costanzo

BONNIE COSTANZO Bonnie Costanzo, M.Photog.M.Artist.Cr., CPP, of Reflections, Inc. in White Oak, Penn., was driving through the tranquil countryside between Pennsylvania and North Carolina when she noticed the perfect lighting for this shot. With a Nikon D700 and Nikkor 24-120mm f/3.5-5.6 G IF-ED AF-S VR Zoom lens, she exposed “After the Rain” for 1/60 second, f/8, ISO 400. “This time of day is usually not conducive to good lighting,” she says. “However, this rainy day with the fog lifting, and the autumn leaves, brought the whole scene together.” reflections-studio.com

What the judge thought: “‘After the Rain’ is a serene yet powerful image. I enjoyed the rich color that the wet grass and rooftops provide, while getting a sense of peace as I view the image. An effective image makes you feel something, and this print takes me back to childhood, where I can almost smell the rain that’s just passed. The composition, graphic design and subtle presentation work well in this photograph.” –Dave Huntsman, M.Photog.Cr., and PEC Committee member

14 • www.ppmag.com

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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. Photos ©Robert & Kathleen Photographers. All rights reserved.

©Mona Kay Sadler

MONA KAY SADLER While photographing a friend in one of the largest reactivated Civil War regiments in the country, Mona Kay Sadler, of MoKa Photos in Alliance, N.C., captured the drama of the reenactment in “Battle of New Bern.” With a Canon EOS 5D and Canon 100-400mm f/4.55.6 L IS USM EF lens with a Canon UV Haze Sharp Cut filter, Sadler exposed the image for 1/200 second at f/5.6, ISO 125. She converted the photograph to black and white, then added clouds to the sky. mokaphotos.com

RIC ZIMMERMAN “My Spirit Dance” resulted from a senior portrait session by Ric Zimmerman, Cr.Photog., CPP, of Zimmerman Portrait Designs in Billings, Mont. Shooting with a Canon EOS 5D and Canon 24-105mm f/4 L IS USM EF lens, Zimmerman exposed the image for 1/60 second at f/10. A 600WS Photogenic PowerLight behind a 42-inch Aurora Lite Bank Octa box served as the main light (C), bounced by a 42-inch Larson silver reflector (G). A 1,250WS Photogenic PowerLight and 36-inch umbrella (D) were positioned just behind the camera (A), with a second 1,250WS PowerLight and 36x10-inch Larson strip box (F) on the background. Finally, two 1,250WS Photogenic PowerLights in 36x10-inch Larson strip boxes (E) flanked the subject (B). He performed minor retouching in Adobe Photoshop CS, and additional work in Corel Painter. zimportraitdesigns.com E

F

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B G C

A D

16 • www.ppmag.com

©Ric Zimmerman

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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. Photos © Forever Photography and Small Wonders Photography. All rights reserved.

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

Alexa Meade takes portraiture into a new dimension BY LORNA GENTRY

Living

paintings

neously looking at a portrait I painted of

hand at another kind of shifted reality, politics.

myself, a photo I took of myself, and at me.”

She spent four summers interning on Capitol

She continues, “When I exhibit the ‘Living

Hill and worked as a press staffer in Barack

Paintings’ in galleries, I use a live video feed of

Obama’s presidential campaign. After receiving

the painted model projected on the wall next

a bachelor’s degree in political science from

to the subject. When viewed in person, an

Vassar College last year, Meade was poised

instantaneous jump is made from 3-D to 2-D,

for a political career track. “Living Paintings”

shifting reality to illusion and back again.”

handily derailed that, and she’s now at work

Often she doesn’t stop with the person, but will also paint the scene around the model

declines to discuss them just yet. While she

—lamps, tables, walls, chairs. Occasionally

has no education in photography and no

she takes her Nikon D90 camera and painted

formal training in art beyond high school,

models into real-life situations, like subways

Meade has a promising career as an artist.

or city streets. Social mores prevent people

portraits in part to her observations of

passed by they turn around and gawk.”

political communication, saying, “Seeing is

disconcerting and a lot provocative. At 23, the young artist is already an old

artist Alexa Meade of Washington, D.C., that one day last year she took a swipe at one of them with her paintbrush. Not on canvas— on flesh. “I wanted to make shadows more tangible than being just the absence of light,” she explains. Meade paints shadows, highlights and colors directly onto her models, transforming them into breathing acrylic portraits that appear in a photography and installation art series called “Living Paintings.” Meade’s artistic odyssey from 2-D paintings to 3-D painted people to 2-D photographs visually flips the idea of portraiture, not to mention mixed media. (Think of her blend of paint, photography and flesh as meta-mixed media for the second millennium.) “Essentially, my art imitates life [by being] on top of life,” she explains. “With ‘Portrait of a Self-Portrait’ (right) you are simulta-

She attributes her idea for the living

from staring, she says, “but once they’ve Well, yeah. Meade’s portraits are a little

Shadows are so captivating to multidisciplinary

on several other art projects, although she

not necessarily believing.” To see more of Alexa Meade’s work, visit alexameade.com.

CONTACT SHEET and promise to take no more than 15 minutes of his time. Many dads love to talk

Father’s Day promotion

about camera equipment, and chatting about tech stuff is a great icebreaker. I have a Dad category on my blog that displays samples of my portraits, and women can use it to prepare their husbands

Keeping dads in the picture

before the session. Fathers of newborns might not know yet how to hold the infant without looking

BY MARY HANSON

awkward, so you’ll need to do some posing and handling to get a great shot. With older children, dads are often distracted by how the child is behaving and they forget to relax, look at the camera, and interact affectionately with the child. Most men appreciate the photographer’s talking about her expectations. I give a bit of reassuring direction by saying something like, “I’ll worry about getting good shots of little Jack, you just sit back, relax and look good!” It helps if you realize that a lot of men don’t know what to expect from a family photo session. They may have an image of themselves as stiff and formal in photos, especially if they are used to corporate headshots, which may make them hesitant to take part in our family session. Many of the men who are the most hesitant to be in photos are the family photographer in their own home and are reluctant to give up that control. ©Mary Hanson

Encourage fathers to play with their children, even wrestle with them and be hands-

“I have a Dad category on my blog displaying samples of my portraits, and women can use it to prepare their husbands before the session.”

on to get great moments to capture. Dads often sigh with relief when they find out I’m not expecting them to sit still and pose the whole time, and find they not only enjoy our session, but also love the finished photos.

Sometimes getting dad in front of the camera

of my best sellers (and personal favorites as

for family photographs is a tough sell. Mom

well) because let’s face it—moms treasure great

a promotion for Father’s Day (June 20),

—who may or may not plan to be in the photos

photos of their husbands and kids interacting.

along with your favorite work with men and

herself—sets up the photo session, but

I’ve found the best way to encourage

Try writing a blog post featuring dads as

their kids. Gently remind them that their

sometimes the fathers of my littlest clients

fathers to have natural candid moments with

children and grandchildren will cherish

are not even home during my on-location

their children in front of the lens is to

photos of them in years to come.

sessions. It’s worth the effort to get him in

develop a rapport from the start. To put him

the shot, though, for you and for his family.

at ease, I ask him to live without his cell phone

Photos with dads and their kids are some

20 • www.ppmag.com

for a few minutes, and I use a little humor

See Mary Hanson’s photography at maryhphoto.com.

O U R W O R L D

Nathan Welton / Born in 1977 in the United States. Has travelled the world photographing athletes engaged in adventure sports and horseback riding. Featured in advertisements, newspapers, magazines, and other media, his photos have been recognized with a variety of awards. His wedding photography company “Dreamtime Images” is an internationally known studio. Photo data: SIGMA 10-20mm F3.5 EX DC HSM, 1/640 second exposure at F6.3

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Tom Bagby & Kristen McGill _ Tom Bagby Photography

We are Tom Bagby & Kristen McGill. We Are Giving Back. We feel strongly that giving back to the community and to the world is absolutely essential. We’ve recently started working with an orphanage in Guatemala called Shadow of His Wings. We love the spirit of the people there. They not only provide food, drink, and shelter to young girls, but they restore their hearts and help them grow into beautiful, strong women. We Are Humbled. We are truly inspired by people who blaze their own trails rather than following the crowd...people who have the courage to step outside their comfort zone and manage to change the way the rest of the world thinks. The people who run Shadow of His Wings are such people.They are never satisfied with settling for the way things are, always reaching for the impossible. We are constantly humbled to be around them. We Are Creative. In today’s crowded marketplace, we are trying to attract clients that are interested in more of a custom portrait experience...one that really reflects not just what they look like but who they are. This custom experience is what really brands us – the lack of one particular pose. By approaching each session differently, we’re able to spread our “creative” wings with each and every senior we shoot. We are Evolving. We’ve been in business since 1976 and have seen plenty of changes.The only way to continue thriving after 34 years is to anticipate the changes and react to stay ahead of them while maintaining your own identity. Our 34 year partnership with Miller’s has been crucial to keeping ahead.They have always opened doors for us and led the way with new technology and new products. We are Miller’s. Our lab is Miller’s Professional Imaging because we Expect More.

Expect More

To see how Tom and Kristen use Miller’s to grow their studio, please visit www.millerslab.com/TomBagby For more information about Shadow of His Wings, please visit www.shadowofhiswingsorphanage.org.

CONTACT SHEET

Accuphoto launch in the countdown Online daters get great photography and pros get a chance to earn lifelong clients May 31 is the official launch of Accuphoto,

photographers. Accuphoto ads will begin

who wish to participate in the Accuphoto

the service that connects online date and

appearing on eHarmony and other online

program (open to PPA members only),

mate seekers with professional portrait

dating sites on launch day. For photographers

ultra-brief training sessions will be available in mid May. There’s no fee to participate,

©Victor Ha

but the photographer must have a valid website gallery. In the first six weeks of registration, more than 1,200 PPA members had registered to participate, says Brenda Kirkland, founder of Accuphoto and a PPA member. Several industry vendors have expressed interest in extending special discounts to Accuphoto photographers. PPA is onboard with a one-time new membership discount for photographers who are joining PPA ($25 off on the active professional membership rate, $15 off for aspiring professional); use coupon code ACCU to activate the discount when Accuphoto will provide online daters a beautiful, professional portrait (left) that's far superior to any snapshot (below), and guaranteed to be an accurate portrayal.

24 • www.ppmag.com

registering for PPA membership online.

studio and to foster a client relationship

The client will pay Accuphoto a set fee

that will see you through the engagement,

for their session. Accuphoto will then pay

the wedding and even the maternity, child

the photographer via PayPal $65 for every

and family portraiture to come.

mini professional photo session they complete (20-30 minutes worth of work).

Some photographers have already ventured into this sort of client nurturing.

The client can then review five to 10

Sandy Allen, of Sandy Allen Photography in

proofs that the photographer has uploaded

Austin, Texas, says “My husband and I are an

to the Accuphoto site and select his or her

eHarmony couple—married a year after being

two favorites. They will download their two

matched and now we have a family to boot. I

favorites as low-resolution files from the

already do sessions for those looking for love

Accuphoto site. The images will feature a

on dating sites. I believe it can work, and the

unique ID watermark, and the client can

right photo certainly helps. One of my

use them as they please on dating or social

biggest sales last year was to someone doing

networking sites.

images for dating sites. He decided to go

If the client wants prints or any other

ahead and buy all of the digital images, and I

product or service, those transactions will

got $800 for a couple hours of work. I enjoy

be controlled entirely by his or her

it and it has been easy money—a big win in

Accuphoto photographer, who retains 100

my opinion.”

percent of the proceeds. This is a huge opportunity to bring singles who are looking to date and find “the one” into your

For more information and to sign up with Accuphoto, visit accuphoto.com.

CORRECTION In the April 2010 issue of PP, we misprinted the number of Facebook users who became fans of Bruce Berg Photography in the month following his post about this year’s Lane County Children’s Contest (p. 48). Says the studio’s owner, Bruce Berg, M.Photog.Cr., since that story was printed, his fan count had swelled from 190 to 1,340, as of April 3. Our apologies, sir.

CONTACT SHEET All images ©Dalisa & John Michael Cooper

Roadside families Pay-it-forward photo project helps photographers get back in their family portraits How many times have you said, “I take pictures. I’m not in them.” That’s the photographer’s mantra. They capture other people’s families, but don’t appear in their own family photos. Families grow up. Where’s the evidence you were part of it? A couple years ago, photographers Dalisa and John Michael Cooper of Las Vegas, were inspired to change the paradigm. They were about to embark on a seven-city speaking tour, and would spend 30 days on the road in an RV. Along the way, they’d offer to make free family portraits for other photographers, with just one condition: The photographers had to pay it forward, make a

The Coopers posted their intentions on

subjects in random spots along their tour route.

family portrait for another photographer,

the Digital Wedding Forum and quickly got

“We literally met people along the side of the

and ask that photographer to pass it along

several hundred replies. In the next month,

road in some cases,” says Dalisa. “That’s how

in a perpetual chain of gratis family portraits.

they shot 37 sessions, linking up with the

the name ‘Roadside Families’ came about.” Noting the Coopers’ project, Simply Canvas offered each of the original 37 families a free canvas portrait print. The Coopers found a blog sponsor in photographer Dustin Stellar, who created a blog site for the project, roadsidefamilies.com, to help other photographers start pay-itforward projects in their area. Nearly two years later, almost 200 photographers have had free family portraits made by their colleagues. The Coopers are amazed at the ongoing success of the project. “The project has been a great way for so many people to make friends in the photography community,” says Dalisa. “In some areas, the natural connections between photographers aren’t great, and this project has served as a way to break the ice.” See the Cooper’s work at altf.com.

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Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Jason Cook carries on tradition of service What advice would you give to someone just beginning in the business? First, get a good education in photography from a good college. While you are in college, work for a professional photographer to speed up the learning curve. Finally, take a lot of pictures for free—for friends, family and strangers. This way you can learn the craft without the pressure that money brings. How do you maintain a long-term, loyal clientele? Customers will get bored if you produce the same thing over and over, even if it’s an exceptional product. You must stay fresh and up on technology so that you are always relevant. Above all, treat people well and always make sure the customer leaves happy. What will be the most significant challenge facing professional photographers in the coming years? Our industry has changed so drastically over the past 10 years that it’s hard to keep up. Many old pros were not able to adapt to the changes, and the knowledge they held disappeared with them. In the future, it will be important for photographers to remember the basic fundamentals and techniques of the past. IMAGE BY JASON COOK COOKSPHOTOGRAPHY.COM

May 2010 • Professional Photographer • 31

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 Assess your workflow, value your image copyrights Q: I’m at my wits’ end with packaging and shipping my products. My sister helps out two to three hours a week, but I always have to spend another two or more hours finishing up. By the end of the day, that’s all I have done! I’m primarily a wedding photographer, and in my busy months, I process about 15 orders a week. I don’t feel like I make enough to have an employee just yet. How do I know when I can afford to hire one? A: Let’s start with the amount of time that typically goes into packing and shipping 15 orders a week. To make sure you’re pricing profitably, you have to understand how much production time should be spent on an individual order. Then you can create a workflow that allows you to accomplish it in the designated time. A workflow generally looks something like this: order placed; payment processed; prints ordered from the lab; returned prints unpackaged and approved, organized and placed with the corresponding order, packaged and shipped. Based on my studio workflow, it takes 20 to 30 minutes per order to cover all of those steps, so for 15 orders, it would take about 7 hours to do them all. You could begin by figuring out how much time it takes your studio to produce one order, then figure out where you can save time. Time is money, and I encourage you to be cautious how you spend it. Another option for studios without employees is to outsource the ordering tasks. For example, companies like Pictage and Collages.net allow your clients to place orders through a site personalized for your studio. The company will fulfill the order, collect the payment online, ship the order directly to the client, and send you a check, less a certain percentage of the order’s total as a fee.

32 • www.ppmag.com

As for adding employees, a company should be grossing more than $100,000 in sales annually before hiring anyone. According to the SMS benchmark for home-based studios, 3 percent of gross sales is the amount to allot for employee expense. A little more than 25 percent of that amount should be set aside to cover employee costs such as taxes, workers compensation, and unemployment insurance. This information brings us to the understanding that time management and outsourcing are probably the best options for lower-grossing studios. —Julia Woods Q: I have a client who wants to use one of my photos on 150 magnets, but she doesn’t want to pay me for the use of the photo. While I was working on creating a rightsmanaged agreement for the magnets, she commented that the photographers she’d used in the past never charged her for the use of their photos. She said they just put their studio logo on the photograph. Everyone I’ve asked said this is not standard procedure. What do I do? A: Though difficult to say what “standard procedure” is in independent businesses, in copyright ownership, it is standard procedure for the copyright owner to set the ground rules—after consulting with your client, of course. As copyright owners, photographers can determine how their images may be reproduced, edited

or made into derivative works, displayed, and distributed. These exclusive rights are yours, and you should inform your clients that your images in any form do have a value attached, no different from the sale of a print. You may also reserve the right to refuse requests like these, especially when you can accommodate the client through a similar studio service. The bottom line is that copyright law requires that written permission (a license) be exchanged between the copyright owner and the user. Diligent photo retailers will ask customers to produce a license before making a reprint or completing the transaction. Some may take the additional step of verifying the validity of the document by calling your studio. Play it safe. Whenever a client asks for usage rights, present them a written document. Although they might be less than thrilled to sign another contract, the license will not only help you manage your copyright but will also give the client guidelines for the legal use of your images. As for marking your work, we recommend you do. Then anyone who sees your licensed magnet, photo card, or digital image knows you’re the copyright owner. � —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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From the people that brought you

BY JEFF KENT

©Amy Lynden

PROFIT CENTER

BY JEFF KENT

Following PPA benchmarks, Michelle Tibbils builds a sales dynamo in less than five years while working full time.

How I did it On maternity leave with her second child, Michelle Tibbils of San Jose, Calif., seriously considered making photography a new career. But it couldn’t be a casual job switch, as her family depended on the six-figure income she made working full time at Oracle. By 2005, she was ready to commit part time. She got a business license, and pored over the PPA Studio Financial Benchmark Analysis to see where to begin. She’d need relatively high sales averages from the start, so she structured a product lineup she felt would support average sales in the mid-$2,000 range. A couple of portrait sessions in her home that year grossed $5,000. In 2006, still working full-time at Oracle, Tibbils accelerated the transition. She joined PPA, attended seminars and tradeshows, and continued building her clientele. That year she shot 19 sessions and grossed $45,000, which she reinvested in the business. The following year, Tibbils faced a critical decision when a retail space in a popular section of nearby Los Gatos became available. With its high visibility in this upscale neighborhood, Tibbils felt she could save on marketing expenses. “That was the big turning point,” she says. “Taking on about $30,000 a year in overhead was certainly a risk. I didn’t have the sales or number of clients at the time to support the jump. I worked through the numbers with my husband until I knew how many sessions I needed that year based on my past sales averages.” Tibbils left Oracle in mid-2007. She named her business Bugs and Butterflies Photography. Some 70 sessions that year grossed $145,000, at a per-sale average of about $2,400. In 2008, the first full year, she shot 104 sessions with gross sales of $263,000. Tibbils wanted to exceed her $2,400 sales average, and in early 2009, called PPA Studio Management Services (SMS) for a consult. She was matched with Melissa Kriest, a senior accountant. Kriest noted that Tibbils had done an excellent job setting up her business, but she was making an accounting error that

34 • www.ppmag.com

skewed her numbers. Tibbils was using studio management software, but wasn’t reconciling her business checking account. “This is common mistake,” says Kriest. “Because of strong sales numbers, Michelle had the luxury of not worrying about her checking balance. A lot of studios rely on online banking to know how much money they have in the bank, but if you don’t reconcile your account monthly, you won’t see the problems in your accounting. In Michelle’s case, we found where a client’s credit card transaction hadn’t gone through, so she was missing some revenue. You’d never find that sort of thing without reconciling.” “That was an ‘ah-ha!’ moment for me,” Tibbils says. “No one was auditing my statements to see that everything was paid for, and there were no charge backs. In a couple of instances, I had entered the same expense twice. So with those accounts reconciled, my numbers are even better than I thought!” Next, Tibbils revised her product lines to boost her session sales. Her highest grossing product had been 30x40 wall portraits, and Tibbils realized that most of those came from family sessions rather than individual portraits. With the business increasingly focused on portraits of children age 2 and under, Tibbils now emphasized the sale of collections in albums and portfolio boxes. She sold high-end albums for $1,500 and up, and quickly raised her sales average to $2,800. From 96 sessions in 2009, Tibbils grossed $289,000. Her cost of sales was 18 percent, a full 7 percent better than the PPA benchmark for retail studios. Other costs were below the benchmarks as well: administrative costs, less than 6 percent; total overhead, including rent, slightly over 10 percent. Low expenses with higher sales helped Tibbils make a 64-percent bottom-line profit (net profit + owner’s compensation)—that blows away the benchmark by nearly 30 percent. Translated, Tibbils takes home 64 cents out of every dollar the business takes in, 29 cents more than the PPA benchmark of success.

Michelle Tibbils

Tibbils’s sales goal for 2010 is $291,000, with average sales of $3,000 per the same number of sessions (96). If all goes well, she’ll achieve her goal of $1 million in cumulative sales. Kriest thinks she has an excellent chance. “Michelle is not someone who just woke up one morning and said, ‘I think I’ll start a photography business.’ She researched. She got a business license. She set up everything before she went out and started taking photographs professionally. She started from home, and once she had an established a client base, took on a retail space. She had a goal in mind for when she could quit her job and go into photography full time. Setting goals and tracking numbers from the beginning—that’s exactly how you want to transition into full-time photography.” “Because of PPA and SMS, I prevented myself from making a lot of the mistakes people make when starting a photography business,” says Tibbils. “I went to the classes and seminars, took copious notes, and knew what not to do. I followed the Benchmark Survey guidelines when I was figuring out my revenue goals. I knew that I should calculate what people were spending per session, and how to price my work to achieve my sales average goals. This business had to make sense financially as well as creatively. By sticking to the numbers, it has.” � Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Michelle Tibbils online at www.bugsandbutterfliesphotography.com.

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PROFIT CENTER

BY E D G R E E N B E R G & JAC K R E Z N I C K I

Release me! No matter how unlikely you think it is that you’ll ever need a particular release, get it. Lawyer Ed Greenberg and photographer Jack

Manual,” published by Lark, written in their

Reznicki, Cr.Photog.Hon.M.Photog., API,

easy-to-read and easy-to-understand style,

have been lecturing and writing about legal

will be a must for photographers trying to

issues like copyright and model releases to

survive in today’s harsh business climate.

photographers until they’re “blue in the face.”

The following is an excerpt from that book.

They keep hearing the same thing from photographers, “Oh, that happens to

Ad agencies, clients, and others who use

someone else. I’ve been in business 30 (40,

your images and who write your name on

50, 60) years and never had a problem.”

the “pay to the order of ” line of their checks

It’s always followed by that other well-

insist upon releases. Their insistence is culti-

worn phrase, “Who knew?” Like the interesting

vated by well-paid lawyers who spend many

story below about a photographer who used

billable hours protecting their clients (and

photographers who are simply not lawyers.

those exact words: “Who knew?”

their own jobs). They insist upon these releases

They come up with all sorts of reasons, expla-

for good reasons. When attorneys agree on

nations, and dances as to why you don’t

to talk less and not get so blue in the face,

anything, there is probably something to it.

really need releases. They are not correct.

now have a book with their legal and business

There is no reason to ponder the musings,

You want to focus on taking pictures and

advice. The “Photographer’s Survival

thoughts, or comments of bloggers and fellow

making a living. Your business health should

So Greenberg and Reznicki, in their effort

not be dependent on urban legends and myths. ©Jack Reznicki

WHAT ARE THE ODDS? Once upon a time, a young Kenyan woman was employed in a major Kenyan restaurant. A high-end fashion photo crew came into the restaurant prior to embarking on a weeklong location shoot. The photographer loved the young Kenyan’s food and invited her along to cook for the crew during their shoot. Over the next few years she went on to accompany various crews on several photo shoots, and even became a prop stylist, as she was familiar with local garb and customs. Several years after her last shoot, she found herself newly married and living in New

We’ve talked about why you should always get a signed model release until we’re blue in the face. Now, we’ll hold our breaths until you read the fine print.

38 • www.ppmag.com

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PROFIT CENTER

York City. One day she went to Bloomingdale’s,

of America that sold the product?” We have

MODEL RELEASE FINE PRINT

where she saw her own image on an expen-

no idea what the odds were and frankly, my

The specific requirements for model releases

sive fragrance label. She bought the fragrance,

dear, we don’t give a damn. What we do

vary from state to state, so to be absolutely

took it home, and proudly showed it to her

know is that a very substantial settlement

safe you should consult a lawyer on your par-

husband—who happened to be a prominent

was paid to the young lady from Kenya.

ticular state’s statute. Note that some states

employee of a large advertising agency. Her

It really doesn’t matter what the odds

have statutes containing very specific, unam-

husband called an attorney—Ed. Ed wrote

are; with a signed release in hand, you’re

biguous language that can be easily under-

one of his famous demand letters and had it

protected. Without a release, the odds shift

stood by anyone; New York is one example.

hand-delivered to the photographer who

and you may well find yourself putting

Since most published works, magazines, and

had taken the image and licensed it without

everything you own at risk. “Signed” is the

ads appear in the state of New York at one

a proper model release.

key word here. A verbal okay to use a person’s

time or another, many clients require that

likeness in your photo is an invitation for

your model release satisfy New York law. No

mistake, and he knew it. He called Ed and

problems in the future. Who said what, to

matter where the image was taken, retouched,

confessed, “I’m a jerk, I know better.”

whom, when, and where can always serve as

or printed, if the image is shown in N.Y., it

The photographer had made a big

fodder for lawsuits. It’s easy to dispute an

needs to satisfy the crystal clear N.Y.

inquired. His answer: “What were the odds

(alleged) oral agreement—ask anybody who

statutes. What matters is where it appears,

of a Kenyan cook, in the middle of the African

is married or has a child; it quickly becomes

not necessarily where the image was shot.

jungle, coming to New York, marrying some-

a he-said, she-said situation. But it’s hard to

one in advertising, and then walking into the

deny the contents of a written and signed

obtain the written permission of a subject

one and only store in the entire United States

release. So always get one.

for his or her inclusion in any image used for

“So why didn’t you get a release?” Ed

Generally speaking, you are required to

advertising, promotional, or trade purposes —regardless of whether the photo is used by a for-profit or not-for-profit entity. In this respect, a photo employed in Red Cross advertisement is no different than an ad to sell Dell computers. Images from wedding

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and portrait work should be released if you intend to use them on your website, in your blog, as a display in your studio, for selfpromotion, or in a mailer. Images used for editorial or certain fine art uses generally do not require a written model release. To claim editorial use, the image must be newsworthy in and of itself, and can’t be primarily used for commercial purposes. Likewise, don’t assume you can call your image a work of “fine art” and thus avoid the need to have a model release. In the event your subject objects to such use, a court may closely—and we mean closely—scrutinize your fine art credentials. You may need to demonstrate you’ve been shown regularly in art galleries and museums, if you’re work has been “collected,” and if the subject work

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PROFIT CENTER

has been produced in limited numbers. You

These rights are independent of any of the

any rights to show an image without a model’s

can’t suddenly deem your own work “fine

photographer’s intellectual property rights,

consent. Want to put up wedding photos or

art” for the sole purpose of avoiding a lawsuit.

such as copyright. Copyright is just a photog-

a recent senior shoot on your website or blog?

rapher’s right to his images and how those

Well, you have to have a release to be properly

entry of the image into a photo exhibit, compe-

images are shown and controlled. Subjects in

protected. Depending on what state you’re

tition, or contest. You’ll find most if not all

your photos also have different and sometimes

in, you may be sued and you may lose.

legitimate competitions require you to provide

conflicting rights. In short, the person in

a model release on demand. And realize that

your photo—whether a professional model

agencies, models, and their agents and

only the people included in the picture can

or not—has rights, too. Those rights may

clients specifically require being provided

sign a release for themselves, with some excep-

parallel those of the photographer or conflict

with a copy of the model releases: They

tions like guardians signing for their children.

with them. You may want to license an image

permit intended use and prevent lawsuits.

So for a wedding photograph, neither the bride,

to a particular client for particular purposes,

Images without accompanying releases are

nor the groom, nor anyone else, can sign a

but if the model does not grant the same

generally worthless for most commercial

release on behalf of Uncle Charlie or Aunt Sally.

rights by his or her consent, you cannot license

usages, with the notable editorial/fine art

Your model release should also cover the

Simply put, in every circumstance you are

It’s easy to see why stock agents, ad

your image for that purpose. The result

exceptions. Concern about proper model

never wrong and always better off having a

being that you can’t make a buck. You must

releases applies to all sorts of clients. �

signed model release in your pocket. Releases,

strive to derive as many rights from the

like copyright registrations, are cheap, excellent,

model/layperson as possible. Ideally both

and essential forms of business insurance.

photographer and subject will find them-

The rights of a person in his or her portrait, image, likeness, or even voice are commonly termed “rights of publicity” or “rights of privacy.”

selves on the same page, licensing identical rights to a paying client or customer. Copyright does not give a photographer

Excerpted from “Photographer’s Survival Manual: A Legal Guide for Artists in the Digital Age,” written by Edward C. Greenberg, J.D., and Jack Reznicki. Excerpt printed with permission from Lark Photography Books, a division of Sterling Publishing Co. ©2010

HOW TO AVOID YOUR WORST NIGHTMARE 1. Use a written model release all the time; get it signed. You’ll sleep better. 2. Always get releases from everyone in the photo. Spouses, girlfriends, significant others, employees, friends, and relatives. Everyone. 3. Other than for the exceptions mentioned earlier, every image is potentially valuable, so every image containing a person must be accompanied by a model release. Don’t fall into the trap of thinking that work is not valuable. You would be amazed at the number of average or soso photos that have become extremely valuable because the person in the picture becomes famous or infamous, or because events change the context of the image. 4. Leave no blanks in a release and make

42 • www.ppmag.com

sure it’s dated. Also make sure you obtain suitable identification from the model. 5. Provide a copy of the release to the model and then retain the original, if possible. If your savvy client requires the original, retain at least a signed copy. 6. Keep your signed release forever. You must retain the release so it can be given to your children and grandchildren. If anyone, even your accountant, tells you that you can throw out old model releases after a certain period of time, ignore the advice. There have been cases where the photo was taken decades prior to the objectionable use. 7. If the subject in the photo is a minor, obtain a written representation and proof if possible that the adult signing on

the child’s behalf is legally authorized to do so. These days the odds are good that a child might be or become product of a divorce; a parent in such circumstances might not have the authority to sign on the child’s behalf. That right might be held exclusively by the other parent. 8. Oral consent is usually not worth the paper it’s written on. There is nothing better than a written release. 9. “But she looked 18.” We love that one. Sounds as dumb in this context as it does in any other context. Ask to see a driver’s license. Make a photocopy and attach it to the release. As you know, minors cannot sign releases, right? Well actually they can sign them, they’re just worthless.

PROFIT CENTER

BY MARY HANSON

Create a great blog A photo blog connoisseur tells you how to perk up your site

I like having an all-encompassing website that includes my blog, so there’s just one place clients need visit for recent posts, photos, and info about my studio. If you buy a professionally designed blog template, or

After reviewing hundreds of photography blogs

enjoyable to view. I won’t review blogs that

theme, it’s easy to look great from the start. I

for the project, Blogs of Photogs, I’m a bit of an

have broken links, lousy photos, excessive

use the ProPhoto theme, a feature-rich site

authority on the subject (blogsofphotogs.com).

profanity or graphic, gratuitous nudity. If

design for Wordpress. Easy to use, it has an

With more than 5,000 monthly readers, the

this sounds subjective, it is—but it is my blog.

attractive flash header, large images, nearly

site was launched to post reviews of brilliant

unlimited customizations, and a clean style.

blogs written by photographers, whether

STARTING A BLOG

There are also free themes available, and

they’re virtual unknowns or the biggest

Decide whether your blog will be hosted in

companies that do custom-designing.

names in the industry. I choose which blogs

your own domain, as in myphotowebsite.com/

to feature from the sites I’ve discovered or

blog, or by a service like Blogger, Wordpress,

ones submitted by other photographers.

Typepad or Tumblr. For effective search engine

You’re welcome to submit your own blog.

optimization (SEO), brand continuity and

palette will mirror your studio and brand. Use

exposure, I recommend using your own site

your logo to tie-in your website and blog. Tag

(see “Help them find you,” p. 54).

or categorize each post with keywords for SEO.

My rule is to not criticize or advise in my posts. I focus on what’s working and what’s

I offer some suggestions for using your blog to its greatest advantage: 1. Consistent look. The design and color

TOP 10

My 10 favorite photo blogs in no particular order 1. lightheaded.cynthiagraham.com This one’s touched me the most, hands down. She shares so much of herself in each breathtaking photo and each meaningful tidbit that you’ll want to return to again and again for inspiration. 2. hofferphotography.com/blog Mark Hoffer makes you feel the love and joy of each wedding he posts about. His other kinds of photography are super, too. Be sure to check out his posing and setup shots. 3. jasminestarblog.com Her frequent updates keep clients and photographers alike coming back for more. 4. mattnicolosiblog.com. Here’s where I got the idea to feature assorted funny bio photos. His are inspiring and entertaining. 5. cowbellyblog.com Jamie Pflughoeft writes the ideal blog about pet photography. It’s interesting to clients, 44 • www.ppmag.com

Jamie Pflughoeft’s blog about pet photography, cowbellyblog.com, finds success in its charming appeal to clients, photographers and pet enthusiasts alike, anyone who needs a daily dose of cute.

Use descriptive titles for each post and photo. Use a client-friendly naming convention, such as Minneapolis_family_photographer.jpg (as opposed to DSC_1234). Have an easy to find RSS feed or e-mail signup for FeedBurner to make it easy for readers to get updates. 2. Use a bio portrait. It’s an opportunity to show your personality. I use a variety of self-portraits and have fun with them on my bio page. If you won’t get in front of a camera, how can you convince clients to? 3. Photography is the point. Showcase your photography. Visitors are looking to be wowed by your recent work. Make it easy to view the images. Do watermark them with your name and copyright info. (Right-click disables scripts to thwart copying, but anyone can do a screen capture.)

other photographers, pet enthusiasts, anyone who needs a daily dose of cute. 6. jeanetteleblanc.com/blog Jeanette Blanc’s witty and prolific writing alongside her images gives readers a real sense of who she is. I feel like I’ve come to know her through her blog alone, and I’d love for her to photograph my family. 7. whiteboxblog.com Fresh, vibrant and just plain lovely. On both blog and website, the wellintegrated images support the brand. 8. josevillablog.com A sumptuous visual feast. Go there! 9. jeffascough.typepad.com This photographer documents weddings all over Europe, mostly in natural light, and in a journalistic style. His art shines on his blog. 10. pattischmidtblog.com The clean, simple layout keeps the focus on the gorgeous photography. Easy to navigate and lovely to look at. —M.H.

Matt Nicolosi posts frequently on a variety of topics and includes an abundance of lush, attractive images. His playful use of bio photos inspired me to be adventurous with my own.

May 2010 • Professional Photographer • 45

“Keeping a consistent voice throughout your blog helps to spotlight another significant benefit you offer your clients by hiring a professional photography studio—your distinctive service and your personal touch.”

4. Update often. So important. Show that your business is thriving. You’ll want readers to keep coming for your current photos and interesting comments. You can integrate your Twitter account with your blog to provide up-to-the minute blurbs. Have a link to your Facebook fan page, too. 5. Share a bit of yourself. A blog is a fine way to share pertinent bits of information about your life and your business, which will help build relationships with clients. Say something

PURLS OF WISDOM Using personalized URLs to attract clients Personalized URLs (pURLs) are part of a new cross-media technique that funnels your promotional e-mail recipients directly to your website. Everyone who receives the mailing gets his own personalized URL, and a low-pressure yet compelling call to action. It’s effective—when I opened a mailing from Blossom Publishing, I couldn’t resist visiting the URL with my name in it. A number of companies provide pURL services, but Blossom is the only one I know of in the photographic industry. I asked Cody Zwiefelhofer, Blossom’s crossmedia marketing specialist, to explain how pURLs work. Let’s say high school senior Daniel Smith opens a promo you’ve addressed to him by name. He’s more likely to open a message with his name on it than one addressed to, say, Senior, Class of 2011. Your message directs him to a pURL— DanielSmith.ABCPhotography.com—on your website. Highly interested now, he logs on and goes directly to your dynamic senior portrait splash page, without having to navigate through your recent bridal and family portraits. You will be able to track how many times he visits the page, and capture some more personalized data, as well, like his e-mail address, that he goes

46 • www.ppmag.com

about what you do in your free time and l Betsy Finn, Cr.Photog., CPP

by “Dan” rather than Daniel, and that he’s interested in your outdoor portraits. The personalization that drew Dan to the site in the first place is the means for tracking his individual activity on your site. The tracking and reporting features Blossom Publishing provides in its pURL campaigns includes who visited the website and how many times, who responded to the message and entered their e-mail, and who did not respond. PURLs increase the trackability of your direct mail pieces, and use cross-media promotion to draw the interest of those who aren’t at the point of booking a session. A prospect who has put off calling because he’s wary of high-pressure sales situations, might feel more comfortable getting the info he needs online. You might find the cost of a pURL campaign a drawback—Blossom’s online campaigns typically cost $600 to $700. In the long run, though, having accurate, upto-date mailing lists could save you time and money. Betsy Finn’s studio, Betsy’s Photography, is in Dexter, Mich. (betsysphotography.com). She shares tips and ideas for photographers at learnwithbetsy.com.

your family, occasionally featuring pictures of your children. If you’re a wedding photographer, include fun details about each wedding and reception you cover, alongside sneak peek photos (assuming you have the subjects’ permission and a model release). Embed links to other blogs you like for your readers’ entertainment or enlightenment. It also encourages trackbacks and links to your site, furthering your SEO. Keep a consistent voice throughout a mix of business and personal information. Your distinctive service and personal touch will speak to potential clients. 6. Functionality matters. Nothing ruins a great blog quicker than broken links. Test drive your blog on different browsers and screen sizes. If you have music, have an easyto-find mute switch for viewers in quiet environments. Scale your image files down to speed loading for viewers. 7. Track your visitors. Use some kind of analytics on your blog, such as Statcounter or Google Analytics (read about Google Analytics on p. 54). You’ll see what leads each viewer to your site, how long he stays, and what he’s looking at. Check the search engine keywords to see what people are looking for when they arrive, and use tags and categories appropriately. � Mary Hanson Photography serves clients in the Minneapolis-St. Paul metro area (maryhphoto.com).

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PROFIT CENTER

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

What to blog When a blank screen stares back at you You know you should blog. You’ve heard about the benefits. What do I have to say? you wonder. See if these suggestions will get you started: Behind-the-scenes: People love behind-

others avoid your mistakes. Reviews: Write a review of equipment, photography books, or places you’ve gone. Reflections: Muse about life and photography. Help readers get a feel for

the-scenes comments on photography.

your personality. Reflect on something that

Keeping it short and interesting, post

happened to you, something you read, or

interviews, videos, photographs, and

something you suddenly realized. Try to

descriptions of your experiences. Funny

convey what you’ve learned or how you

stories and anecdotes are always a plus.

feel. Share your personal images, links to

People want truth, so if something goes

photographers who inspire you.

awry during a shoot, talk about it without

Updates: If people are reading your

“If people are reading your blog, they’re interested in what you’re doing. It’s completely acceptable to post updates about your personal and professional life.” readers to respond. It helps build

saying anything negative about the client.

blog, they’re interested in what you’re doing.

People learn a lot about you from the way

It’s completely acceptable to post updates

you overcome obstacles.

about your personal and professional life.

A festival? A racing event? Cover it like a

If you just got a job for a major client,

journalist. Show photos and updates of

you like that’s outside your niche, share it if

share your excitement. If you’re giving a

what’s going on, and relate the interesting

it showcases your talent. Write about taking

presentation, let your readers know the

experiences you have.

the images, what inspired you or your

date and time. If you get an award, express

creative angle, and a bit about the technique.

your feelings about the honor.

Recent work: If you’ve got new work

Tutorials: In words or video, describe

Make a list: People love lists. List

community online. Cover an event: Going to a conference?

WHAT NOT TO BLOG Repeated shameless self-promotion: It’s

how to do something you’re good at for

your favorite equipment, photographers,

okay to talk about new things happening in

colleagues as well as potential clients.

websites, books. List the top 10 mistakes

your career or recent successes, but if all

Write a tutorial about a software effect you

you made when you were just starting out,

you blog about is how amazing you are,

like, or tips on posing for brides.

or your favorite people to follow on twitter.

people will stop reading.

Business insights: Share tips and tricks of the trade on marketing, social networking,

Get creative. Ask a question: Interaction is the key to

Useless information: If what you’re saying is of little use to your audience,

branding or other business-related content.

social media. A good blog post starts a

don’t share it. No one cares what you ate

Had a bad experience? Maybe you can help

dialogue. Ask a question, take a poll, invite

for lunch unless you had it at an exciting new restaurant. Whining: It’s fine to critique, just

3 QUALITIES OF GOOD POSTS

don’t whine. �

TIMELY. Make it relevant to news events, or new equipment releases, or whatever is going on now. TIMELESS. Write articles that will always be useful to photographers or your clients. This article will retain value and bring steady traffic to your blog. SERIES. Make a series of articles to keep bringing viewers back looking for new information or the next installment.

Adler Photography is in Owego, N.Y., www.lindsayadlerphotography.com and www.linkedphotographer.com.

48 • www.ppmag.com

BRING Bring your photography & business questions — WE’LL HAVE SOLUTIONS.

Bring your business cards — THERE WILL BE THOUSANDS OF PEOPLE YOU’LL WANT TO MEET. Bring your passion — WE’LL SHOW YOU HOW TO TURN IT INTO PROFIT.

JANUARY 16-18, 2011 | HENRY B. GONZALEZ CONVENTION CENTER | SAN ANTONIO, TX

IMAGING USA 2011. BRING THE HEAT

KINDLE A

creative inferno WITH HOT PHOTOGRAPHIC & BUSINESS EDUCATION

ALSO... Ë Scott Robert Lim

Ph

oto

gr a p

hy

SPOTLIGHT: Get Your Name Out There Without Spending (Much) Money Bob Coates, M.Photog.Cr., CPP

Ë Parker Pfister

© B ob C

oa

te s

onFineAr t.com

Ë Tomas Muñoz, M.Photog.Cr., CPP

e nif

rH

u ds

PORTRAIT PHOTOGRAPHY: The Handmade Life Jennifer Hudson, M.Photog.Cr., CPP © ww

w. J e

n ewe l I ma g e s

Ë Bob Davis Ë Doug Box, M.Photog.Cr., CPP, API Ë Carl Caylor, M.Photog.Cr., CPP

BUSINESS BEAT: Powerful Projection Sales: Planning, Presentation, Product & Purpose Julia Radlick, CPP

©J

Ë David Ziser, M.Photog.Cr.

Ë Mary Louise “Lou” Freeman Ë Brianna Graham Ë Eric Anundi Ë John Hartman, M.Photog.Cr., A-ASP

© Cl

if f M au tne

r

Ë Travis Gugelman, M.Photog., CPP

WEDDING PHOTOGRAPHY: Fusion: A Style Collision Stephen & Jennifer Bebb

Ë Bruce Hudson, M.Photog.Cr. & Josh Hudson Ë Jeff & Allison Rodgers Ë Richard Sturdevant, M.Photog.

au

ra

Rom

ero

BUSINESS BEAT: Stop Competing on Price Todd & Jamie Reichman

Ë Joel Grimes Ë Thom Rouse, M.Photog.MEI.Cr., CPP Ë Dave & Quin Cheung

©

AND WE’RE

just getting started … Check out www.ImagingUSA.org for all the latest updates!

L

Imaging USA is more than an educational event…it’s an INSPIRATIONAL VACATION. It’s a chance to get away from the grind and re-evaluate how you can make your studio more profitable.

ignite

Photo Courtesy of the San Antonio Convention & Visitors Bureau / Richard Nowitz

Betsy Finn, Cr.Photog., CPP Betsy’s Photography

Photo Courtesy of the San Antonio Convention & Visitors Bureau / Al Rendon

INSPIRATION

WITH BREATHTAKING SCENERY IN A THRIVING, ARTISTIC COMMUNITY

SAN ANTONIO: IT’S UNCONVENTIONAL San Antonio is the perfect host city for Imaging USA, thanks to its gorgeous landscapes, intriguing architecture and the community’s focus on art. From the River Walk to its old-world heritage, fountain-laden parks and lovely plazas, San Antonio’s one of America’s most picturesque cities. Even the short walk from your hotel will put you in a creative mood when you’re surrounded by this diverse artistry and exquisite culture.

ART VENUES & PHOTO OPS Photo Courtesy of the San Antonio Convention & Visitors Bureau

Ë The Alamo (just a few blocks from the convention center!) Ë The World-Famous River Walk Ë San Antonio Museum of Art (on River Walk) Ë Local Markets: La Villita Historical Arts Village, Market Square (El Mercado) Ë San Antonio Missions Ë Japanese Tea Gardens

Photo Courtesy of the San Antonio Convention & Visitors Bureau / Marks Moore

Learn more about this hot Imaging USA destination: www.VisitSanAntonio.com

Book your hotel now: www.ImagingUSA.org

SPICE UP

your art. FIRE UP your business.

REGISTER & BOOK YOUR HOTEL ROOM NOW: WWW.IMAGINGUSA.ORG

Imaging USA was amazing! We took full advantage of everything offered, from business and photography education to camaraderie with the top photographers in the world and the latest equipment available at the huge trade show. THIS EXPERIENCE WAS PRICELESS —we brought our entire studio staff, and we cannot wait for San Antonio 2011! Rebecca Zoumberos, CPP | Limelight Photography

For any photographer looking for bang for the buck when it comes to instruction, IMAGING USA IS DEFINITELY THE WAY TO GO. You just can’t beat what you get for the price. What we learned in three days is going to radically change the way our studio operates. Tony & LaDonna Pettis | Studio P Photography

After returning from Imaging USA, I immediately put some of the BUSINESS AND MARKETING TECHNIQUES I had learned into practice. I proceeded to book the next four wedding clients who met with me, and all of them booked one of my top collections! Adam Czap | Adam Czap Photography

REGISTER & BOOK YOUR HOTEL ROOM NOW: www.ImagingUSA.org

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Frank Frost contemplates fusion with Canon DSLR What’s your current favorite piece of gear? My Canon EOS 1D Mark II with a 24-105mm lens. I would have it surgically attached to myself if I could. What hot new product are you going out of your way to use? I recently upgraded from digital projection to a 58-inch Panasonic flat screen in my screening room. It paid for itself with the first order. If money was no object, I’d run out today and buy a … Canon EOS 1D Mark IV … and a private jet. Has a piece of equipment ever changed the way you approach photography? My first SLR, the Canon EOS 5D Mark II. I experienced an artistic freedom that no other camera had given me. I just couldn’t run my business without … my wife. Plain and simple. IMAGE BY FRANK FROST FRANKFROST.COM

May 2010 • Professional Photographer • 53

THE GOODS: INTERNET

Use Google’s free website analytics to help make sense of your site’s traffic and make the right moves to improve your Search Engine Optimization.

FREE DOWNLOAD

Help them find you

Check the Current Issue area on ppmag.com to download (free!) two informative books authored by PhotoShelter CEO Allen Murabayashi, “The SEO Cookbook for Photographers” and “Google Analytics for Photographers.”

If you want potential clients to find your website

have the power to test the effectiveness of

B Y A L L E N M U R A B AYA S H I

GOOGLE ANALYTICS

The goal of SEO is to draw unsolicited traffic.

through search engines like Google, it makes

SEO is a form of inbound marketing. It’s a

the content and improve it, and know where

sense to dedicate time to search engine opti-

perfect adjunct to your traditional marketing

to prominently place photos that truly

mization (SEO). SEO isn’t complicated. Think

efforts, and Google Analytics gives you a

engage people. You can see how effective

of all the keywords and phrases people might

simple way to track the success of your efforts.

each keyword you’ve selected is in bringing

use to find a website for a professional photog-

If you’re making decisions about website

rapher whose specialties and geographic market

content and marketing without using a tool

area match yours, such as “Chicago wedding

like Google Analytics, stop everything and

photographer” or “Atlanta senior portraits.”

read on.

new visitors, and whether or not those visitors become customers. Getting started is fairly easy. First, register at google.com/analytics, and copy

Infuse these keywords and phrases through-

Google Analytics is a free service that pro-

out your website to reinforce relevant content.

vides revealing data about how visitors arrive

your website. If you’re using a website

You also need to focus on building links

at your website and what they view and respond

template, the vendor should enable you to

from other websites to yours. Links not only

to when they get there. That information

do this. Google starts collecting data

help drive traffic to your site, they are akin

can help you make smart decisions about

immediately; reports are usually available

to endorsements from the search engines.

how to spend your money and time. You’ll

within three hours. These include:

and paste the few lines of code provided into

• Overall traffic stats and trends • Top traffic sources; e.g., search engines, referring sites • Most compelling content • Average time spent on the site • Average number of pages viewed • Visitors’ most used browsers and the resolution of their screens • Where visitors are when they exit the site • Visitor loyalty (new vs. return visits) • Search engine keywords used • Goal achieved; e.g., print purchases, newsletter signup Beyond giving you information about your

Google Analytics gives you valuable info about who is viewing your website, what brings them there, and how long they stay.

54 • www.ppmag.com

THE GOODS: INTERNET

©Craig Mitchelldyer

You can compare how each keyword is helping reach your goal and which are converting visitors into customers. Visits to your website are important, but the real indicator of success is the conversion rate. Optimize. Once you’ve got a list of keywords, systematically infuse them across your website, paying particular attention to page titles, page descriptions, and on-page content. Use these keywords liberally as you develop new content on your site and blog. To support your SEO, grow more inbound links with frequent updates of compelling content that people will want to link to, and request links from clients, local partners, associations, and complementary service providers. As you make keyword changes or Craig Mitchelldyer concentrated on creating content that included the words “Portland wedding photographer” and quadrupled his search engine traffic for that term.

launch new marketing efforts, use the Analytics Annotations tool to note the date, so you can attribute any changes in traffic to

visitors and creating a baseline for improve-

Keywords. A list of the words people used

specific efforts.

ment, Google Analytics is extremely valuable

to find your site. If you’ve been doing SEO

in comparing multiple efforts. For example,

for some time, the list should contain your

to see, so be patient. As you climb up in

are you getting higher traffic from your SEO

top keywords. You might see some surprising

rankings, you should see improvements in

or from the online local wedding vendor direc-

terms bringing traffic to your site, which is

traffic volume in your Google Analytics data.

tory? Which of your homepage image galleries

also valuable info. You can see which and

led to the most inquiries? Which e-mail

how many of the words generate the most

SUCCESS STORIES

campaign design produced the highest print

visits per month, which spur the greatest

Craig Mitchelldyer (craigmitchelldyer.com)

sales? Google Analytics can easily tell you.

page views per visit, and which ones bring

appears on Google page 1 in searches for

SEO results usually take three to six months

the guests who browse longest on your site.

“Portland wedding photographer.”

GOOGLE ANALYTICS TOOLS FOR SEO

If you’re new to SEO, try using the Google

Mitchelldyer relies on Google Analytics to

Adwords Keyword Tool, which is separate

fine-tune his SEO efforts and says, “It’s easy

Traffic Sources. Use this tab to see the

from Analytics, to see how often people

to see what keywords people are using to

volume of traffic that’s coming from search

search with terms you consider relevant and

find my site. I can then optimize my website

engines versus other sources. Traffic comes

help you prepare your target list. SEO is

for these keywords, because a better search

from three main sources: direct user input

about creating the largest possible online

ranking will produce more traffic.” In late

of the URL, links and search engines. If you’re

footprint. You’ll want to have as many pages

2009, Mitchelldyer decided to focus his

new to SEO, traffic will likely come from links

of content with as many diverse keywords as

SEO efforts on “Portland wedding photog-

or direct input rather than search engines. Over

possible—be the haystack, not the needle.

rapher” and began building more content

time, you can improve that ratio. Focus on

Set goals. Track your site visitors’ behavior

that includes this term. As a result, as of early

Google—with over 65 percent of the search

to see if your efforts are getting the desired

2010, he was already on track to generate

share, Google dominates the market. Later,

results. The goal could be online sales, or

four times as much search engine traffic

you can use the Sources tab data to identify

something simpler, like prompting online

from “Portland wedding photographer.”

the source that yields the greatest payoff.

inquiries or registering for your newsletter.

Last fall, Hunter Harrison, owner

56 • 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

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THE GOODS: INTERNET

©Hunter Harrison

but it did register as a traffic improvement on

set of keywords, including “architectural

Google Analytics. He then decided to further

photographer,” “food photographer,” “travel

optimize the site for specific neighborhoods,

photographer,” and “lifestyle photographer.”

where it now appears in page 1 results.

For these specialty terms, when Barbour was

“Being able to see growth in the daily, weekly

originally optimized for “photography” instead

and monthly performance of my site in

of “photographer,” his traffic was low and fairly

Analytics has proved that my site platform

stagnant. He decided to shift to “photographer”

switch and new focus on SEO works,” Harrison

and used Analytics to monitor the traffic

says. “Though still early, I can see my business

performance—search traffic doubled.

opportunities are growing through SEO and

Google Analytics also lets Barbour com-

organic search marketing. What tells the

pare the results of his SEO efforts against

real story is my potential client contacts are

his other marketing efforts, like sourcebook

up. Potential clients are calling more often,

and directory advertising. The data informs

and more than half are reporting they found

his design decisions, too. He notes that

me through Google search.” In May 2009,

less than 1 percent of his visitor traffic

only 7 percent of the traffic to his site came

uses an iPhone, and most have monitors

via search engines; today it’s 27 percent.

with resolution of 1,280x1,024 or more,

Commercial photographer Lincoln Barbour of Portland (lincolnbarbour.com) has focused on SEO since 2002, and continues to find ways to improve it. For his optimization targets, Barbour ties “Portland” to a broad

so he optimizes his design for larger screen resolutions. � Allen Murabayashi is CEO of PhotoShelter (www.photoshelter.com), a provider of websites and other tools for photographers.

Lincoln Barbour doubled his search engine traffic when he changed “photography” to “photographer” in the sets of keywords he optimized his SEO for.

of H Squared Photo in Cleveland (hsquaredphoto.com), was upset with the limited SEO tools offered by his template website provider. He switched to a combination of WordPress blog (using a design theme by Graph Paper Press) and PhotoShelter. These two sites together give him complete control to apply his desired keywords across his Web presence. Harrison’s first optimization target was the term “Cleveland wedding photographer.” This phrase had not generated traffic previously, but after the switch in November, they put him on Google page 9. That’s hardly a top spot in a competitive market,

58 • www.ppmag.com

©Lincoln Barbour

H Squared Photo narrowed their keyword focus to include Cleveland neighborhood names to get better Google search results.

30

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THE GOODS: DATA STORAGE

With every routine digital file transfer comes the risk of file corruption, and files tend to degrade over time. Ensure the integrity of your archived files through data validation. B Y E T H A N G . S A LW E N

Ultimate security DATA VALIDATION

This article is adapted from content on

process of backing up image files to a hard

dpBestflow.org, a new online resource

drive or DVD could render them unusable—

covering digital imaging best practices for

so further safeguards are necessary.

professional photographers. Free to view and

Peter Krogh, author of “The DAM Book”

requiring no login, dpBestflow.org features

and senior project manager of dpBestflow.org,

definitive technical knowledge, workflow

recommends photographers add to their work-

strategies and hours of video tutorials.

flow data validation, a process of confirming the integrity and completeness of all sets of

Most photographers cringe at the thought of losing a single image in their digital archive.

stored files, and replacing any corrupted files. Krogh’s section on that process on

The most basic safeguard—best practice—

dpBestflow.org is an excellent guide. The

against image loss is to save three copies of each

first, most important step toward imple-

file on two different types of media, stored in

menting data validation is to understand the

separate locations. That’s just the start. Stored

fundamentals. Three kinds of data validation

data degrades over time, and it can be cor-

relate to the photographic workflow.

rupted during routine file transfer—the very

INITIAL VALIDATION. Immediately after

FOR MORE INFORMATION Follow the menu navigation below to find more in-depth information and instruction on topics discussed in this article: Go to dpBestflow.org > Best Practices … > Data Validation > Data Transfer for step-by-step data transfer instructions. … > Data Validation > DNG Validation for details on using the DNG Converter for raw file validation. … > Data Validation > Write-once Media Validation for step-by-step workflow details on write-once file validation. … > Data Validation > Data Validation Details > Visual Inspection for complete instructions on visual inspection, including two video demos. … > Data Validation Details > Proprietary Raw File Integrity to learn how to validate proprietary raw files with the DNG converter. … > Data Validation Details > Data Validation with ImageVerifier to see a demo of ImageVerifier in action.

©Peter Krogh

transferring image files from the camera, visually inspect them in a program that actually reads the raw data, such as the browser application Adobe Bridge or the catalog programs Lightroom and Apple Aperture. Viewing image files in Mac or Windows system software is no guarantee of data integrity, even when there’s a preview. Always visually validate the images before reformatting the memory card/s. TRANSFER VALIDATION. “If you are

This image became corrupted during transfer to a hard drive. Such data corruption illustrates the critical need to visually validate image files before reformatting memory cards.

60 • www.ppmag.com

THE GOODS: DATA STORAGE

File transfer is one of the most common places to introduce corruption into an image file. When copying critical files, it is highly recommended to use a program that manages a validated transfer, such as Chronosync for Mac (right) and Syncback for Windows.

moving files from one place to another, you need to make sure every bit comes along for the ride,” says Krogh. “Your operating system performs some basic checks when files are copied from one place to another, but it does not do a thorough validation. The only way to be absolutely sure that everything was transferred properly is to perform a bit-for-bit comparison between the original and the copy.” When the files are critical, Krogh recommends using a transfer utility—such as Chronosync for Mac and SyncBack for Windows— to perform the transfer validation. Both programs help you create automated “transfer pipelines,” customized to your workflow. ARCHIVE VALIDATION. Performed periodically on both the main archive and backups, the process will discover 1) whether or not the collection is complete, and 2) whether or not any files are corrupt. Completeness. An easy check, at least for those with reasonably organized collections: First, make a comprehensive catalog/s of the collection’s files. Cataloging software such as Microsoft Expression Media can check the completeness of an archive with a single command. If your files are widely scattered or mixed in with backup files, it’s virtually impossible to make a workable catalog, much less employ a one-button check. If that’s the case, catalog software could help you manage your collection. File integrity. There are many workflow strategies for detecting corrupt files, depending on the format, storage media and archive structure in use. • Visual inspection: The gold standard is to open the file in Photoshop to view the image

62 • www.ppmag.com

HOW TO CARE FOR YOUR HARD DRIVES Putting new drives into service. When you buy new drives, doing a little preparation will increase the likelihood of trouble-free service. As part of this preparation, it’s a good practice to zero all the data on the drive—meaning write all zeros on the drive, using the formatting tools available for your operating system. This will ensure that every bit on the drive is touched, and force the drive to do a thorough scan of the volume, find bad sectors and mark them off limits. Shock prevention. Hard drives are complex and delicate. Two kinds of shocks to avoid are electrostatic discharge (ESD) and impact. Do not be cavalier about either. Applied in the wrong place, static electricity can kill sensitive electronics in an instant, including the controller circuit board on your hard drive. The most basic precaution is to first touch grounded metal (such as the chassis of your computer) before touching sensitive electronics—anything inside the computer housing—particularly if in a static-rich

l

BY PETER KROGH

environment, like on wool carpeting in low-humidity. If you want the utmost in nerdy fashion, and maximum protection, get an anti-static wrist strap. If you’re going to swap bare drives, get a padded antistatic mat for your work area. These mats have the added protection of padding the drive from impact as you work on it. Find them online by searching “ESD mat electronic project.” Hard drive storage. Storing hard drives used for backup files also requires reasonable protection from ESD and impact, as well as moisture and high heat. What you use for protection depends on a several factors, including your budget, number of drives, how you transport them offsite, whether they’re internal or external, and whether they’re housed in caddies or bare. Drives should be stored in an ESDprotected environment. At the very least, you can store them in antistatic metallic bags, available at major computer stores). Also use some kind of padding to protect from impact.

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PhotoTools 2.5 Professional Edition is just one of six products included in the new Plug-In Suite 5 and was used on this high school senior portrait to smooth the skin, sharpen and brighten the eyes and make the background colors more dramatic. All in less than 5 minutes. PhotoTools 2.5 Professional Edition harnesses the power of Photoshop Actions in an easy to use software program but is accessible not only from within Photoshop but also from within Lightroom and Aperture.

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THE GOODS: DATA STORAGE

THE DNG VALIDATION ADVANTAGE

The Adobe DNG Converter can be used to validate both DNG files and proprietary raw files.

and any layers it contains, but you’ll probably

check for damage in the file structure of

want a better method. Instead of opening each

many files at once. One of them, ImageVerifier

file, send them all to an imaging program

(basepath.com/ImageIngester/index.php)

that builds thumbnails or previews, then

can check the integrity of almost all image

skim through the files checking for anomalies,

file formats.

such as strange lines or incompleteness. It’s

• Write-once file validation: Unlike image

important to know exactly what you’re looking

files on hard disks, files on write-once media

for and to set the preview preferences correctly.

cannot be altered once the data is written.

• Raw file validation with the DNG

Any change in even one bit of file data indicates

converter: The easiest image file format to

media degradation, therefore it is possible to

check is DNG (see “The DNG validation

use a data validation program (such as

advantage”). The free Adobe DNG Converter

ImageVerifier) to create an MD-5 checksum.

(for Mac or Windows) is easy to use, and

This “key” of all the data can be used to determine

can also help you validate most proprietary

the exact condition of your backup storage.

raw file formats; e.g., Canon CR2 and Nikon NEF. Simply drag-and-drop the files onto

REAL-LIFE VALIDATION

the converter’s application icon. This creates

“When putting data validation into practice,”

a new DNG file of the original non-DNG

says Krogh, “Photographers need to weigh the

files, and sends the DNGs back through the

value of the photos against the cost and

converter. It opens each file in the lineup

effort involved.” At the very least, photographers

and reads the information. If it can’t open a

can perform validated transfers when

particular file, the app will send you an alert.

copying all critical files. Not only will this

This process allows you to check the integrity

help safeguard your image archive, it will

of thousands of files with a single command.

offer you greater peace of mind. �

• Data validation with verification programs: Some programs are made specifically to

64 • www.ppmag.com

Ethan G. Salwen is a writer and photographer in Buenos Aires.

At present, the only standardized, nonproprietary raw file format is Adobe DNG (digital negative). The experts behind dpBestflow.org advocate converting proprietary raw files into DNG files. The DNG has a number of workflow advantages, including unique qualities for checking data integrity. Each DNG file contains a unique validation checksum generated from the data of the original raw capture. Called an MD-5 checksum, this “key” travels with the file, and can be used by a number of applications to determine the validity of the critical bits of the file’s data. The DNG file is like a file wrapper that includes not only the original raw capture data but also metadata about the image, such as processing instructions, keywords and the embedded JPEG preview. Changing even a single keyword will change any checksum that has been created for the entire file. However, the original raw image data does not change, nor does the internal MD-5 checksum for that data. While metadata can reside in various programs, such as a Lightroom catalog, raw image data must remain intact within the raw image file. The DNG is the only file format that allows for validating the file’s critical raw image data, regardless of changes to metadata. The DNG image data integrity check is automated. You can check the health of thousands of files with a single command, using the free Adobe DNG Converter program or an increasing number of software applications that take advantage of the DNG MD-5 checksum. To learn DNG fundamentals, go to dpbestflow.org > Best Practices > File Formats > Raw File Formats. —E.S.

THE GOODS: PRO REVIEW

Three Topaz Labs plug-ins for Photoshop present attractive effects for a bargain, but which do you need? B Y K I R K R . DA R L I N G , C P P

Trio of style TOPAZ ADJUST, SIMPLIFY AND DETAIL

Figure 2: The Adjust tabs feature controls that work like similarly named controls in Photoshop, and others are unique to Topaz plug-ins.

It’s hard to beat getting more than you pay

the opening act of a somewhat overlapping

for, especially when you don’t pay that much.

set of inexpensive image processing plug-ins

and Detail v. 2; their interfaces are snazzier

A recent session with a high school senior

from Dr. Albert Yang’s Topaz Labs in Dallas.

than previous versions, but there are no

seemed to call for effects as trendy as she,

Clearly, these are not mere special effects

significant changes in features. The updated

like the popular pseudo-HDR look. But I

filters. The presets in each plug-in are start-

look should be standard in all Topaz

didn’t want to pay hundreds for a special

ing points in controlling the look of an image

applications by this issue’s release date.

effect I’d rarely use.

Topaz Labs recently released Adjust v. 4

in ways sometimes fundamentally different

The new interface has drop-down tabs

Googling brought up buzz about Topaz

from the Photoshop controls. Because some

(Figure 1). The slider controls are now larger

Adjust, an inexpensive Photoshop plug-in

functions of the Topaz plug-ins overlap, we’ll

and much easier to manipulate. The main

that someone dubbed the “impoverished

take a brief look at three that seem to be

preview window centered on the screen is

photographer’s LucisArt.” I discovered that

particularly similar—Adjust, Detail, and

flanked by a navigator thumbnail (upper right)

Topaz Adjust is unique in its own right, and

Simplify—and distinguish the differences.

and a preset preview thumbnail (upper left). The preset preview window is likely to be

All images ©Kirk R. Darling

controversial with previous Topaz users, who had the option of viewing the presets as a column of individual thumbnails or as a text list. The new interface has a combo—a single thumbnail that changes to show the results of the preset selected from the text list below it. You can no longer zoom the size of the thumbnail or reset its position to match the main preview. The control tabs on the right reveal sets of slider controls (Figure 2). Topaz Labs recommends applying the controls in order, from top to bottom, because the functions of the lower tabs are engineered to build on those of the upper tabs. Some of these are identical to Photoshop controls, and perform the

Figure 1: The new Topaz Labs plug-ins interface is sharp and easy to handle.

66 • www.ppmag.com

THE GOODS: PRO REVIEW

same functions, and some of the controls are unique to the Topaz software. Unfortunately, the names of the some of the controls are similar from plug-in to plug-in, yet perform different functions, which can get confusing as you move from one to another. For instance, the Details tab controls in Topaz Adjust perform about the same functions as the Unsharp Mask in Photoshop, but in the Topaz Detail plug-in, the controls in the Details tab change the image in a completely different manner.

Figure 3: A selection of Adjust effects.

TOPAZ ADJUST offers tremendous control over color, contrast, and sharpening by giving you the ability to divide the tonal range of the image into a spectrum of regions. You can then handle the color and exposure of those regions adaptively. The presets are rather garish, but you can apply Adjust with great subtlety (Figure 3). I often use a bit of the Clarify effect to clear muddiness from shadows without actually lightening them. You can easily save your own variations as presets.

Figure 4: A selection of Simplify effects.

Adjust includes a lite version of Topaz DeNoise, reputedly one of the best noise reduction plug-ins around. Adjust’s DeNoise engine lacks a few of the full-scale controls, but it’s much more capable than Photoshop’s noise filter, and alone is almost worth the cost of Adjust. TOPAZ SIMPLIFY is the most powerful of the three in taking images beyond the photographic to something resembling artwork created by paintbrush or pen (Figure 4). Adjust cannot match Simplify’s quick and

Figure 5: A selection of Detail effects.

astoundingly easy art effects, which are superior to others I’ve seen. On the other hand, it can be difficult to restrain Simplify’s power enough

any benefits in using it with other subject

to keep the image looking “photographic” as

matter in a way that was unique to Detail

Adjust plug-in to good use, and then pair it

easily as you can with Adjust.

and unattainable with Adjust (Figure 5).

with either Simplify or Detail, depending on

TOPAZ DETAIL presented a quandary.

Any photographer could put the Topaz

All three plug-ins lack self-masking

the desired results. Topaz Labs offers a 30-

Its claim to fame is the ability to control small,

ability. Maybe its inclusion would send the

day free trial of its plug-ins. These three are

medium, and large details individually

price skyrocketing, but I hope Topaz Labs

available for Mac or Windows: Adjust, $49.99;

without introducing edge artifacts. That’s

finds a way to incorporate it in future versions

Detail and Simplify, $39.99 each. �

quite useful with certain subjects, especially

that are still economical. Meantime, we can

still life and architecture, but I didn’t find

rely on Photoshop layer masks.

Lord & Darling Portraits is in Normal, Ill. (lord-and-darling.net).

68 • www.ppmag.com

THE GOODS: ACTIONS All images ©TJ McDowell

If you’re looking for style that sets you apart and speeds up your workflow, Craig’s Actions sets are a deep well of fast, creative tools. B Y TJ M C D O W E L L

Dress up like a pro CRAIG’S ACTIONS

It’s critical for professional photographers to

Sets based on their function: Stylers, Toolkit,

exhibit the superiority of their own images

iTones Workflows and Studio Workflows.

to those of the increasing ranks of amateurs

These tools were created to provide the

permeating the field. The difference must be

full control and quality that pros demand;

bold and obvious to consumers. One way to

applying them to get results that suit your

do it is to skillfully refine your images with

own tastes, or even how Photoshopped your

professional image editing tools that will make

images look, is never a problem. Every action

the direct-from-camera images of the amateurs

has controls to adjust intensity, masks to

far less exciting in comparison. Craig’s Actions,

brush an effect in or out, and green-for-go

used in conjunction with Photoshop, can

color labels that indicate where you can

simplify retouching as well as dramatically

further customize the results. Minielly even

enhance your images, in turn helping to

invented a new workflow stream by integrat-

fortify your position as a true professional.

ing before-and-after Image History versions,

Successful advertising and commercial photographer Craig Minielly, M.Photog.Cr., CPP, has been offering image editing tools since

so you can always return to any previous stage in your experiments with the actions. All the actions run within Photoshop—

Before

After Figure 2

Skin retouching can be a tedious task. The Blemish Buster works wonders on skin

1996, and via the Craig’s Actions website since

simply find the action in the Actions palette

with heavy acne, without making the

2004. The tools are grouped as Craig’s Action

and click play (Figure 1). Prompts and

subject’s face look plastic. Simply brush on

inputs guide you from there. Each of the

the clear skin when prompted by the action.

sets includes dozens, even hundreds, of

For skin that’s fairly clear to begin with, use the

actions and popular editorial image styles.

fully-automated series of touch-up actions called

For this article, we look at just a few of the

Venus On Set. As with all of CA tools, you will

effects that are relevant to our readers.

still have the option to selectively brush the effect

Figure 1

The eyes and mouth are crucial elements

3). Taking just seconds, these actions are a

includes Facial Enhancements, an action

huge time-saver for images containing more

that improves the appearance of the eyes

than one person.

and teeth, by setting up layers of the various

70 • www.ppmag.com

in or out, and fully control the intensity (Figure

in a close-up. Craig’s Actions Toolkit

Craig’s Actions Toolkit also includes edgy

areas to be brushed in with ease. With a

effects. The Defining & Light Styling group

little practice, you can accomplish the task

of actions will bring out details in the image

in seconds. There’s also Eye Popper, a time-

and highlight the edges. Edge Light searches

saving tool that makes it even easier to

for edge details throughout the image and

enhance and brighten the eyes (Figure 2).

enhances them (Figure 4). For more accentu-

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THE GOODS: ACTIONS

Stylers Actions have a number of excellent

dramatically (Figure 6). If you’re looking for

tools to apply just the right touch. Vintage

extreme, try the PA GenX actions, which

Spot Color, from the Stylers set, softens and

blow out light colors and dress up a

tones down color. The effect can be selectively

mediocre image with an in-your-face look.

brushed out to restore color in the desired

Installing and using Craig’s Actions is

areas. One of my favorite tools is Gothic Soft,

fairly simple. If you need help, the pop-up

a Toolkit action that blurs edges together for

tips and online help are useful. There are

a gothic feel. I’ve gotten some amazing results

some great ideas and tutorials on the Craig’s

on images with textured walls (Figure 5).

Actions website. Each set features different

Sometimes a group of images that seem

actions, so take a look at what’s included.

to have all the right elements just don’t stand

The Action Toolkit is a good place to start,

out, and you need to creatively enhance them

but I found actions in each set that added

in a batch-process. Craig’s Action Workflows,

real value to Photoshop. Craig’s Actions are

ated details, try the Fashionizer action, a

or what Minielly calls his Productions

definitely a smart buy for photographers

likely hit for senior photography. To selectively

Assistants (PA), can be the solution. They

who want to save major time in their

highlight details (such as denim), simply brush

even auto-save the image files for print, Web

workflow, increase profits, and add a range

in the intensity with the Flashlight tool.

display or archiving if you desire. HiColor

of creative options to Photoshop. Craig’s

Figure 3

The trick to a soft or dreamy image effect

actions from the iTones Workflow set add

Action Sets range in price from $177 to

is to stop short of cheesy. Craig’s Toolkit and

new life to an image by bringing out the color

$277. Craigsactions.com �

Figure 4

Figure 5

Figure 6

Before

Before

Before

After

After

After

72 • www.ppmag.com

Family portraits take planning. Where do the kids go and why does everyone need to be close to the same plane? What are their hands doing, and is anyone paying attention to clothing wrinkles and hair? FA M I L I E S

O

By Rod Evans, Cr.Photog.

All images ©Rod Evans

ne of the toughest assignments for a portrait photographer is to create a family portrait that

makes everyone happy, includ-

ing the photographer. I’ve got

some tips to share that might help

you get a photograph that everyone loves. The portrait actually begins before the

session with a consultation. The purpose of the consultation is to arrive at a plan for how the family will dress for the shoot, where the session will take place, and where the finished portrait will be displayed in the client’s home. We show the client examples of clothing that does and does not work well. They don’t need to dress exactly alike, but we do suggest their sleeve length be the same, and complementary to everyone; generally, the heavier the person, the longer the sleeve should be. (Unless they’re a family of body builders, sleeveless tops are not recommended.) Next we discuss the arrangement of the people in the portrait. The parents should be close together and the youngest children should be close to them, for two reasons: because small children are dependent on their parents and because the parents can keep the children in place. Let’s say your family portrait will include the parents, a couple of school-age kids and a wiggly 2 year old. Begin by literally sizing up everyone. Tiny people go in front, taller people behind, with any unattractive body

Family balance Rod Evans’ composition and posing for groups 74 • www.ppmag.com

features hidden by the people in front. With the parents and the 2 year old close together in place, we place the two older children. The heads in the picture should be at different

FA M I L I E S heights, but the subjects’ bodies should be on or as near as possible to the same plane—if dad is 4 feet behind the crowd, he’ll be out of focus and no longer part of the group. Some of the subjects might need to be seated and some standing to arrive at a triangular or circular composition; never have only one person seated. The composition is pleasing now, but the subjects look like surfboards standing straight up in the sand. The portrait conveys no meaning or feelings or connection. This is a family; they depend on one another. Make that come across by having them slightly lean their heads or bodies toward the center of the group. When someone’s head tips away from someone else’s, it suggests those two aren’t getting along. Move the subjects in close, but not so close as to obscure the chin, neck or shoulders of anyone else in the picture. Everyone needs to have a visible base beneath his head. Now for the hands and arms. Try to connect everyone’s hands for a gentle pleasing look. Make sure none of the hands or arms are pointed straight toward the camera. Follow the example of the old masters or John Singer Sargent. Expressions are the next task. By now dad’s bored, mom’s worried about her hair, and the toddler is heading for meltdown. Back up a frame. To avoid meltdowns, try putting the composition together with a space for the toddler to be brought in at the last minute. It’s helpful to have an assistant to keep the little ones happy, as well as to check the details like clothing and hair and hand position while you’re watching for expressions. If you are confident and in control of the situation, the family will respond by believing in your ability to make them look good. Now your job is to do whatever it takes to elicit the best expressions. You might have a jokey patter that always works for you, “Lean in, be happy! I don’t call that happy!” With little kids, try a funny voice and say,

76 • www.ppmag.com

“Do not smile! I am berry, berry serious!” With really little ones, you might even resort to having your assistant tickle them with a long feather, and if all else fails, have the assistant tickle dad. Good job. Now, if there are no major meltdowns or arguments brewing after you’ve got the group shot, break up the family into smaller groupings in various combinations and go for additional print sales. Think wall groupings. Get some individual shots as well. Knowing some of these simple tactics will build your confidence to free your creativity with family groupings. Photographing a family portrait requires planning and careful thought on your part, but the result will be a timeless portrait that the family will proudly display for years to come. � Evans Photography is in Sioux Falls, S.D. (evanscreativity.com).

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May 2010 • Professional Photographer • 77

Family is the core of humanity, says Frank Frost. A studio owner for many years now, he has honed his style in the great outdoors and watched his clients’ children grow up to become clients themselves. FA M I L I E S

By Stephanie Boozer

Take it outside

C

For Frank Frost, all the world’s a studio lick through Frank Frost’s

online portfolio of family por-

traits, and you can’t help noticing the dra-

average of 310 sunny days per year and its comfortably low humidity, its vast sky is the perfect lighting, the landscape a perfect backdrop. Frost’s recent downsizing of his studio

cycle gear. Studio shots are rare, and that’s one

from 4,000 square feet to a loft-style 1,400

of the reasons clients keep returning to Frost.

square feet wasn’t spurred by the economy

“I love photographing people and incor-

or a falloff in business, but by the realization

matic variation of locations: snowy glades,

porating houses, boats, landscapes, anything,”

that the indoor space was superfluous. “I’m

desert oases and rugged mountain scenes;

he says. “But my favorite subject is families.”

always on a mountain or somewhere

families watching hot air balloons in the sky,

All images ©Frank Frost

In the picturesque environs of Albuquerque,

downtown, and all I really need is a base to

gathered in a cozy cabin retreat,

N.M., Frost has an abundance of settings

sell from and a place where people can pick

or proudly sporting motor-

just outside his door. With the area’s

up their orders,” he says.

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FA M I L I E S

That’s not to say that Frost never shoots in his studio. On the contrary, he’s excited about its abundant window light and the hardwood flooring that warms the new space. The theater room with its 6-foot screen is an attraction on its own, especially when clients enjoy sodas and ice cream during image presentations. “I’m more excited about my studio than I’ve been in a long time,” says Frost, who’s been in business since 1982. He started with a tiny studio in the historic Old Town section of Albuquerque, where he stayed for two years before buying an established studio. “That was the best thing for my career,” says Frost. “It enabled me to make a living right away, without having to starve.” That was before it hit him that his clients

80 • www.ppmag.com

© James Roy, M.Photog.Cr., CPP | www.JamesRoyPhotography.com

ONE OF THE MANY FACES OF PPA THE BRILLIANT COLORS OF THE CARIBBEAN DO SOMETHING TO THE BRAIN. In fact, it’s what got my photographic zeal going again! After a Caribbean trip, I started a part-time fine art photography business while working full time as an attorney in Washington, D.C. When I decided to make photography a full-time career, the first thing I did was attend the Maryland PPA convention. Shortly thereafter, I flung myself into photography. For a year, I attended all the meetings, competitions and mentoring I could—photographers even let me tag along to weddings to learn from them! Then I moved to the Turks and Caicos Islands to really live my dream of professional photography. Thanks to my continued education with PPA, I hit the ground running. AND I’M WHERE I’M SUPPOSED TO BE.

Christine Morden, CPP Paradise Photography - MyParadisePhoto.com PPA Member since 2006

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FA M I L I E S

were buying him, not his studio. “I’m branded

as a recent shoot at a cabin where a family

well enough in my town that my studio space

had been vacationing for years.

isn’t as important, because most of my work is outside or on location.” Frost books 20 to 25 weddings a year,

“These two kids had been going there forever, and both were leaving for college,” he says. “They were telling me what all this

but his focus is portraits. Like many other

meant to them, showing me where they

photographers, Frost begins consultations

used to build forts and where all these

by simply getting to know the clients,

childhood events occurred. It doesn’t get

about their hobbies and family activities, to

any better than that.

ascertain the setting where they’ll be the most comfortable. “My clients have some really great ideas,

“I think family is the core of humanity— to witness the love and relationships between moms, dads, kids, grandparents,

but they might not know it,” says Frost. “I

aunts and uncles, cousins … it gives me

try to make the portrait as much about

hope for the future,” says Frost. “I’ve been

their lives as I can. We even talk about

in business through a couple of recessions

what’s in their backyard. I work hard to get

now, and I find that people turn to family

it out of them, so we can keep it personal.”

when times are hard. I’ll never forget a

He makes a priority of shooting in locations that are extensions of the family, such

client I had years ago, who said she wanted a family portrait so her kids would know

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May 2010 • Professional Photographer • 83

FA M I L I E S

“It’s so much easier to keep a customer than to get a new one. I have customers who I photographed as babies, and now I’m shooting their weddings and kids. It’s amazing how you are such a part of their life.

where they belong. I thought that was so

yes, can be a little inconvenient for some

profound, that a family portrait gives a

families. Regardless, he has a devoted client

sense of belonging.”

base that sees the value in his method, and

Lighting is another distinctive feature of Frost’s portraits. “I won’t photograph a family

they come back again and again. “I truly believe that’s what makes me a

unless the light is right,” says Frost. “You

little different than most of my competitors,”

can always tell when there’s a flash. I want

he says. “It’s so much easier to keep a customer

the soft, warm light that’s nice to the skin.

than to get a new one. I have customers

You can make a 60-year-old woman look like

who I photographed as babies, and now I’m

a 30-year-old if the light is right. At sunset

shooting their weddings and kids. It’s amazing

and right after, it’s simply unbelievable.”

how you are such a part of their life.” �

Frost likes to shoot around sunset, which,

Visit Frank Frost online at frankfrost.com.

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From glass plates exposed in a darkened barn to the latest in digital imagery, the Cook family has been part of the photographic profession. Four generations have thrived, even in tough times, with innovation and skill. G E N E R AT I O N S

By Jeff Kent

©William Cook

EDITOR’S NOTE: This is the first in our series of profiles of multi-generational families running businesses that have been in

I

continuous operation since their inception. n an era of the rapid rise and fall of small businesses, a multi-generational institution like Cook’s Photography is something of an anomaly. This business is a testament not only to tradition, but also to the spirit of innovation. To survive, a business has to be ready to adapt.

Cook’s Photography has been a fixture in

California since 1879, when William Cook started doing business out of a mobile darkroom built onto a wagon. Stopping in towns across Northern California, he’d rent a small space for couple of months and set up his oneman operation. He’d ply his trade among the townspeople until the market was tapped out, then pack up and head to the next town. Cook was a pioneer in glass plate photography and enlargement techniques. Working in a light-proofed barn, he’d admit a beam of sunlight from a small hole in the side of the barn so that it would shine through an exposed glass plate and project the image on it onto an enormous sheet of photographic paper hanging on the opposite wall. These prints were among the first photographic wall murals. Eventually, Cook set up shop in Gilroy, Calif., and for several years was the town’s premier photographer. He moved to Chicago

All in the family Cook’s Photography has been innovating for more than 130 years 86 • www.ppmag.com

in the early 1930s, but the Cook name lived on in California’s budding photographic community. William’s two sons, Orval and Clay, had served in World War I, then gone

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G E N E R AT I O N S ©William Cook

William Cook, 1879

Orval Cook, 1920

Ken Cook, 1954

Jason Cook, 1991

found a way to make photography profitable, even in the most difficult times. Most of what I know about operating a studio in tough economic times I learned from my grandparents.” “They

—JASON COOK

William Cook plied his trade across Northern California, setting up shop long enough to serve the market, then moving on to the next town.

sheet was completely exposed. Then they’d

at age 29, he’d earned the PPA Master degree,

develop the film, cut up the sheets, and sell

one of the youngest members to do so. That

the mini-prints for a nickel apiece.

year he was invited to be the keynote

into the family business. When William headed

profitable, even in the most difficult times,”

forerunner of Imaging USA. Cook went on

east, each brother opened a studio of his own.

says Jason Cook, the latest owner of Cook’s

to introduce one of the first painted Old

“They found a way to make photography

Orval, in particular, inherited his father’s

Photography. “Most of what I know about

spirit of innovation, and was among the first

operating a studio in tough economic times

to use arc lights in a studio lighting system.

I learned from my grandparents.”

He was also among the first to use Kodak

Orval and Catherine’s son, Ken, had not

strobes. Working alongside him, his wife,

yet studied photography when his army unit

Catherine, hand painted prints and was among

was deployed to the war in Korea. The general

the first to take candid wedding photographs

of his battalion heard about the Cook family

(she used 4x5 black-and-white film in Speed

business and transferred him to a unit of

Graphic cameras). Both Orval and Catherine

photographers. Halfway round the world

were associated with the fairly new Professional

from home, Ken Cook learned to shoot in a

Photographers of America organization, which

hurry, and under the most difficult conditions.

at the time was headquartered in Chicago.

Home from Korea in 1955, Cook took

During the Great Depression, The Orval

over the studio, and continued to specialize

Cooks proved innovative in business as well

in portraits and wedding photography. Two

as technology. People wanted portraits, but

years later, he saw the future in color and built

simply couldn’t afford full 8x10s. The Cooks

one of the first in-studio color labs on the

took to partitioning the standard 8x10

West Coast. In the following years, he became

sheets of film into stamp-sized panels, and

a nationally recognized expert and teacher

would expose one panel at a time until the

in lighting and color photography. By 1962,

88 • www.ppmag.com

speaker at the PPA National Convention, the

©William Cook

G E N E R AT I O N S ©Orval Cook

©Orval Cook

©Orval Cook

Orval Cook and his wife, Catherine, found a way to make photography affordable during the Depression by exposing postage stamp portions of an 8x10 sheet of film until it was completely used, developing the film, and selling the individual mini portraits for a nickel each.

©Ken Cook

©Ken Cook

Though Ken Cook learned photography while deployed in the Korean War, he continued the studio’s specialization in portrait and wedding photography when he took over in 1955.

90 • www.ppmag.com

©Ken Cook

Jason Cook is the fourth generation to operate the family business. He credits the studio’s success to its strong foundation and adaptability.

Master backdrops in portraiture. He also produced several instructional videos, and was instrumental in developing the Masters Brush soft box for the F.J. Westcott Co. These days, Cook’s Photography is under the stewardship of Jason Cook and his wife, Robin. Ken Cook’s son and the fourth generation to operate the prestigious studio, Jason started working as an assistant for his dad at age 11, and shot his first wedding at 19. After earning a degree in art and photography in 1994, Jason joined the vanguard of digital imagers. Cook perfected a hybrid filmdigital workflow before the concept had reached the common consciousness. He gave his work a distinct look by adapting the classic 1940s spotlight lighting techniques to modern conditions. In recent years, Noritsu has featured Cook’s Photography in advertising for the cutting edge technology in its M300 and D502 printers. “Our studio has remained successful for generations because we’ve built on our strong foundation, and by embracing technology and change,” explains Cook. “When I started working, I took my family’s shooting and lighting techniques and applied new technology. The result is a style that appeals to today’s consumer.

©Jason Cook

That’s critically important. When your customers demand something, you have two choices: Give it to them or fail. As a photographer operating in changing times, you have to change your strategies to stay ahead of the curve. “We are constantly adapting, but we never change our quality. We won’t offer a lower quality option at any price. We do it our way, to our standards, or we don’t do it. Ultimately, that’s what’s kept us in business for 130 years.” � Visit Cook’s Photography online at cooksphotography.com.

COOK’S SECRETS FOR SUCCESS THROUGH THE GENERATIONS • LIGHTING. We’ve always had lighting styles that set us apart from competition. • PERSONALITY. We engage our customers at every opportunity. We talk with our clients. We don’t detach ourselves. People are paying for the experience, and personality plays into that experience. • TECHNOLOGY. You have to embrace technology. It makes you happier, keeps your image quality high, and helps your work stay on the cutting edge. • TECHNIQUE. We have always endeavored to master new techniques. You can’t just keep doing things the old way forever. You have to evolve. May 2010 • Professional Photographer • 91

All images ©Busath Studio & Gardens

Drake Busath, master of multi-generation portraits, streamlines large family photography.

BIG

BY STEPHANIE BOOZER

“We don’t need a lot of scenery. The real heart of the family portrait is the story inside the group,” —DRAKE BUSATH

n the greater Salt Lake City area, the Busath family name is synonymous with classic, elegant family portraiture. Having entered the family business some 25 years ago during college, Drake Busath, M.Photog.Cr., eventually bought out his parents Don and Donna Busath, renamed it Busath Studio & Gardens, and opened a second location to serve clients in Provo, Utah. Busath has a core staff of five photographers, four of whom hold a Master Photographer degree. Together they create the cohesive style of the studio’s brand. “We definitely have a studio brand centered around classic work, freshened up,” says Busath. “Our brand and style are determined in large part by our clients’ taste, and they’re a fairly conservative bunch. I’m pushing our photographers all the time to push the envelope creatively—and they do—but it all falls under the umbrella of classic work. We’re not stodgy, but we avoid gimmicks and trendy techniques.” Busath’s signature style of lighting and posing is the hallmark of the brand, which he defines as “fresh classics.” He has perfected the look so well that clients say they can identify a Busath portrait instantly. “I’m always a little surprised by that,” he says. “Our style tends to be closer up and less prop driven—more expression driven— so the settings don’t matter so much. Our clients understand that from our reputation and the work they’ve seen.”

THE MORE, THE MERRIER Most of Busath’s clients have large families —very large families. Portraits of 10 and more subjects are not uncommon. He’s come to develop a market niche in three-

©Laura Bruschke

GET THE PICTURE? What do you do when you’ve marched your entire family out into the woods to snap a spur of the moment photo and the one detail you forgot is who’s going to take the picture (since you’re the photographer)? When Drake Busath realized his oversight, he improvised by downloading onOne Software’s DSLR Remote Pro for the iPhone. By plugging his Canon EOS-1Ds Mark III into his laptop, he can remotely control everything on his camera through his iPhone except for focus. There’s even a live viewfinder display to help him direct the rest of the family without moving out of place. “I was holding the phone behind my wife’s back and we were all laughing out loud that we were able to do this,” says Busath, who snapped the image above at 1/60 second, f/11, ISO 400 with a Canon 70-200mm f/2.8 L IS USM EF lens set to 85mm. “This is an interesting application that I’m excited to explore. It’ll open up

opportunities for long lens portraiture, where I can stay closer to a group and be able to continue adjusting their poses without having to run back and forth.” What else did he forget? The tripod! “The camera is sitting on a folding chair, which explains the low angle,” he laughs. Intended for the family Christmas card,

Busath printed the image on 15x5-inch pearl paper as a tri-fold, and soon noticed it being displayed all over town. “This was a really fun, unique find for a total control freak like me, who needs to micro-manage everything,” says Busath. “It’s a great way to do a family portrait, because, who else am I going to trust?”

‘‘ ’’ Self-posing is usually bad news, and photographer posing is equally bad news. lighting is vastly superior,” says Busath. “I

Busath can easily break it into smaller seg-

can wrap the light around each group, and

ments, or fold it up and move it out of the way.

get a much more dimensional feel when the images are put together.” The final print

up with,” he says. “We get this big, soft light

usually measures 80 inches or more across.

that’s very directional, not flat, and it’s

“People hang these beautifully in their

homes,” says Busath, who’s printed family

Drake and Liz Busath (center, standing) are surrounded by their four children and their spouses: (left, standing) Richard and wife Natalie; (front, seated) Chase holding the family dog, Annie; (right, standing) Bromley and wife Marcie, who was eight months pregnant at the time; (far right, standing) and Hope with another family dog, Libbie.

generation family groupings that have included as many as 30 individuals.

“It’s the greatest invention I’ve ever come

become one of our signatures.”

Busath also uses 6x8-foot white foam

portraits as large as 10 feet across. “It

core panels as reflectors, and gobos on addi-

becomes an art installation. The unusual

tional lights to throw shadows onto the back-

size actually becomes a big selling point.”

ground or wall to add depth. “When the group

Breaking the family into groups also gives

is 20 people or more, we use an overhead bank

Busath the opportunity to sell large portraits

of soft box lighting, with three large soft boxes

of the individual groupings. He has another

hanging from a rail,” he says. “The reflectors

smart ploy: Busath captures individual

go on the floor in front of the group. That’s

portraits of each child in the family, as well,

often missing in family portraiture, the

which he can bind together in an album he

large, soft fill light from below. Most people

calls the “Cousins Book.”

are using smaller reflectors, and that just

“Each family wants a copy,” he says,

won’t cut it for a large group.”

“Utah has a lot of big families, so it’s a

“Once they’ve got it, they come back for

natural product line for us, and a market that’s

updated books as the kids change. It’s a

foam core reflectors to balance the natural

widely neglected,” says Busath, who admits

simple collection of black-and-white images,

daylight. “People accuse me of using studio

that for years, the artful posing of large groups

one on each page, with the child’s first name

lighting outdoors, but we don’t,” he says.

was difficult to achieve. “They were always

beneath it. It’s artistically driven, but also

“We often stand the panels in the sunlight to

just a big jumble, no matter what I did. I got

sales driven.”

create the main light, or lay them flat on the

more and more frustrated with the experience,

In outdoor sets, Busath uses the same

ground—that wouldn’t work so well with

and then one day, about five years ago, I

LIGHTING EVERY FACE

pop-up reflectors. With families, you really

started breaking them into groups.”

“Our lighting style really defines what we

need to double or quadruple the use of

do,” says Busath. “My philosophy is: the

standard reflectors to equal our lighting.”

hassle-free for the family—each family unit

bigger, the better.” To get that ample, even

Busath’s magic hour for outdoor shoots is

can book a session alone, and the Busath

lighting in the studio, Busath created his

about 11 a.m. That might be surprising, he

team digitally combines the units into a

own north light by setting a series of move-

says, “but we’ve built our vignettes in shady

seamless panorama. “The individual

able lights behind large Plexiglas panels. The

areas and we can do a group of 11 or 12

expressions are so much better, and the

setup measures 12 feet tall by 16 feet wide, yet

people quite beautifully.”

He’s streamlined the shoot, making it

May 2010 • Professional Photographer • 97

WHAT DO I WEAR?

COME TOGETHER

Drake Busath’s color swatches help solve the wardrobe crisis What to wear for a portrait session is a key question, and often a dilemma for clients. Whites and khakis vs. denim vs. a combination of vivid patterns and textures—there’s no one right answer, especially with large groups. “There’s a tendency for families to choose a sort of uniform,” says Busath. “I strongly disagree with that. Picture people 100 years from now saying, ‘Look how the families back then dressed just alike!’ We want the clothes to take a back seat to the real story, which is the relationships.”

98 • www.ppmag.com

In the pre-session consultation, the Busath team gives clients a PDF file picturing a series of complementary color swatches grouped in named collections. Each collection includes an array of flattering hues, such as the Forest hues, a mix of dark green, muted gray and certain browns; Sky, a collection of complementary blues; and Summer, a bright mix of yellow, pink and blue. There are sample indoor and outdoor portraits of each color grouping. “Clients can e-mail the file to out-of-town family members and reach a consensus before coming in,” says Busath. To Busath’s eye, darker, muted tones are classic, the ones that will help the look of the portrait withstand the test of time. But he gives clients just enough guidance to find a color palette that suits their personality and taste. “This is really about our brand and our style,” says Busath. “The current trend of wearing as many patterns as you can or getting the whole family in grunge clothing in an urban setting is exciting and wonderful to look at, but we’re keeping our brand classic and timeless, yet fresh, and that’s what our clientele wants.”

Busath calls his positioning “un-posing.” “It’s what I’m most passionate about. I strive for natural, believable, un-posed looks. People get in front of the camera and freeze up; you can always tell when the photographer has a hand in there. Self-posing is usually bad news, and photographer posing is equally bad news.” There’s definitely an art to un-posing, though. “You know the family loves one another, but it’s often hard for them to show it in front of the camera,” says Busath. “So you have to help them add connection and gesture.” With large groupings, Busath follows a system religiously. First, he thinks in oval-shaped arrangements. “Ovaling out the sides and avoiding squared-off sides, tops or foregrounds helps me organize the group,” he says. “Then I go in and flatter the bodies with some blocking.” He identifies the individuals who do not want to be in front and places them toward the back, then finds ways to place individuals in front of them so as to block parts of their bodies. “You have to uncover the individual flattering needs, then go through and simplify the arms and legs, and use those to connect people,” he says. “This is an abstract idea, but I often think of the heads in a grouping as musical notes on a page. They have to be arranged in a melodic way, not in a scale or in straight lines. At the last minute, we’re connecting some of those heads in the group, which syncopates the rhythm.” Busath and his team are attuned to family dynamics, such as a teenager’s standing apart from his parents in a gesture of independence, or a 12 year old who leans on her dad’s shoulder for reassurance. They note the siblings who gravitate toward each other, and the ones who stand alone. The subtle nuances of body language help them see and recreate the

©Dave Labrum

BEHIND THE COVER To get all 16 of these family members to look at the camera, have a genuine expression, and not blink, Drake Busath broke them up into five groups. “We always joke that we’re in the business of breaking up families,” laughs Busath. “By separating a large family like this into groups, we get ideal expressions on each family member, especially the children. You can get a lot more body language into these subgroups than if they’re all together. People put cheeks together, lean in on each other, wrap around each other–you can’t get that all to happen at once if you’re photographing 25 people.” For starters, Busath broke down the group into individual families, and photographed each separately. For a shot like this, he tries to get everyone to come in on the same day, but inevitably, someone always has to reschedule. To avoid mismatches between shots, he tapes everything off and records every measurement in a lighting diagram. 100 • www.ppmag.com

“The trick is keeping consistent head sizes and consistent height,” says Busath. “We tape everything off so that we don’t accidentally move the camera forward or back. These are things we’ve learned by hard experience. We diagram all of the precise measurements from the camera to the family and background, so we can always go back and recreate the same lighting and perspective.” For this shot, Busath positioned each family unit in the center of the white

background, starting with the largest grouping first, and framed horizontally to leave plenty of room on either side to help with compositing. He used his artificial north light setup, consisting of a set of Photogenic PowerLights behind large sheets of Plexiglas, which he placed 90 degrees to the subjects (rather than the more common 45degree angle). A freestanding 6x8-foot sheet of white foam core bounces fill from the opposite side. Busath also pointed two additional PowerLights

‘‘ ’’

behind 36-inch strip lights toward the background to really boost the white. He captured the cover portraits with a Canon EOS-1Ds Mark III and Canon 50mm f/2.4 USM EF lens, at f/9 for 1/125 second, ISO 200. “I use ISO 200 for families with children because I need a fast recycle time on my lights, and I don’t want to use them at full power,” he says. Busath composited the final image in Adobe Photoshop, using layer masks for each group. “The whole experience of getting everyone sitting properly, posed well, and with good expressions all at once is painful for everybody,” says Busath. “But this takes all that pain away. I have to laugh because after years of doing large groups the hard way, this is just so easy.” For a step-by-step tutorial on creating multi-family composites like this month's cover, go to the Current Issue area on ppmag.com to download a free tutorial.

[Families] were always a big jumble, no matter what I did. I got more and more frustrated, and then one day about five years ago, I started breaking them into groups.

family’s unique connections. “We don’t need a

little wider,” says Busath. “The best expres-

lot of scenery. The real heart of the family por-

sions of wonder or anticipation come just

trait is the story inside the group,” says Busath.

before or after the laugh.” Adults and teens

In the final part of the un-posing, Busath

applies his “freezing techniques.” “You have

to put aside your ego and become a perfor-

usually need a little misdirection, too, and the child’s story works perfectly.

“My dad always said that the [subject’s]

mance artist,” he says. “I often call my amalgam

mind has to be engaged,” says Busath. “If I

of techniques ‘deliberate misdirection.’”

create a story, even a 2 year old’s story, the

For example, for the kids, Busath will

adults’ minds get involved, and that’s where

weave a story about a puppet or some other

real expressions happen. Creating stories is

object, as if he’s holding a conversation with

the real bottom line here.” �

it. The puppet typically exhibits bad

behavior that requires a little reprimand, which inevitably enthralls the children.

“The suspense makes the child sit a little

taller, lean forward, and open the eyes a

Read about Drake Busath’s upcoming workshops for photographers at busath.com. Conducted in Italy, Busath’s workshops are designed to be a great vacation, an intimate look at Italian life and a mind-expanding photographic experience.

May 2010 • Professional Photographer • 101

Evolt EP2 D-SLR

Lumix DMC-GF1 D-SLR

• Capture in JPEG or RAW • HD Stills and Video with Live View • 3" HyperCrystal LCD • 4/3 Full Frame Zuiko Specific Lenses • SD/SDHC Card Slot • ISO 100-6400 • Advanced Dust Reduction • Includes Removable Electronic Viewfinder Black Kit with 14-42mm Zuiko Lens ..... #OLEP21442B Black Kit with 17mm f/2.8 Zuiko Lens ....... #OLEP217B

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• Advanced Dust Reduction Technology • HD Video Recording • 3.0" Live View LCD • Live View Autofocus + Face Detection • Compact Micro Four Thirds Design • Intelligent Exposure (iA) Mode • Capture in JPEG or RAW • SD/SDHC Card Slot • My Color + Film Mode • Optional Electronic Viewfinder Mega Pixels

Digital Rebel T1i D-SLR

Body Only...........................................#CAEDRT1I Kit with 18-55mm IS........................ #CAEDRT1IK

15

Mega Pixels

Digital Rebel T2i D-SLR

18

• Full-Frame CMOS Sensor • Self-Cleaning Sensor • Weather Resistant Body • SLR viewfinder • 3" LCD Monitor with Live View • Uses Canon EF Lenses • USB 2.0 • SD/SDHC & CF card slots • UDMA-compliant CompactFlash • Picture Style Settings • ISO 100-1600 • Powerful Bundled Software • 5 fps Burst Mega Pixels

EOS-5D Mark II D-SLR

Body Only..................................................#CAE5D2 Kit with 24-105mm IS ...................... #CAE5D224105

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Body Only............................................... #CAE7D Kit with 28-135mm IS ................... #CAE7D28135

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EOS-1Ds Mark III D-SLR

• 3” Clear View LCD with Advanced Live View • Uses Canon EF Lenses (1.6x factor) • SD/SDHC Card Slot • 3.7 fps Continuous Shooting • ISO Expandable to 12,800 • RAW and/or JPEG • Eye-Fi Menu Status Indicator Support

Body Only........................................... #CAE1DS3

21

Mega Pixels

16

Mega Pixels

EOS-1D Mark IV D-SLR

• Record HD Video • 1080p Movie Mode • 21.1 Megapixel Full-Frame Sensor • 3.0" High Res. LCD • SLR viewfinder • Live View Mode • Uses Canon EF Lenses • CF, MD Card Slot • Dust & Weather-Resistant • USB 2.0 • Self Cleaning Sensor • 3.9 fps Burst Mode • 9-point AF Sensor Array • ISO Range 50-25600

The most knowledgeable Sales Professionals

Mega Pixels

• Record HD Video • 18 Megapixel Sensor • 3.0" LCD • 100% Viewfinder • Uses Canon EF Lenses • CF, MD Card Slot • Dust & Weather-Resistant • 8 fps Burst Mode • Selectable Video Exposure and Frame Rates • New 19-Point, All Cross-Type AF System • ISO 100-6400 (expandable to 12800)

Body Only.............................................#CAE50D Kit with 28-135mm IS USM.........#CAE50D28135

Over 70,000 square feet of the latest gear

12

EOS-7D D-SLR

• HD 1080p, 720p, and VGA Video Capture • 15.1 MegaPixels CMOS Sensor • 3” Clear View LCD with Live View • Uses Canon EF Lenses (1.6x factor) • SD/SDHC Card Slot • RAW and/or JPEG • Auto or Manual Focus • 3.4 fps Continuous Shooting • ISO Expandable to 12,800

EOS Flash System (USA) 220EX ......... $99.95 270EX ......... $149.00 430EX II .........................................$280.00 580EX II .........................................$445.00 MR-14EX Ringlight..........................$495.00 EF-S Lenses For Digital Only (USA) Note: Compatible with the 20D, 30D, 40D, 50D & Digital Rebel only 60/2.8 USM Macro (52ø).................$422.00 10-22/3.5-4.5 USM (77ø) ...............$770.00 15-85/3.5-5.6 IS USM (72ø) ...........$720.00 17-55/2.8 IS USM (67ø)...............$1,060.00 17-85/4-5.6 IS USM (67ø) .................. CALL 18-55/3.5-5.6 IS (58ø) ...................$170.00 18-135/3.5-5.6 IS (67ø) .................$450.00 18-200/3.5-5.6 IS (72ø) .................$595.00 55-250/4.0-5.6 IS USM (58ø) .........$255.00 EF Lenses (USA) 15/2.8 ...........................................$649.00 28/1.8 USM (58ø) ...........................$459.00 35/2 (52ø) ......................................$299.00 50/1.8 (52ø) .....................................$99.95 50/1.4 USM (58ø) ...........................$349.00 50/2.5 Macro (52ø).........................$265.00 85/1.8 USM (58ø) ...........................$379.95 100/2.8 USM Macro (58ø)...............$529.00 28-135/3.5-5.6 IS USM (72ø) .........$409.95 28-200/3.5-5.6 USM (72ø) .............$375.00

Kit with 14-45mm................... #PADMCGF11445*

21

• HD Video Recording • Selectable Video Exposure + Frame Rates • Self-Cleaning Sensor • SLR viewfinder • 3" LCD Monitor • Uses Canon EF Lenses • SD/SDHC & CF card slots • 10 fps Burst Mode • Dust & Weather Resistant • 45 Point AF System • USB 2.0 • High Sensitivity (ISO 102,400) Mega Pixels

70-300/4-5.6 IS USM (58ø) ............$549.00 75-300/4.0-5.6 III (58ø) ..................$159.95 75-300/4.0-5.6 III USM (58ø) ..........$200.00 EF “L” Lenses (USA) 14/2.8 USM II ..............................$2,120.00 24/1.4 II (77ø) .............................$1,699.00 35/1.4 USM (72ø) ........................$1,399.95 50/1.2 USM (72ø) ........................$1,479.00 85/1.2 USM II (72ø) .....................$1,970.00 100/2.8 IS USM Macro (67ø) ...........$949.00 135/2.0 USM II (72ø) ......................$999.00 180/3.5 USM Macro (72ø)............$1,370.00 200/2.0 IS USM (52ø) ..................$5,300.00 300/4.0 IS USM (77ø) ..................$1,269.00 300/2.8 IS USM (52ø rear) ...........$4,340.00 400/5.6 USM (77ø) ......................$1,209.00 16-35/2.8 USM II (82ø) ................$1,520.00 17-40/4.0 USM (77ø) .....................$750.00 24-70/2.8 USM (77ø) ..................$1,300.00 24-105/4 IS USM (77ø)................$1,059.00 28-300/3.5-5.6 IS USM (77ø) ......$2,420.00 70-200/4.0 USM (67ø) ...................$639.00 70-200/4.0 IS USM (77ø).............$1,210.00 70-200/2.8 USM (77ø) ................$1,300.00 70-200/2.8 IS USM (77ø).................... CALL 70-200/2.8 IS II USM (77ø) ................. CALL 100-400/4.5-5.6 IS USM (77ø) ....$1,610.00 1.4x II Teleconverter ........................$309.00 2x II Teleconverter ...........................$309.00

Body Only.............................................. #CAE1D4*

AF Flashes (USA) SB-400 ............CALL SB-600..........CALL SB-900 ............................................... CALL R1 Wireless Twin Flash ......................... CALL R1C1 Wireless Twin Flash System ......... CALL DX ED-IF Lenses for Digital Only (USA) 85/3.5 G VR Micro (52ø) ................. $499.95 10.5/2.8 Fish-Eye ........................... $694.95 10-24/3.5-4.5 G AF-S (77ø)............ $809.95 12-24/4 G AF-S (77ø) ..................... $999.95 16-85/3.5-5.6 G AF-S VR (67ø) ....... $629.95 17-55/2.8 G AF-S (77ø) ................ $1369.95 18-55/3.5-5.6 G AF-S II (52ø) ......... $114.95 18-55/3.5-5.6 G AF-S VR (52ø) ....... $179.95 18-105/3.5-5.6 G AF-S VR (67ø) ..... $359.95 18-200/3.5-5.6 G AF-S VR II (72ø) ....... CALL 55-200/4-5.6 G AF-S (67ø)............. $179.95 55-200/4-5.6 G AF-S VR (67ø) ........ $224.95 D-Type AF Lenses (USA) 14/2.8 D ED ................................ $1,709.95 16/2.8 D (39ø) with Hood ................ $929.95 20/2.8 D (62ø)................................ $564.95 24/2.8 D (52ø)................................ $359.95 24/3.5 D ED PC-E (77ø) ............... $1,989.95 28/2.8 D (52ø)................................ $264.95 35/2.0 D (52ø)................................ $359.95 45/2.8 D ED PC-E Micro (77ø) ...... $1,849.95 50/1.8 D (52ø)................................ $124.95

50/1.4 D (52ø)..................................... CALL 50/1.4 G AF-S (58ø) ............................ CALL 60/2.8 D Micro (62ø) (1:1) .............. $469.95 60/2.8 G AF-S ED Micro (62ø) ......... $539.95 85/1.8 D (62ø) with Hood ................ $449.95 85/1.4 D IF (77ø) ......................... $1,229.95 105/2.8 G AF-S ED-IF VR Micro (62ø) ..$889.95 105/2.0 DC D with Hood (72ø) ..... $1,079.95 135/2.0 DC D (72ø) ..................... $1,299.95 180/2.8 D ED-IF (72ø)..................... $899.95 200/4 D ED-IF Micro (62ø) ........... $1,649.95 300/4.0 D AF-S ED-IF (77ø) ......... $1,484.95 300/2.8 G AF-S VR (52ø-R) .................. CALL 14-24/2.8 G AF-S ED-IF............... $1,799.95 16-35/4.0 G AF-S ED VR (77ø) ..... $1,259.95 17-35/2.8 (77ø) .......................... $1,764.95 18-35/3.5-4.5 ED-IF (77ø) .............. $599.95 24-70/2.8 G AF-S ED-IF (77ø) ...... $1,739.95 24-85/2.8-4.0 D (72ø) .................... $699.95 24-120/3.5-5.6 G AF-S VR (72ø) .......... CALL 70-200/2.8 G AF-S ED-IF VR II (77ø)..... CALL 70-300/4.0-5.6 G (62ø) .................. $154.95 70-300/4.5-5.6 G-AFS VR (67ø)...... $539.95 80-200/2.8 D with Collar (77ø)..... $1,099.95 80-400/4.5-5.6 D VR (77ø) .......... $1,649.95 200-400/4 G AF-S ED-IF VR (52ø) ........ CALL TC-14E II (1.4x) Teleconverter ............... CALL TC-17E II (1.7x) Teleconverter ............... CALL TC-20E II (2x) Teleconverter .................. CALL

10-22/3.5-4.5 EF-S USM Digital Lens

580 EX II Shoe Mount Flash

18-200/3.5-5.6 DX G AF-S ED-IF VR II Digital Lens

SB-900 Speedlight i-TTL Shoe Mount Flash

• Exclusively designed for Digital SLRs • 35mm equiv. 16-35mm • 3 aspherical lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5" • 77mm filter diameter • Weight 13.6 oz

• Guide No. 190’ • Dust- & water-resistance • Metal Hot Shoe • Superior build quality, including a metal foot for higher rigidity • Bounce & Swivel Head • Zoom Head (24-105mm) • Weight 13.2 oz

• Exclusively designed for Digital SLRs • 35mm equiv. 27-300mm • VR II Vibration Reduction • SWM (Silent Wave Motor) • 3.5-22 f/Stop Range • Focus 1.6' to Infinity • Weight 19.8 oz

• Guide No. 131' • Recycling Time 4.5 Seconds • Bounce & Swivel Head • Zoom Head (17-200mm) • Stroboscopic Effect • AF-Assist Illuminator • Safety lock on flash shoe • Weight 14.6 oz

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

K-x D-SLR

• Dual BIONZ processing engines • SteadShot Inside Image Stabilization • Full-frame Sensor • 3" Xtra Fine LCD • Uses Sony Alpha (compatible w/ Minolta) Lenses • Creative Styles • HDMI output • CF and Memory Stick Duo Card Slots • 3:2 and 16:9 Shooting • 3 fps Burst • High Sensitivity (ISO 6400) • Anti-Dust Technology A850 Body Only ............................. #SODSLRA850

• Compact, Easy-to-Use, Entry-Level DSLR • Still Images and 720p HD Video Capture • 2.7" TFT color LCD monitor • Live View Function • Digital Filters • Uses Pentax AF Lenses (1.5x factor) • SD/SDHC Card Slot • ISO 200-6400 • True High Dynamic Range (HDR) Imaging

24

Mega Pixels

D3000 D-SLR

Available in Black, Navy, Red or White Kit with 18-55mm Zoom Lens ..........#PEKX1855*

12

Mega Pixels

D300s D-SLR

• Compact Design • 3" LCD Monitor • 3 fps Burst Mode • SD, SDHC (High Capacity) Card Slot • Accepts Nikon AF Lenses (1.5x factor) • Self Cleaning Sensor • ISO 100-1600 • Fast Shutter Response • USB 2.0 • In-camera Editing • Nikon Inc. limited warranty included

The Professional’s Source™

• Dust & Weather Resistant • Self-Cleaning Sensor • HD Video Recording • 6 fps Burst • 3" LCD Monitor • ISO 200 - 3200 • Accepts Nikon AF Lenses (1.5x factor) • Live View • CF & SD/SDHC Card Slots • 51-point AFs with 3D focus tracking • Nikon Inc. limited warranty included

10

Kit with 18-55mm VR DX ............... #NID30001855

Mega Pixels

D5000 D-SLR

Body Only...........................................#NID300S Kit with 18-200mm VR II...........#NID300S18200

bhphotovideo.com 12

Mega Pixels

12

Mega Pixels

12

Mega Pixels

D700 D-SLR

• HD 720p Video Capture w/Exposure Control • 4 fps Burst Mode • 2.7” Vari-angle LCD • Uses Nikon AF Lenses (1.5x factor) • SD/SDHC Card Slot • In-Camera Image Editing • Personal Picture Control Settings • Nikon Inc. limited warranty included

• Self Cleaning Sensor • Full Frame Sensor • Live View • USB 2.0 • 3" VGA LCD Monitor • HDMI Video Out • Uses Nikon AF Lenses • CF Card Slot • Dust and Water Resistant • ISO 6400 • Active D-Lighting Mode • 5 fps Burst • Nikon Inc. limited warranty included

Body Only.............................................. #NID5000 Kit with 18-55mm VR .................... #NID50001855

12

Mega Pixels

D90 D-SLR

Body Only............................................. #NID700 Kit with 24-120mm VR .................#NID70024120

D3s D-SLR

• D-Movie mode record 720p HD movie clips • 3.0" LCD Monitor • Uses Nikon AF Lenses (1.5x factor) • GPS geo-tagging • SD/SDHC Card Slot • SLR viewfinder • Scene Recognition System • 4.5 fps Burst • Nikon Inc. limited warranty included • Active D-Lighting • ISO 100-3200 • Self Cleaning Sensor • In-Camera Image Editing Body Only.................................................. #NID90 Kit with 18-105mm VR......................#NID9018105

12

• RAW/JPEGs & 720p HD Video @ 24fps • Full-Frame CMOS Sensor • In-Camera RAW Processing • 3" LCD with Live View • Uses Nikon AF Lenses • Buffers Up to 48 RAW or 130 large JPEGs • Built Tough, Fully Weathersealed • ISO 102,400 • Dual CF Card Slots • Nikon Inc. limited warranty included Mega Pixels

Body Only.............................................#NID3S

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

212-239-7770 Flash System FL-36R Flash ......................................................... $229.95 FL-50R Flash ......................................................... $499.95 Zuiko 4/3 System Digital Lenses 35/3.5 Macro ED (52ø) .......................................... $229.95 50/2.0 Macro ED (77ø) .......................................... $499.95 7-14/4.0 ED (72ø) .............................................. $1,799.95 11-22/2.8-3.5 ED (72ø) ......................................... $799.95 12-60/2.8-4 ED SWD (72ø).................................... $999.95 14-42/3.5-5.6 ED (58ø) ......................................... $249.95 18-180/3.5-6.3 ED (62ø) ....................................... $499.95 EC-14 1.4x Teleconverter ....................................... $439.95

AF Flash System AF-360FGZ ........................................................................ AF-540FGZ ........................................................................ SMCP-DA Digital AF Lenses 21/3.2 AL Limited “Pancake” (49ø) ...................................... 40/2.8 Limited “Pancake” (49ø) ........................................... 70/2.4 Limited “Pancake” (49ø) ........................................... 10-17/3.5-4.5 ED IF (77ø) .................................................. 16-50/2.8 ED AL IF SDM (77ø) ............................................ 18-55/3.5-5.6 AL II (52ø) .................................................... 50-135/2.8 ED IF SDM (67ø)............................................... 50-200/4-5.6 ED WR (52ø) .................................................

Flash System HVL-F42AM........................................................... $299.99 HVL-F58AM........................................................... $499.99 Digital Lenses 50/1.4 (55ø) .......................................................... $369.99 100/2.8 Macro (55ø).............................................. $679.99 500/8 Reflex ......................................................... $749.99 16-80/3.5-4.5 DT Carl Zeiss (62ø) ......................... $749.99 11-18/4.5-5.6 DT (77ø) ......................................... $699.99 18-200/3.5-6.3 DT (62ø) ....................................... $529.99 70-200/2.8 G APO (77ø) ..................................... $1,799.99 75-300/4.5-5.6 (55ø) ............................................ $249.99

Store & Mail Order Hours:

®

Background System Background Stands Economy ........................... $64.95 Port-A-Stand ................. $112.95* Multi 3 Polevault ........... $219.95 * FREE! Roll of White Paper Paper Backgrounds w/ Purchase Available in 48 Colors 53” x 12 yds ...................... $24.95 107” x 12 yds w/Core ........ $39.95

Tota Light 2-Light Kit

Excalibur 3200 Lancerlight Kit

• Full Rotation • Adjustable Doors • Multi-Wattage, Multi-Voltage • 2 Tota-Lights • 2 10' Light Stands • 2 Tota-Brellas - White • Impact Light Kit Bag #3

• Excalibur 3200 Lancerlight AC/DC 320 Ws Monolight (120VAC/12VDC) • Power Pack with Charger • Air Cushioned 8' 4 sections Light Stand

Sunday 10-6 • Mon.-Thurs. 9-7 Friday 9-2 • Closed Saturday

We Buy, Sell, and Trade

Used Us ed Equ Equ q ippme ment nt

#LOTLK ...............................$358.95 w/o case #LOTLKQ .............$314.95

#SPACDC3200K .......$394.50

58 AF-1 TTL Shoe Mount Digital Flash

622 Super Handle Mount Flash with Zoom Head

Qflash TRIO Parabolic Reflector Flash

285HV Professional Auto Shoe Mount Flash

• Guide No. 138' • High-speed flash sync • Zoom Head (28-105) • Bounce and Swivel Head • Weight 12.5 oz

• TTL with appropriate module • Guide No. 200 • Bounce & swivel head • Zoom range 28-135mm • Auto f/Stops f/2.0, 2.8, 4.0, 8.0, 5.6, 11 & 16 • Vari-Power

• Guide No. 110' • Bounce and Swivel Head • Built-In FreeXwire • Radio Wireless TTL • High Speed Sync • USB Port • TTL compatible

• Guide No. 120' • Automatic exposure range to 70' • 4 auto f/stop settings • Removable sensor • Bounce Head • Zoom Head (28-105) • Weight 14.9 oz

#SU622SZFH .......................... $246.00

#QUQF8* ................................. $875.00

#VI285HV .................................. $89.95

for Canon #ME58AF1C ......... $399.95 for Nikon #ME58AF1N .......... $399.95

Digital SLRs and Accessories............. #64 Lighting Kits and Backgrounds ............#78

Page 2

052010

All images ©Fuzzy Duenkel

“The one tool that no one else can buy is your mind. Use it. Stay in touch with what moves you and what feels right. Technology can’t rescue you; knowledge is your life raft.” —FUZZY DUENKEL

Essentially you To stay afloat in treacherous economic waters, you’ve got to learn to surf the waves BY FUZZY DUENKEL, M.PHOTOG.CR.

‘‘ ’’ Ever since I became a portrait photographer in the 1980s, I’ve only made images that excited me. As a result, people who enjoy my work seek me out. When they call, it’s my work they want.

In my discussions with photographers

making greater sales to fewer clients rather

truly reflect their view of themselves and

across the nation on forums and at seminars,

than having tons of clients making small pur-

their loved ones. Amateurs with digital

I’m hearing that while some have healthy

chases. Among other benefits, that leaves room

cameras will try to fill the void.

businesses, many are struggling. Professional

for all of us to profitably coexist. To make that

portrait photography is in a state of flux.

work, you’ve got to do what you love to do,

unique and desirable style rather than trying

Separating yourself from the competition by

and leave the rest to the other photographers.

to be all things to all people. Find the story

creating unique products has always been smart business, but today it’s essential.

At my studio, we shoot about 75 portrait

In a high-volume business model,

I urge photographers to create a totally

you want to tell about your client and use

photographers can’t really do their best and

your knowledge of photographic techniques

create custom portraits for each client. As a

to best tell that story.

sessions a year; we average $2,900 per senior

result, clients don’t get what they really

session ($1,500 overall). I’m a proponent of

want—personal, meaningful portraits that

First, shift your focus from pleasing your

clients to making images that please you first.

“Blasphemy! The customer always comes first,” you say. Ever since I became a portrait

that doesn’t require full-time marketing. Granted, we are a small studio that doesn’t

allows high-quality, custom images. Our lean, efficient, high-profit margin business

photographer in the 1980s, I’ve only made

require high volume to survive. My wife and

fits nicely into today’s marketplace, where

images that excited me. As a result, people

I deliberately chose that direction, many

we compete with many new home studios.

who enjoy my work seek me out. When they

times. We’ve come to several crossroads that

call, it’s my work they want. I follow that

could have led to building a larger studio

there’s no denying that following your heart

principal in all of my work, and it has rewarded

and hiring employees. We want to keep our

instead of trying to please everyone isn’t likely

me with a good reputation and a business

operation small because that business model

to expand your business. But it can establish

So do what you love—exclusively. Now

you as an expert in the field you choose to pursue. That’s the kind of business that will survive in a market where the average person can make so-so images with ease. If you have difficulty finding your style, turn it around and look at what it shouldn’t be: popular, fad-of-the-day, clichéd images. Keep an eye on what others are doing, and never try to replicate it. Be the photographer clients must go to for a certain style … your style! Then mar-

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DIGITAL CAMERAS Evolt E-3

10.1 Megapixel

24.5 MegaPixels FX-Format CMOS Sensor, USA Warranty • 3-inch LCD monitor • Dual CF card slots • Fast, accurate

Supersonic Wave Filter and 2.5” HyperCrystal LCD Screen

51-point AF system

14.6-MP Interchangeable Lens Digital SLR Camera Body, HDR image capture mode 3.0 LCD Monitor

21.1-Megapixel CMOS sensor delivers images of up to 5616 x 3744 pixels.

900

Lumix DMC-GH1K 12.1 Megapixel Digital Interchangeable Lens SLR Camera • Lumix G Vario HD 14-140mm/ F4.0-5.8 ASPH/ MEGA O.I.S. Lens

24.6 MP, • 3.0” LCD Screen • HDMI Output • 24 - 70mm f/2.8 Vario-Sonnar ZA Digital SLR

LIGHTING

BUDGET STUDIO FLASH 160 Introducing: DC Power

• Economical AC strobe plugs into any standard household socket. • Circular flash tube, daylight balanced at 5600 K, • Guide number of 145 • Recycling time of 3 seconds. • 60 watt modeling lamp. • Can be triggered through 12’ sync cord, photo slave or test button. • Specs: 6-1/2” long, 3-1/2” diameter. Weighs only 15 oz.

The new Flashpoint “M” Series can be operated by AC plug-in-the-wall power OR DC battery operated power (with optional power pack). Available in either 150W (320M) or 300W (620M). Includes 7” Refelector, Flashtube, Modeling Lamp, Flashtube Protector, Power Cord & Sync Cord and Guide Book

Price

SKU

Name

fp320M

320M Monolight - 150W

fp320MP

320M w/Power Pack

199.95

fp320MK

320M w/Stand & Umbrella

139.95

fp320MPK

320M w/Power Pack, Stand & Umbrella

349.95

fp620M

620M Monolight - 300W

189.95

fp620MP

620M w/Power Pack

289.95

fp620MK

620M w/Stand & Umbrella

229.95

fp620MPK

620M w/Power Pack, Stand & Umbrella

359.95

fp2pp

Battery Power Pack

124.95

Egj]Hgo]j J]hdY[]YZd]>dYk`lmZ]

99.95

5995

COMET

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ket to reach clients who truly love your style. Our clients are completely capable of getting sharp, well-exposed images on their own. They won’t purchase our portraiture if it’s not far superior to their friends’ photographs. Professionals must create superbly crafted, well-lit, artistically composed images. The one tool that no one else can buy is your mind. Use it. Stay in touch with what moves you and what feels right. Technology can’t rescue you; knowledge is your life raft. � Duenkel Portrait Art is in West Bend, Wis. (duenkel.com).

PPA TOUR 2010 Fuzzy Duenkel presents "Make Light of a Bad Situation," during PPA Tour 2010, in Detroit, May 12. Details on the tour’s events and venues at ppa.com/education/roadshow.php.

Affiliate Schools Professional Photographers of America members receive service merits and the best-published rates for registration. 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 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.

112 • www.ppmag.com

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EXPLORE DIFFERENT ANGLES PLUG INTO THE POWER OF PPA

In order to grow your business, you have to continually look for ways to challenge yourself, as an artist and as a small business owner. PPA offers all kinds of classes, workshops and webinars that can help you see your business—and your talents—in all new ways. How about an added specialty, a new way of marketing yourself, or just a different take on your business plan? From Studio Management Services workshops and Super Monday classes to online webinars, PPA can help you view the future in a whole new light. (Here’s a great way to start—sign up for a Super Monday class, coming to studios around the country this month.)

SEE ALL YOUR PPA EDUCATION OPTIONS: www.PPA.com/education © London Wolfe Photography

© Ralph Romaguera, Sr., M.Photog.Cr., CPP, API, F-ASP

PRESIDENT’SMESSAGE Louis Tonsmeire, Cr.Photog., API :: 2010-2011 PPA President

This

month, I want to remind you of one of PPA’s best benets: education. From the longstanding tradition of Super Monday classes to learning in your home via webinars, PPA’s brand of education is second to none. And now with Jeff and Allison Rodgers touring in a city near you, it’s one more opportunity to cash in! I say “CASH” in because PPA is the leader in making each of you a better artist and businessperson, so you can compete in this ever-changing market. Worldwide, we also have over 175 afliated associations presenting programs that may be closer to home for some. Did I mention our 25 PPA afliated schools that offer multi-day classes in the U.S., Canada and the Bahamas? As a student, props manager, school director and now instructor, I myself have been part of the Georgia School for about 30 years. In fact, many of my techniques come from mentors and good friends in associations. I remember “Big Daddy” saying you need “a kiss of light” and Dennis Craft’s incredible use of window light. And there’s Ann Monteith, “The Lady,” who taught us how much an 8x10 cost. These are but a few who have helped me. I am so fortunate to have been “exposed” (pardon the pun) from an early age to my state afliate. It gave me friendships and mentors I cherish today, along with intimate chances to gain knowledge. With all these choices in your PPA life, what do you have to lose? I leave you with this: the only thing preventing you from learning is thinking you know it already.

MAY 2010

PPAEDUCATION SUPER MONDAY is peerto-peer education brought to you in local studios around the country twice a year. Look for the upcoming spring sessions, on or around May 17th, that provide a full day of instruction, inspiration and networking in a hands-on environment with fellow professional photographers. www.PPA.com/SuperMonday

www.PPA.com/education-events/webinars.php

www.PPA.com/studio-management-services

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EVERY WAY. EVERYWHERE. EVERYTHING YOU WANT TO LEARN.

INMEMORY David Harris, M.Photog.Cr. Sadly, David Harris, M.Photog.Cr., passed away on Thursday, March 11. A long-time member of Professional Photographers of America (PPA) and the PPA Council, Dave owned Harris Studio in Sacramento, Calif., with his wife Sandra. They started their business in 1963, and their love for photography and the people in and of photography only grew. Dave was a very strong supporter of PPA and his affiliate associations—he truly believed in the power of connections. In addition, he was a proud recipient of his Master of Photography and Photographic Craftsman degrees from PPA. Our thoughts are with Sandra, his family and the numerous friends he made throughout his life. If you would like to share some memories or thoughts about Dave, please add them to the PPA Today blog post.

PPA TODAY | MAY 2010

The Power of

ASSOCIATION FINDYOURWAY in OURPPA Michael Gan, M.Photog.Cr., CPP

PPA Member since 1979 :: Location: Dillon Beach, CA

M

ichael Gan, PPA board member and Californian photographer, is within easy reach of photographers in Maine. Or Ireland. Or anywhere with a computer. Such accessibility to thousands of other photographers is a benet of being involved in the OurPPA Forum, and it turns the forum into a great photographic resource. You can get almost immediate feedback on questions from customer issues and photographic techniques to the latest PPA events. “There are many reasons to participate in the OurPPA Forum, but my favorite part is getting to know different photographers,” comments Gan. “It’s fascinating to see the depth in PPA.” In Gan’s eyes, that depth—the different skill levels of members, from newbies to master photographers—is helpful to us all. “Yes, it helps new photographers get seasoned, experienced

answers to their questions. But it also helps older members hearken back to their beginnings.” The forum has many topic sections (or threads), but two of Gan’s personal favorites are ones he started himself. He began “Café Batignolles” to address the artistic aspect of photography. It became so popular that he created a similar section called “Café Batignolles (Ask the Experts)” for specic artistic questions. Another favorite spot of Gan’s is the “Master’s Forum” he created. This section addresses his passion, the belief that we need to look more closely at what photographic excellence really is. “Master photographers need to expand their horizons,” he says. “We want to remember that art is not a marketing tool…that ‘ne art’ should apply to all you do.” The only problem with having so many topics in the OurPPA Forum is that it can be daunting. Gan suggests scanning through sections to rst nd what you’re really interested in. Then set up your prole to send e-mail notications when a new post comes to that section. Just remember: it’s important to participate, not just lurk. “Get involved for the conversational aspect and get to know people,” urges Gan. “People form strong bonds from this forum. It’s a great way to meet other photographers, share information freely and possibly even meet a future mentor.” Log onto www.ppa.com/community/forums and chat with Gan himself or hundreds of other members. See Michael’s full article on www.ppa.com.

PLUG INTO THE POWER OF PPA

Association. Education. Inspiration. — www.PPA.com

The Power of

INSPIRATION AN-NEAWARDSPOTLIGHT www.IsabelLawrence.com

Isabel Lawrence Photographers - Sherman Oaks, CA

© Almerinda Silva

P

hotography websites should constantly change. When changes halt, websites risk not reecting what they are supposed to represent. That’s what happened to Isabel Gomes and Lawrence Gund of Isabel Lawrence Photographers…until they recreated their website with such smashing success that it won the 2009 AN-NE Marketing Award for Best Website.

Making the Change

In the late ‘90s, Gomes and Gund created their rst website. They got so busy that they neglected to change the site to reect how they were evolving. As friends said, their web presence was “too modest.” That revelation helped them see the site with new eyes and realize it didn’t mention what made them unique (gift registry, gift donations, alternative cameras, etc.). Not to mention that bookings had dropped! “We foolishly believed that just mentioning these things to our prospects was enough,” says Gomes. Their new site shows and says it all. It features image galleries, an impressive client list and testimonials, but it also explains their use of vintage cameras and lm, showing endless possibilities. The site design and presentation samples even illustrate their work’s handcrafted nature.

“We no longer assume that clients know what to expect when they book,” Gomes adds. “Everything from the publications we have been featured in, to the cappuccinos they will enjoy when they visit us, is mentioned on the site.”

Finding the Look

To illustrate their artistic air, the website now resembles a sketchbook. This look—based on her own photo/ sketchbook—was something Gomes had always wanted to translate to their wedding work, but she never knew how to do so until she met Joel Adamich of Private Revolution, their new graphic designer. “First of all, I think all serious photographers should employ a graphic designer…if not for their websites, then for any business collateral,” Gomes states. “Yes, it will be more expensive than using a template, but you can be sure your items will be completely original. Being original is one key to succeeding.” It’s also important to hire someone who “gets” you and your sensibilities, as Gomes and Gund say. “It’s about nding a designer who can help mesh the site with your personality and work.” Even with a designer, the business owner(s) should be part of the creative process. “While Joel did the heavy lifting with the design work, he understood that our ngerprints had to be all over the site,” say Gomes and Gund, who stayed very involved, organizing galleries and photographing details for the site.

Loving the Results

With their bookings up 40 percent from the previous year, it’s easy to say the new site works. “We no longer have to educate clients about what makes us special,” explains Gomes. “Since the new site launched, we’ve booked more weddings over the phone than we ever had in the past.” PPA members can read the full article at www.PPA.com/Resources (click on the AN-NE Marketing Awards Spotlight category).

The clients we are attracting now really get us. They love film, they want something unusual and they are pretty much sold on our services before we even meet. - ISABEL GOMES

PPA TODAY | MAY 2010

The Power of

EDUCATION OPENYOUREYES With Studio Management Services

W

hen Winnie Greer discovered a love for image-making by photographing her young daughters in 1980, she had no idea she was embarking on a career that would span 30 years and three generations. But now she watches proudly as her grandson plays around their Lexington, Ky., studio and her daughter Leeann assumes a leadership role in Greer Photography, while her other daughter Kelly has own the studio nest and landed in her own paradise—a destination photography studio in St. Croix. “Kelly has a knack for business management and accounting,” says Leeann. “While she was involved in Greer Photography, we gravitated to letting her handle the business side of things. Soon after she left, I remember telling her, ‘Wow, I had no idea what was involved in the numbers side of this.’” In fact, it was Kelly who suggested that Leeann and her mother take advantage of the Studio Management Services (SMS) workshops to learn the fundamentals needed to successfully run the studio. Leeann is glad Kelly insisted on SMS. “It was a huge eye-opener,” she says. They learned many valuable things, but the one that has amazed her most so far is the knowledge about business struc-

PLUG INTO THE POWER OF PPA

tures. “Just ling a little differently is a huge step toward saving money and being more protable.” And getting a handle on protability is a key focus of SMS workshops, according to Leeann and Winnie. “It is such a reality check,” Leeann exclaims. “I know people out there who are afraid to charge a price that makes them protable, but if you undercut yourself, it’s like paying your clients for allowing you to be a photographer.” Winnie and Leeann say they also learned a lot about product design, packaging and effectively using sales consultations. “By using sales consultations, I believe we’ll be showcasing what we can offer. And packaging our products into lines will make it much easier for our clients to buy more,” Leeann points out. Julia Woods, M.Photog.Cr., one of the SMS instructors, won high praise from the Greers with her in-depth knowledge of product packaging. “She is what I aspire to,” says Leeann. The Greers were also impressed with the knowledge of other SMS staff and their overall willingness to do whatever it took to make the experience an enriching and enjoyable one. “They were just great—it wasn’t only about photography. It was about us personally, too, and they really delved into our particular situation and business. They weren’t just teaching us; they were looking at our individual needs.” Full of enthusiasm as they implement what they learned from SMS, the Greers are looking forward to the rest of 2010. “We are applying what we learned and reviewing the way we do everything. The SMS workshop opened our eyes about where we’ve been and where we need to go.” If you’d like to learn more about SMS workshops or to register, visit www. PPA.com/studio-management-services/ for course descriptions, requirements and schedules. Three-day workshops like the Greers attended are scheduled for Houston in June and Orange County, Calif., in July. Twoday Business Basics workshops will be available in June and November.

Association. Education. Inspiration. — www.PPA.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab

May 2010 • Professional Photographer • 119

LabTab

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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

May 2010 • Professional Photographer • 121

LabTab

122 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

May 2010 • Professional Photographer • 123

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

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May 2010 • Professional Photographer • 125

Buyer’s Gallery 2010 ad rates:

Ad size: 21⁄4” x 43⁄4 12x rate: $600.00 / 6x rate: $650.00 (gross per month) For more information, contact your advertising representative: BART ENGELS, Western Region Manager 847-854-8182 [email protected] SHELLIE JOHNSON Northeast Region Manager 404-522-8600, x279 [email protected] BILL KELLY Southeast Region Manager 404-522-8600, x248 [email protected]

126 • www.ppmag.com

May 2010 • Professional Photographer • 127

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

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STUDIOS FOR SALE TURNKEY PORTRAIT STUDIO in South Florida. Est. 25 years. High traffic retail location. Affordable Lease. Very Profitable. $50k in weddings under deposit. Extensive props and equipment. $175,000. Call Ken at 772-220-4455. www.acquisitionexperts.net High quality portrait studio for sale in WESTERN NEBRASKA. Owner retiring after 33 years. You can buy with or without real estate. It has been an excellent business through the years. Gross is 200-250K per year. Call 308-762-1291 or e-mail: [email protected] for details. 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, SPACIOUSEQUIPPED STUDIO, LIGHTING, CAMERAS, BACKGROUNDS AND MUCH MORE. READY TO HAND OVER TO CONTINUE MAKING A PROFIT RIGHT AWAY. THE BUILDING, OVER 4000 SQ.FT., WITH LARGE PARKING LOT, IS AVAILABLE FOR LEASE OR PURCHASE. OWNERS ACCOMMODATION AVAILABLE ON SITE. THE BUILDING WILL BE WORTH $1,000,000. NOW OFFERING BUILDING AND BUSINESS TOGETHER FOR 900K. OWNER AVAILABLE DURING TRANSITION. [email protected] OR CALL MON-FRI 904399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST.

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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. LOOKING FOR A DALLAS, TEXAS LOCATION? Custom built 10,000 sf. Photography/Video Studio for lease or Triplex Building for sale. Two of three private studios feature 25’x25’x14’ Cyclorama with top return, additional 25’x25’ Cyclorama, five private offices, client lounge full-service kitchen, outdoor/indoor loading docks, oversize studio doors, lighting rail system, 14’ clear height, patio deck, plentiful parking. Or you can purchase the 15,561 sf. Triplex building. contact Ed Zahra: 214-688-1255; [email protected] FOR SALE: Elegant high-end portrait studio in wealthy Northern California community. Established 40 years, this superbly located, downtown studio is a local treasure known for premium sized canvas portraits prominently displayed in 10 large gallery windows. With the areas moderate climate and proximity to Napa, San Francisco and the Pacific Ocean, the studio is perfectly situated for year round environmental portraits, weddings and commerical work. The owner is a nationally recognized photographer and speaker and will assist in training and transition. Sale price $300,000.00 does not include building. The building has an excellent lease available at below market rates. Contact: David Peters, M.Photog.Cr., Fellow, A.S.P., 800-443-4861; email: [email protected] 32 miles SE of ATLANTA, GA. Established for 25 plus years, owner retiring, will help with transition. 2,000 sq.ft. retail space, rent is $610.00 month. Good location. Great client base, turn-key ready. First 29K gets it all. Call 770-713-9553 or 770-786-7356. Ask for Donna.

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May 2010 • Professional Photographer • 129

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.

©Samantha White

ent scenes around the town’s high school. Held early last December, the event featured pictures with Santa and Mrs. Claus, as well as non-holiday themes. The Santa pictures, printed onsite, sold for $5 apiece. The other portraits were captured in 15-minute minisessions at $25 per session. All proceeds went to the Bobbi’s Build an Ear fund. The photographers had expected about 25 families in this tightly knit community to participate, but more than 100 families showed up. In six hours, the event raised more than $5,000. “We were thrilled with the turnout, and everyone seemed to really enjoy the event,” says White, who operates A family image from the “Photo Fun Day” fundraiser.

Samantha Marie Photography in Mars Hill. “It was inspiring to see our community

Building Bobbi’s ear

come together to support this little girl. All

A FUNDRAISING PHOTO DAY HELPS A LITTLE GIRL HEAR

wonderful experience, and it garnered a lot

L

of us photographers were thankful and, of course, the family was very pleased. It was a of press locally and throughout the state.” The press coverage proved particularly

ast fall, the story of 3-year-old Bobbi Guerrette

implants in a series of surgeries. Unfortunately,

helpful for Bobbi’s cause. Bobbi’s Build an

captured the attention of people across the

the procedure costs $100,000 and would

Ear started receiving donations from around

country. A resident of the small town of Mars

require the Guerrette family to make at least

the country. Just before Christmas, an anony-

Hill, Maine, close to the Canadian border,

two cross-country trips.

mous donor from Bangor, Maine, contributed

she inspired a host of people to pitch in to help

Not to be deterred, Bobbi’s parents start-

enough money to fund both surgeries. Through

her lead a more normal life.

ed a foundation called Bobbi’s Build an Ear.

a true Christmas miracle, Bobbi’s family was

Bobbi has congenital bilateral

They set out collection jars around town and

able to arrange the surgeries, purchase air-

microtia with atresia, a rare condition that

formed fundraising partnerships with local

line tickets, and plan an exciting journey for

caused her to be born without the cartilage to

businesses. News of the effort spread

their daughter. The first of the surgeries took

form the outer portion of her ear. She has been

through the 2,000 townspeople, and sup-

place in April, and the second is scheduled

able to hear with a special hearing aid built into

port for the cause picked up momentum.

in September. The family is thrilled at the

a headband, but the device is far from perfect, and Bobbi’s childhood hasn’t been easy. Fortunately, a procedure has been devel-

To pitch in, four Mars Hill photographers organized a fundraising event they named “Bobbi’s Build an Ear Family Photo Fun Day.”

oped that could build Bobbi’s ear lobes and

Samantha White, Barb Halverson, Lauren

help her hear more normally. In California, spe-

Halverson and Emily Rooney combined

cialists have been able to perform ear

efforts to photograph portraits in four differ-

130 • www.ppmag.com

prospects for Bobbi’s future. � To see more about Bobbi’s story, visit bobbisbuildanear.blogspot.com. Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]

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