Professional Photographer November 2009

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©Mama Shan

Mama Shan of Nashville, wins the 2009 Cover Contest with this image of her daughter and business partner, Nora Canfield.

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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

Singular in nature

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

EVEN IN A FIELD OF EXCELLENCE, SOME RISE ABOVE

LESLIE HUNT [email protected]

Welcome to our annual cover contest issue! Congratulations are in

editor-at-large

order for our winner, runners-up, honorable mentions and finalists.

JEFF KENT [email protected]

(Turn to p. 92 to learn more about these talented artists.) You’ve got to give credit to the photographers who’ve earned special recognition in a field of almost 4,600 entrants—an admirable accomplishment.

sales/strategic alliances assistant

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

That’s a small pool compared to the ocean of seemingly endless choices consumers can find on the Web. On p. 38, you’ll find experienced advice on turning website visitors into bona fide clients. You’ve worked so hard to land them on your site, now learn how to reel them in and make them stay; photographers Kim Larson and Allison Rodgers share their best methods for hooking e-clients before they get away.

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

We could all learn from Scott Bourne about setting ourselves apart. Bourne has become nothing less than a Web phenom. Fueled by innovative projects like Netradio, his online radio network, and an iTunes podcast series, his website is one of the most highly trafficked photo sites out there. Turn to p. 76 to read how Bourne

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

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

managed to maximize his e-power. One housekeeping note: The magazine’s monthly calendar of workshops, seminars and educational offerings has moved online. Actually, a full educational event calendar has been published on PPA.com for awhile. We feel readers are better served by the immediate and up-to-date event information at www.ppa.com/educationevents/calendar. PPA’s affiliate schools are gearing up for the 2010 academic year as you read this. These regional organizations’ week-long sessions, available to PPA members at the best-published prices, also help members earn service merits in the PPA degree program. We’ll continue to publish the affiliate school particulars, starting next month, when the dates are available. I Cameron Bishopp Director of Publications [email protected]

4 • www.ppmag.com

KARISA GILMER [email protected]

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6400; email: [email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2009, 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 NOVEMBER 2009

Features 92

THE 2009 COVER CONTEST From thousands of entries, a handful of superlative images emerge By Jeff Kent

76

MARKETING: INTERNET FAMOUS

How Scott Bourne harnessed the power of the World Wide Web to become an online photography sensation By Jeff Kent

84

PORTRAIT: FOR ART’S SAKE

JuliAnne Jonker nurtures her artistic calling By Stephanie Boozer

88

PORTRAIT: THE ART OF FLEXIBILITY

For Lissa Hatcher, satisfaction is hard-won, but the rewards are sweet By Stephanie Boozer IMAGE BY LISSA HATCHER

CONTENTS PROFESSIONAL PHOTOGRAPHER | NOVEMBER 2009 | WWW.PPMAG.COM

16

FOLIO

61

IMAGING USA

107 PPA TODAY 122

GOOD WORKS

©JuliAnne Jonker

Departments C O N TA C T S H E E T 22 Gail Buckland: Rock ‘n’ roll 24 Annie Leibovitz: A cautionary tale 26 Essay: Embracing change

by Nancy Emmerich 28 How will products look at home?

by Chris Homer

PROFIT CENTER 31

What I think: Lissa Hatcher

32 Ask the SMS experts 34 How we did it:

Shanon & Steve Ho 38 From e-mail to sale

by Kim Larson 42 Dream big, sell big

by Michael Zoumberos

THE GOODS 45 What I like: JuliAnne Jonker 46 Product roundup:

Packaging and presentation by Betsy Finn 48 Pro review: Nikon D300s

by Ellis Vener 52 Pro review: Luma View

Display Panels by Mark Levesque 56 Tutorial: StudioPlus

with QuickBooks by Betsy Finn

84

JuliAnne Jonker began painting and sculpting in her teen years and later began working

at a photo lab doing image retouching and restoration. After starting a family, she found mentors

ON THE COVER: Mama Shan of Nashville, Tenn., created this image of her daughter Nora Canfield. Using a Nikon D200 camera with a Tamron 2875mm f/2.8 lens, Shan used a single AlienBees Zeus RingMaster light, modified by an AlienBees Moon Unit. For reflectors, she placed a sheet of white foam board on either side of the subject. She exposed the frame for 1/200 second at f/8 with a focal length of 58mm, 100 ISO.

who would bring her fully into the craft of photography. Her images embody her artistic passion, and she seeks to foster that same zeal in others.

8 • www.ppmag.com

Cover image retouched by Jim DiVitale, M.Photog.MEI.Cr., API, F-ASP

Photography. It’s all about light.

© Steve Sint

,,

Steve Sint on controlling light: If you know what you are doing with lights, you can make pictures that are totally different from anyone using a flash in a hot shoe. I use the Sekonic L-358 to measure my lights. Its incident light reading makes quick work of setting lighting ratios and gives me consistent exposure. It eliminates the variances in the color of what people are wearing, their skin color, the background, everything, because it catches and measures the light before it reflects off the subject. I’m into consistency from a business point of view. If I have to spend 12 hours cleaning up my digital images by working on my exposure, I could’ve shot three weddings in that time. Photography isn’t about the camera. It’s about light.

Watch Steve Sint video at www.sekonic.com SEKONICCOMs Distributed by MAC Group

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industry advisor KEVIN CASEY [email protected]

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

2009-2010 PPA board president *RON NICHOLS M.Photog.Cr., API [email protected] vice president *LOUIS TONSMEIRE Cr.Photog., API [email protected] treasurer *DON DICKSON M.Photog.Cr., CPP [email protected] chairman of the board *DENNIS CRAFT M.Photog.Cr.Hon.M.Photog., CPP, API, F-ASP [email protected]

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]

directors SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI [email protected]

WILDA OKEN Director of Administration [email protected]

RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected]

BETSY REID Director of Education [email protected]

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

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

SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected] TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] DOUG BOX M.Photog.Cr., CPP, API [email protected] DON MACGREGOR M.Photog.Cr., API [email protected] MICHAEL GAN M.Photog.Cr., CPP [email protected] 12 • www.ppmag.com

PPA staff DAVID TRUST Chief Executive Officer [email protected]

LENORE TAFFEL Director of Events [email protected] BING ZENG PPA China Managing Director [email protected] SANDRA LANG Executive Assistant [email protected]

*Executive Committee of the Board

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folio|

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

KATHI CORDER Stopping off for a pint one evening in London, Kathi Corder, M.Photog.Cr., of Kathi Corder Photography in McArthur, Calif., had been en route to Oxford for a workshop with Janel Pahl. The front of the pub was crowded with locals cheering a soccer game, so her group made its way to the back. “And there it was, this floor, this light, this dart board and the beautiful Casey Pahl,” she says. “All the elements were in front of me and I added a pint of Guinness.” With a Fujifilm FinePix S3 camera and a Nikkor 24-70mm f/2.8 G ED AF-S lens, Corder exposed “A Pint in the Pub” for 1/125 second at f/5.6, ISO 400. www.kathicorderphotography.com

What the judge thought:

©Kathi Corder

“Reminiscent of an old master with lighting

and color like the Dutch painters, yet completely contemporary in its portrayal of the subject. The photographer used classic compositional elements to their best advantage. Everything in the image underscores the warmth of the place, and the contemplative mood of the young woman lost in thought.” —Helen Yancy, M.Photog.M.Artist.MEI.Cr., Hon.M.Photog., API and PEC Committee member

16 • www.ppmag.com

©Ella Carlson

ELLA CARLSON Ella Carlson, CPP, of Ellaprints Photography in Dunstable, Mass., found this fuzzy duckling irresistible on her tour of the plantations around Charleston, S.C. She created “The Donald” with a Canon EOS 20D camera and a Canon 75-300mm f/4-5.6 III USM EF lens with a UV filter, exposing the frame for 1/125 second at f/5, ISO 100. The duckling’s box provided the perfect bounce for the bright daylight. Carlson digitally removed other ducklings in the photo and performed minimal enhancement to bring out the downy details, then added the vignette effect. The image won Fujifilm Masterpiece Award. www.ellaprints.com

ADRIAN KLEIN Adrian Klein of Adrian Klein Photography in Portland, Ore., was on a sunset stroll in Secret Beach, Kauai with his son when he saw this spot. With a Canon EOS 40D camera and a Canon 10-22mm f/3.5-4.5 USM EF-S lens, Klein exposed “Silk Dreams” for 0.6 second at f/20, ISO 100. This image is an Adobe Photoshop compilation of two photos. Klein lay on the sand to capture the images while his son watched for incoming waves. “This scene is a reminder to always photograph it when you see it,” says Klein. “When I returned a year later, this entire area was covered by sand.” www.adrianklein.com

18 • www.ppmag.com

©Adrian Klein

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

Rock ‘n’ roll Buckland presents some never-before-seen images “Who Shot Rock and Roll” (Knopf) collects the work of the photographers who captured the energy, intoxication and rebellion of rock ‘n’ roll. Photo historian Gail Buckland presents 200 (many never-before-seen) rock and roll photographs, including portraits, behind-the-scenes shots, album covers and live concerts in this collection, released at the end of October. Here are images that changed the world and how we saw it: Bob Dylan walking with his girlfriend down a snowy Greenwich Village street in a photograph by Don Hunstein; John Lennon in a sleeveless New York City T-shirt—among the world’s most pilfered pictures—photographed by Bob Gruen; Jimi Hendrix by Gered Mankowitz, a photograph that became a poster, hung on the walls of millions of bedrooms and college dorms. Buckland writes about the men and women who took these gorgeous photographs: Who they were, the influences on their work and how they saw what they saw. “Who Shot Rock and Roll” also serves as the catalog for the traveling exhibition of the same name, beginning at the Brooklyn Museum, through January 2010.

Frank Zappa, “Himself,” New York City, 1967 ©Jerry Schatzberg

22 • www.ppmag.com

Chrissie Hynde of the Pretenders, Nashville Rooms, London, March 9, 1979 ©David Corio

Madonna, Danceteria, New York City, 1983

Tina Turner, Universal Amphitheater, Los Angeles, October 1985

©Maripol

©Henry Diltz

November 2009 • Professional Photographer • 23

CONTACT SHEET ©Random House

Protecting your work Lessons learned from Annie Leibovitz’s recent legal struggles Like most working photographers, Annie

and in July of this year, Art Capital sued

Leibovitz stayed focused on her craft, not

her for breach of contract, claiming the loan

her purse strings. While she’s one of the

agreement authorized them to act as the

highest paid photographers in the world,

“irrevocable exclusive agent” of both her

she’s as vulnerable as anyone to the effects

properties and the rights to her images.

of miscalculation, angry (and litigious)

When Leibovitz was unable to meet the

neighbors, tax liens, and alleged equipment

September 8 deadline for repayment of

mismanagement and over-spending.

the loan, she attempted to renegotiate

As reported by news sources during and

on the loan meant she would lose her

Leibovitz, in debt and in need of cash,

copyrights.

took out a $22 million credit line from the

lawsuit and sold back the image rights to

her townhouses as collateral. By September,

Leibovitz for an undisclosed amount.

claims Art Capital, she had borrowed

Bottom line, Leibovitz retains control of the

$15.5 of that amount, and by December

works. By Art Capital’s estimate, the value

she reportedly was in debt to the company

of her image portfolio is about $40 million.

With no further real estate to pony up,

If there’s a lesson to be learned here, it’s that a photographer’s copyrights as well as

Leibovitz staked the value of her rights to all

her tangible photographs have monetary

photographs, negatives and contracts for

value. A secondary lesson is that misunder-

her future works as collateral for the loan

standings do happen. Even Leibovitz, who

with Art Capital, which routinely accepts

worked closely with attorneys on the terms

fine art pieces as collateral. She’s not the

of her loan, encountered difficulties in both

first to trade in intellectual property. Collectors,

interpreting those terms and later in

galleries and other copyright owners have

repaying the loan. But there’s always room

used their works and/or rights as collateral,

for renegotiation. In agreeing to work with

or sold them outright for cash; for instance,

Art Capital Group, she was able to not only

Michael Jackson purchased the publishing

retain ownership of her copyrights, but to

rights to John Lennon’s and Paul McCartney’s

work out new terms for repaying her loan.

songs for more than $200 million. What’s

Ensure that you protect your rights by

unprecedented is that Leibovitz traded on

taking proactive steps to mark and register

her rights to work she has yet to create.

your work, and actively deter infringement.

Art Capital wanted to appraise the value

If you find yourself licensing rights to your

of those rights and the photographs for the

images, make sure you have a clear

purpose of resale, claiming entitlement to a

understanding of what type of agreement

10 percent commission on the sale of the

you’re signing.

intellectual property and a 15 percent commission on sale of the photographs. The remaining revenue would go to Leibovitz, pending repayment of the loan. The photographer prevented the appraisal,

24 • www.ppmag.com

Two days later, Art Capital dropped its

Art Capital Groups in June 2008, using

for $24 million.

A paperback edition of Annie Leibovitz’s 2006 book, “A Photographer’s Life: 1990-2009” (Random House, $50), a collection of personal and assignment work, hits stores November 3. Here, portraits of well-known figures, including Johnny Cash, Nicole Kidman, Mikhail Baryshnikov, Keith Richards, Michael Jordan, Joan Didion, R2-D2, Patti Smith, Nelson Mandela, Jack Nicholson, and William Burroughs, appear alongside pictures of Leibovitz’s family and friends, reportage from the siege of Sarajevo in the early 1990s, and even landscapes. These images are at once universal and intensely personal.

the terms of the agreement, as defaulting

after the legal proceedings described here,

Compiled by Maria Matthews, manager of PPA Copyright & Government Affairs, from reports in the New York Times, Los Angeles Times, CNN, USA Today, and the Associated Press.

You spend time photographing other people’s families.

Now spend some time with your own.

mpixpro Where discerning photographers belong. mpixpro.com

CONTACT SHEET

E S S AY

Ch-ch-ch-changes Being willing to embrace change makes me who I am

develop your own style. To get you into the spirit of shaking things up, here are four changes we’ve recently made that have really paid off. Just try something different! 1. Shoot with a very shallow depth of field. This is not for sissies. You must constantly dial those focus points, setting them

BY NANCY EMMERICH, M.PHOTOG.CR., API

on the face, the eyes. Shooting at f/2 can be scary, so start at about f/4—“Oooh pretty.”

I love change! It’s in my nature. After high

few years, I’ve been redefining my senior

school, I started out shooting weddings, then

portrait style. Seniors are a big part of my life.

So I got the new Canon EOS 5D Mark II. I

portraits, then rodeos, then—oops—back to

Now I’m looking for something new.

love it! I’m shooting at ISO 1600 with my

weddings. Then I rediscovered portraiture,

The magic of change is that we never have

moved on to outdoor scenes, then discov-

to be stuck anywhere for long. Assuming

ered digital magic, then painting. In the last

you know your craft, you can use change to

2. Hot lights—tried ’em, don’t like ’em.

modeling lights, very cool. 3. Tip it. I know it can be challenging not to have your verticals be vertical, but it’s not

All images ©Nancy Emmerich

impossible. My husband, Don, gave me the magic. He told me to tip the camera to the point where part of the subject’s body is running out of a corner of the frame, and voilà! 4. Bye, bye backgrounds. They just don’t fit our new style. Last month we rescued a piece of old furniture out of the garage, painted and faux-finished it to match the blue wall. Result: Yummy. I like sets; they make life better. This stuff works on everything!

Rose Coleman and Nancy Emmerich present “Just Do It,” a demonstration of how this legendary team is reshaping the way they do business with high school seniors and focusing on the client experience, at Imaging USA 2010 in Nashville, Tenn., Jan. 10-12.

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CONTACT SHEET

Show them how great it’ll look Whitebox Weddings’ blog features products in clients’ homes BY CHRIS HOMER All images ©Whitebox Weddings

Do your clients take forever to review the

trated with portraits as they’re displayed in

great selection of images you’ve created, then

clients’ homes (whiteboxweddings.square-

purchase a single 8x10 print? One of the biggest

space.com). When potential customers see

challenges professional photographers face is

beautiful, real-world examples, says

convincing clients that appropriately sized fine

Brennan-Harrell, “It puts them at ease

art photography will fit into their home decor.

about making large purchases.”

Whitebox Wedding studio in Greensboro,

Whitebox Weddings also began doing

N.C., once faced this problem. They posted

sales sessions with image projection. Using

online galleries of proofs and gave

information from the Web magazine, “Design

customers up to three months to choose the

Aglow” (designaglow.com), Brennan-Harrell

images and place the order. The studio’s

and partner Melanie Litchford use tem-

sales were decidedly lackluster.

plates that show customers exactly where

“Clients would tell us for three months that they loved the photos, and finally order

portraits will fit in their home. “We had one client who had orange accents

maybe three 5x7s,” says studio co-owner Sara

in her living room, so we incorporated the

Brennan-Harrell. After putting so much

color in their family portrait shoot. They

effort into each session, “We were heartbroken.”

loved how it looked on the projection, and

Whitebox Weddings found a way to turn

gave us a large order,” says Brennan-Harrell.

Facebook to help your marketing, noting

it around by showing clients how large

Posts of photos from recent sessions on

framed portraits can accent their home

the blog help drive sales by creating personal

portrait sales. Whitebox Weddings tags

décor. Brennan-Harrell describes the jump

connections with clients. “People are really

photos from sessions of clients that have

in sales as “amazing.” Sales went from kaput

excited to see if they made it onto our blog

accepted friend requests from the studio.

to an average of $2,000.

after a session,” she says.

For more information go to www.whiteboxweddings.com for info.

Whitebox Weddings created a blog illus-

28 • www.ppmag.com

Brennan-Harrell also recommends using

that it’s especially effective in senior and family

Successful studios know it.

The latest PPA Benchmark Survey proves it. This December, PPA unveils ʏndings from our second Financial Benchmark Survey. Based on data from hundreds of studios, the survey identiʏes key trends and establishes new benchmarks that are critical to your success. We’ll help you: • UNDERSTAND THE CONCEPTS and how to apply the benchmarks to increase your proʏts. • SEE THE DRAMATIC DIFFERENCES between home-based and retail studios, and between average studios and top performers. • TAKE HOME INSIGHTS from industry experts on what works and what to avoid.

Make a difference in your business— and your bottom line. Look for the PPA member-exclusive publication (available in the December issue of Professional Photographer) and new online resources to help you thrive.

Professional Photographers of America | www.PPA.com | 800.786.6277 P

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Lissa Hatcher keeps learning and paying it back What advice would you give to someone new to the business? School is your friend. If you can’t go to school, find a mentor. I wasn’t able to go to school for photography, but I have surrounded myself with people who rock at what they do. Learn from people you respect and then pay it back. You’ll grow faster and stronger. What’s the biggest business risk you’ve ever taken? When I moved to Oklahoma and had just opened my business, I took on a wedding larger than any I’d ever done. I hired the right help and prepared within an inch of my life. It paid off. I got so many referrals from that wedding. What’s your deal breaker? Clients with whom I can’t connect. I have never been afraid to say, “Maybe we should see other people.” I refer them elsewhere. What do you consider your big break? When I was published in my first photography magazine with an image called “Ichabod’s Nightmare.” It was the first of many fantasy images. It not only set the tone for the work I love doing, but it defined my style. What’s the secret to running a successful photography business? Four rules to live by: 1) Be honest, original and make good choices; 2) everything you put out there comes back to you; 3) word of mouth is priceless; and 4) be yourself; everyone else is taken! IMAGE BY LISSA HATCHER WWW.LISSAHATCHER.COM

November 2009 • 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

value of your business, and the quality of your images exceed your prices, then money is no longer an issue. Good luck! —Carol Andrews 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 Contract comprehension, online pricing, transition to S corporation Q: My wedding clients cancelled because they’re using another photographer. I thought my contract included a provision that said they owe me the balance, even if they cancel, but I see now it says only “no refund of fees.” Am I entitled to keep the money they paid in addition to the deposit? If my contract says I’m to be the only photographer and they hire another, can I consider that a breach of our contract? A: Contracts are two-way streets. When a client requests a refund, whether she’s canceling the agreement or is dissatisfied with your services, you are responsible for following the guidelines that you established in your contract. (PPA members can address cases of client dissatisfaction through the Indemnification Trust.) If the document says your clients are eligible for a refund, you should return the balance due in a timely manner, and in the same form they paid you, and only to the party who paid you. If the terms of your contract state you’re entitled to keep a portion of the monies paid, it’s a matter of reminding your client of this provision. Let him know what steps he will need to take to officially break the agreement, and that you’ll follow up with him on any outstanding obligations. Refer to the contract and revisit this section with the client. Reasons for canceling or changing the date will vary, so handle each on a case-by-case basis. PPA’s sample wedding contract addresses cancellations and refunds in this clause: “The Studio/Photographer shall reserve the time and date agreed upon, and will not make other reservations for that time and date. For this reason, unless the Studio is able to fully replace the cancelled reservation, all deposits are nonrefundable, even if the date of the wedding is

32 • www.ppmag.com

changed or the wedding is cancelled for any reason.” If your contract follows this guideline, you’re entitled to keep the portion of fees designated as the “deposit” or “retainer.” On exclusivity, PPA’s sample clause reads, “It is understood this Studio/Photographer is the exclusive official photographer retained to perform the photographic and/or video services requested on this Contract.” It’s meant to keep the client from hiring additional photographers, not from canceling you and hiring a replacement. Have your client put the cancellation request in writing. A written notice of cancellation is an excellent way to protect yourself from accusations that you failed on your end of the agreement. Ask your clients to write you a letter stating they no longer want to use your services and do not require you to photograph their wedding, or send them one they can sign and return. As you can see, your contract is open to some interpretation. While PPA provides sample contracts, you need to work with local legal counsel to make sure your contract will stand up in court. —Maria Matthews, PPA Copyright & Government Affairs manager Q: I finally broke down and posted my prices on my website. Did I make a horrible mistake? A: Take your specific prices off the Web. Instead, give a range of prices. The purpose of a website is to get your phone to ring … then the sales process begins. When your prices are posted, your clients will shop by price, and there will always be someone cheaper than you. Sharpen your selling skills and gain the confidence to create a repeatable, workable selling plan. When the

Q: We think it’s time for us to switch from sole proprietor to S-corp. What’s the best way and where do we go to find out what we’ll need to do differently when we switch? A: We suggest all businesses initially operate as a limited liability company (LLC), as it provides a degree of legal separation between your personal assets and your business, crucial in the case of a lawsuit against your business. Once an LLC or a sole proprietorship reaches annual net profits of $30,000, becoming an S-corp can reduce the amount of selfemployment taxes—Social Security and Medicare—you’re required to pay. Hire a local attorney to prepare and file the legal S-corp documents, then your CPA can make an election with IRS Form 2553 to have you taxed as an S-corp. As such, you’re required to pay yourself a reasonable salary (such as 40 percent of the net profit before owners compensation). Self-employment taxes will be paid on your salary as an S-corp owner rather than on the net profits, as it is with an LLC or sole proprietorship, hence the reduction. We suggest that you outsource the payroll tax filings to a payroll company such as ADP, Paychex or Paycycle. Discuss your state laws with the attorney and your CPA before making the election to become a S corp, as it is more beneficial in some states than others. I —Bridget Jackson 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.

©shannonho.com

PROFIT CENTER

BY JEFF KENT BY JEFF KENT

Shannon and Steve Ho adapted their work to their family life without sacrificing income by adjusting their schedule to focus on the most profitable areas of the business.

How we did it Managing a business isn’t always about money. It’s often about one’s lifestyle. For Shannon and Steve Ho of Shannon Ho Photography, scaling business to family life is the top priority. Shannon launched the business in 2002. With one part-time assistant, she built a thriving home-based portrait and wedding studio in Norman, Okla. Adamantly debt-averse, Shannon did the photography, collected the fees, and banked the money. She did a fantastic job of that, but she had no real understanding of the financials, or how to forecast business cycles. She’d be maxed out at certain times of year and see little business at others. And while her print pricing was in good shape, her product pricing for albums and other items was a guessing game based on multiplying material costs by four. For the first four years, Steve helped Shannon add technology and build the workflow system while he held a corporate IT job. When Shannon’s assistant moved away in 2006, Steve came onboard full time to manage the business. Shannon was pregnant with their son at the time. “I was torn … I didn’t want to be a fulltime working mom, but I loved photography. I wanted to figure out how to manage our numbers and increase the amount of time we could spend together as a family.” For the next year, the Hos implemented good, if instinctive business habits, but weren’t necessarily seeing where the business was headed. Then they came across the initial PPA Financial Benchmark Survey, and for the first time, had a set of hard numbers to aim for. “We knew that if we could apply these numbers to our studio, we’d have a successful business,” says Steve. In early 2008, the Hos attended a PPA Studio Management Services (SMS) workshop in Atlanta, and became SMS clients shortly after. Their SMS consultant, Bridget Jackson, immediately noted the Hos’ excellent savings habits and extremely low cost of sales—less than 20 percent of their gross sales. The benchmark for a homebased studio is 35 percent. As a result, the Hos’ net profit plus owners’ compensation was about 60 percent, an outstanding figure.

34 • www.ppmag.com

Yet Shannon and Steve wanted to work less, on a set schedule, and devote more time to family life. Their SMS mentors, Jeff and Julia Woods (both M.Photog.Cr.), counseled them to raise their prices and reorganize to function with fewer clients. The objective was to increase the per-session sales average and decrease the number of sessions. The Hos raised prices in stages throughout 2008. Following more advice from Jeff and Julia Woods, as well as a new set of SMS mentors for 2009, Jeff and Allison Rodgers, they modified their sales procedure to include an in-studio pre-session consultation and a post-session ordering appointment. Now Sharon asks clients to send her digital snapshots of the rooms in their home. Before the ordering session, she uses Photoshop to scale and “hang” the client’s portraits at the size and in the spots where they’d make the maximum impact. That’s how clients see the portraits during the ordering session—large and in place. Irresistible. “All of these changes help build relationships with the clients so it doesn’t feel like a sales environment,” says Shannon. “Exactly,” agrees Steve. “Decreasing the number of sessions allows us to spend more time with each client—quality time.” As the prices rose, inquiries decreased, yet sales averages increased. The Hos have cut the number of sessions they do by about 25 percent in each of the past two years. Meanwhile, the per-session sales average has risen by about 30 percent each year, and the studio’s gross revenue has remained consistent. Fewer clients leads to less production overhead, so even the Hos’ cost of sales has dropped, pushing up the bottom-line profit to over 70 percent in 2008. So Shannon and Steve Ho have managed to increase their take-home pay while working less. “Their case is absolutely amazing,” says Jackson. “The cost of sales and bottom-line profit blow away the benchmarks for their type of studio. They’ve built themselves into one of our top performers.” With better understanding of their numbers,

Shanon & Steve Ho

the Hos have a stronger grasp on their product lines and an improved sense of their success in specific markets. They ascertain which areas are most profitable and adjust their time to focus on those segments. They can also forecast seasonal demand and book appropriately. “That’s been one of the biggest things for me,” says Steve. “Having the knowledge to forecast the future helps both our short- and long-term planning. With no real idea of what to expect, it was hard to set goals.” “The two things I gained were balance and freedom,” says Shannon. “Now I know that I can have set days with my son and not feel guilty that I should be working. I have the confidence to schedule my life.” The Hos hired a part-time assistant in April 2008. The increased sales averages more than pay for the addition. The assistant works offsite, answering phones remotely and helping with client correspondence, scheduling and accounting through online accounting applications, such as QuickBooks Online, Google Calendars and Google Docs. The presence of the assistant helps Shannon concentrate on the clients while Steve focuses on fulfillment, technology and business development. “Our main goal is not to make a ton of money,” says Shannon. “It’s to have a good balance between work and family time. SMS helped us with that in terms of adjusting cost of sales and other benchmarks so that we could target certain markets better, adjust our schedules according to our lifestyle, and be more comfortable with the decisions we make about our business.” I Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Shannon and Steve Ho online at www.shannonho.com.

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PROFIT CENTER

BY KIM LARSON

You might get hundreds of website visitors every day— every one of them is a potential client.

about everything I can do, and I start asking questions about them. The newly engaged love to talk about their wedding plans, so I use

From e-mail to sale

it to my advantage. I ask two or three questions about the wedding and what they have in mind for the photography. At this

When people fall in love with your work on

believe the methods I use would apply to

point, my goal isn’t to close the deal but to

the Web, will they find a Contact Us option

any specialty. Most people who contact me

set up a phone or in-person consultation.

that makes it easy for them to fire off an

are looking for information on wedding

First, I introduce myself in my e-mail

inquiry? Try adding a fill-in-the blanks form

packages. I’m not against discussing my

response, and say that I want to make sure

to make it easy for prospects to provide the

packages or prices by e-mail, but I don’t do

we’re a perfect fit—after all, we’ll probably

information you need to help them, such as

it in my first response. Instead, I become a

spend more time together than with

the services they’re interested in and the date

knowledgeable consultant in addition to

anyone else at the wedding. I tell them that

of the event. When I added such a form to my

my role as photographer and use my

people book me because of my prices or my

website, the number of inquiries I got doubled.

experience to advise them in the process.

packages or my personality, and I know I

I know the people who e-mail me are

can’t always be an ideal match in all three

Every inquiry is a golden opportunity to make a sale. How do you respond? I

already interested in my services, so there’s

areas, so if they have any concerns they can

specialize in wedding photography, but I

no need to bore them with excessive details

e-mail or call me any time.

5 CRUCIAL ELEMENTS TO TURN VISITORS INTO CLIENTS BY ALLISON RODGERS

1. DESIGN. Often the public’s allimportant first impression of you, your website needs to wow ’em in a way that sets you apart from the crowd. Even if you use a template that other photographers use, you can finesse elements such as the color palette, patterns, textures, music and button naming to make it your own. The site needs to be fully functional and easy to navigate. One of the quickest ways to lose a viewer is with broken links. If there’s an unfinished area on your site, turn it off. A less than superior website can do you more harm than good. Templates are a good solution for photographers because they’re profes-

38 • www.ppmag.com

sionally designed and hard to screw up. If you don’t want to use one, invest in a professional design service. Make sure you love the company’s work, and that it provides such functions as easy updating and fully editable text fields. If music is a component of your site, be scrupulous about the musicians’ copyrights. Companies like Broken Joey Records (brokenjoeyrecords.com) and Triple Scoop Music (triplescoopmusic.com) offer “royalty free” music licensed for this sort of use. If you want a specific piece of copyrighted music, refer to “Slide rules” from the July 2008 issue of Professional

Photographer for information on securing the appropriate license (www.ppmag.com/ pdf/200807ppmag_music.pdf). 2. ABOUT YOU. Make sure the viewer gets an idea of who you are. They need to put a face with your name, so include a great image of yourself. Show

your personality. If the viewer is a new mom, she’s looking for compassion, sensitivity and reassurance. She needs to feel secure about placing her infant in your hands. If she’s a bride-to-be, she needs to approve of your personal style, and feel that you’re someone they can spend their special day with. Give visitors a taste of how your sessions go. A little info on your education and experience is good, but keep it short. Talking about your staff is also a plus. I want visitors to know I’m not the only one who’ll be helping them, yet instill confidence that they’ll be taken care of beautifully. You might ask your staff to inject some personality by, for example, listing their favorite things: “I love Sharpie markers, a new sketch book, my husband’s blue eyes, how different my little girls’ personalities are.” No full biographies, please. (continued on p. 40)

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“I know the people who

Most people include their phone

During peak wedding planning season,

number when they contact me through my

I average about 30 inquiries per month

website, so I assume they’re comfortable

through my website. When all I did was to

with my calling them. In my initial

simply answer questions and send out my

response, I ask them what times of the day

prices, I could expect to meet one or two of

are best for me to call so we can discuss all

those couples. After changing my approach,

the options. Usually they do specify a time,

becoming a friend and consultant, I can

and if they’ve answered the questions in

expect to meet with five or six couples, and

my initial e-mail, they’ve already given me

nearly all of them end up choosing me to be

I can do, and I start asking

a range of topics to discuss. Even when the

their wedding photographer. The number

person does not respond, I call to verify

of weddings I book as a result of my website

questions about them.

that he received my response, and I ask if

now almost matches the number I book

there’s anything I can do for him. My goal

from referrals, and I no longer worry about

now is to meet the couple in person and

advertising. If you have website visitors,

show them wedding albums and other

you can make them your clients! I

e-mail me are already interested in my services, so there’s no need to bore them with excessive details about everything

… At this point, my goal isn’t to close the deal but to set up a phone or

samples of my work. (If the couple live too

in-person consultation.”

close the deal and book the wedding.)

(continued from p. 38) I’ve seen some great videos of photographers in action in this section. Visitors like hearing the photographer’s voice and how he or she directs the session. Knowing what to expect helps clients feel comfortable. The goal is to convey who you are, what you do, why you do it, how you do it, and who does it with you. 3. CONTENT. Describe the whole client experience, including what you expect of the client. For example, I need visitors to know that an in-person consultation is a must for me and for the success of their session. I explain the basics of the consultation, the sitting, and the viewing and ordering session. This is the place to lay out your policies in terms of how your studio works. Always begin each item by stating how it benefits the client. A list of rules is a bad way to start

40 • www.ppmag.com

far away to meet in person, my goal is to

this relationship. You want people to know that your policies are in place to help them. A frequently asked questions section is a good spot for this information. 4. GALLERIES. Your galleries must speak for themselves. Make sure your images are cropped to the correct height and width for the window and thumbnails, without distorting the composition or lessening the impact. If you don’t know how to do it, turn off those pages until you get them fixed. Show that your images are unique in a way that reinforces what your other pages say about you. If you can’t be objective in choosing the images, ask staff and satisfied clients for their opinion. Show what you want to shoot and what you want to sell. If you love to photograph children in a non-traditional manner, then don’t post traditional portraits just to try to attract more clients. Post a mix of

Kim Larson’s studio, Life is Art Photography, is in Stevens Point, Wis. (www.lifeisartphoto.com).

subjects. You want viewers to connect with you and what you do, to find something about your personality that they get. You can’t be everything to everyone. Find your own voice and the creativity will flow more freely than you ever imagined. 5. CONTACT. They’ve fallen in love with you, now make it easy for them to book you. Post a calendar if you can update it frequently. Most of all, prominently display your phone number and a professional e-mail address that ties to your own domain name, like [email protected]. Using consumer-hosted e-mail like Yahoo or AOL undermines your professionalism. Every detail contributes to the public face of your business.

Jeff Rodgers contributed to this article. Allison Rodgers Photography is in Olive Branch, Miss. (www.allisonrodgers.com).

PROFIT CENTER

BY MICHAEL ZOUMBEROS

Set your goal, make your mark and close the sale

arrive, I’m waiting outside with a big smile to greet them by name. I invite them into the

Dream big, sell big

studio and make them feel comfortable. I offer everyone a drink. When they have everything they need, I can have their full

My wife, Rebecca, started Limelight Photog-

that unique quality. Your clients should

attention. The lights are dimmed, the candles

raphy four years ago. I had trained professional

easily recognize your products and services.

are burning, the atmosphere is pleasant, and

athletes before coming onboard two years ago,

Know your competition’s strengths and

it’s time for me to learn about their needs.

and I knew how to motivate myself and others.

weaknesses, as these are your opportunities

I translated that knowledge into sales techniques

and challenges. Never say anything negative

get clients involved. I do not hand over a price

for the studio. In my first year here, we took

about your competition; simply play up your

list. I describe the steps in the photographic

our gross income from $80,000 to $270,000,

own strengths.

experience. I learn what they’re looking for, any

then to $480,000 the following year. It started with my version of the Frank the

Once you see what’s out there and deter-

I use interactive education techniques to

special concerns, and what they hope to get

mine what sets you apart, don’t spend time

out of the experience. I showcase our products

Tank dance, which I was moved to perform

looking at what everyone else is doing. Put

at this point. Near the end I can tell them

in my office whenever I closed a sale. One of

on blinders and focus on what you do best

which package will work best for them.

our employees joked, “Gosh, should we give

and ways to do it better. As a fitness trainer,

I believe in my product. I have created the

you a sticker as a reward?” We all had a good

I’ve seen what a difference a positive mental

demand. I have educated the client. The final

laugh, but it gave me an insight. Photographers

attitude makes in performance.

step and the hardest thing for most people

are visual people, and we like to see tangible

Turn around any perceived lack. If you

to master is to ask for the sale. Rule number

recognition of our achievements. Now every

lack experience, play up the fact that you’re a

one in sales is to ask for it. Get them to give

time I make a sale, I actually place a green

fresh talent. Let the public know you’re

you a response. I say that in order to reserve

sticker on a sales chart I created.

current with the new trends—that you’re

the date, we’ll need a 50-percent retainer.

To set a sales goal, you have to know where

excited and ready to go above and beyond.

We accept cash, checks and credit cards.

the business stands to begin with, including

Next step, create a big demand for your

Which would you prefer to use?

the tally of your monthly general expenses and

product. When we had about half our 2008

the amount of owner’s compensation you

calendar booked, I was so confident in our

spot, I follow up with the prospects three

require. That tally is the amount of money you

studio’s work that I knew we’d soon book every

times after the consultation. The follow-up

must take in monthly just to keep your doors

opening. I started telling clients when they

shows you care about the client’s needs, and

open. You’ll translate that amount into the

came for consultations that their date would

you that you provide great customer service.

number of sessions and/or weddings you’ll

be taken by the end of the week. Sure enough,

Often, people simply get too busy to

shoot and the average amount of each result-

we sold out all of our teams for every date in

remember to call you. Do not leave the ball

ing sale, and the amount you should charge

2008. We’ve been sold out for 2009 for some

in their court, keep it in yours!

for each of your products and services. (It’s a

time and we’re booked solid through June

little complicated at first, but help is available

2010. Selling out for the year created a huge

session, I do the Frank the Tank dance every

through PPA Studio Management Services

buzz around here. Now brides know if they

time. Enthusiasm keeps the energy flowing

and other resources.)

want a chance to have us shoot their wed-

in our studio. I update my chart with a

Next, develop your own unique selling

If the booking doesn’t happen on the

When I close the sale and book the

ding, they’d better book early. Use the same

green sticker, and I see my progress at least

point, the something that people can get

philosophy for portrait sittings by accepting

five times a day, every day. It keeps me

from you alone in your particular niche market.

only a limited number of sessions a week.

motivated to set a new record. I

For example, do you have a unique style of

Rebecca listened in on my first consulta-

photography, an amazing outdoor set, in-

tions and pointed out that I did too much

home sessions? Every photograph on your

talking and too little listening to clients, so I

website and in your studio should portray

developed a new strategy. When the clients

42 • www.ppmag.com

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Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like JuliAnne Jonker goes for intuitive, simplified and professional What makes your workflow flow? The sweet combination of the Apple Mac Pro, 30-inch Apple monitor and Wacom Pen Tablet. I use Adobe Photoshop CS4 raw conversion with the Portraiture plug-in by Imagenomic to help me sail through editing. Little thing, big difference … Creating simple actions in Photoshop for the tasks you do over and over. It can change your life. I also use actions from Jen’s Fabulous Stuff for retouching and get very consistent results. What hot new product are you going out of your way to use? I have been using more and more gallery-wrap canvases in place of traditional canvases. My portrait clients love them and so do I. Has a piece of equipment ever changed the way you approach photography? The Canon 85mm f/1.2 lens on the EOS 5D Mark II body allows me to shoot anywhere. With the high ISO capacity of the camera and the 1.2 f-stop on the lens, there are almost no limits. What is the one piece of gear they would have to pry from your fingers? My Wacom Pen Tablet. I barely know how to use a mouse anymore. You can’t paint with a rock. IMAGE BY JULIANNE JONKER WWW.JONKERPORTRAITGALLERY.COM

November 2009 • Professional Photographer • 45

THE GOODS

PRODUCT ROUNDUP BY BETSY FINN, CPP

Unique and thoughtful presentation improves the perceived value of your products.

NON-WOVEN PORTRAIT BAGS Non-woven portrait bags are one of the most popular packaging items in the BELLA

Packages and presents

GRAFICA lineup from Marathon Press. Made of sturdy non-woven fabric, these eco-friendly bags can be used again and again. Measuring 16x13x5 inches, this roomy bag features corded

100% RECYCLED DESERT SAND PORTRAIT CASE

gloss black,

handles long enough for over-the-shoulder

and kraft.

carrying. Personalize each bag with an image

The 100-percent recycled portrait case is one

Shipped

inserted into the 4.5x3-inch pocket above your

of RICE STUDIO SUPPLY’s signature products.

flat, the

logo, and your clients will carry the handy bag

With room for one or two mounted prints, or

purses are

everywhere to show off their portrait and talk

10-12 unmounted prints, these cases are great

easy to

about your work. It’s a practical,

for packaging and/or shipping small orders.

assemble

image-building packaging

Made from 100-percent recycled FSC certified

as needed. Simply fold

solution that creates

stock (Forest Stewardship Council, www.fsc.org),

on the lines, fill with the contents of your

long-lasting buzz

choice, and secure with the ribbon tie. Wallet

about your

purses sell for 80 cents each or $60 for 100.

photography. Bags are

Custom imprinting adds $9.95 per side, per 100.

available in a minimum quantity of 50, in

ROUND CD/DVD TIN

either black or white.

These round CD/DVD tins from Rice are excellent

Imprint your one-color

for packaging slideshows and videos. The tins

logo on the front for a once-only set-up fee

feature a clear plastic window in the lid and a

of $25. www.bellagrafica.com/packaging.php

circular foam insert to protect the disk from scratches and dust. The lid snaps on and off easily, but is secure enough for safe transport.

PRESENTATION BOX

these portrait cases are available in Desert Sand

If you use your own

Presentation boxes from CYPRESS FINE

(pictured), Ebony and Cocoa. The cases are

CD/DVD labels or

HANDMADE ALBUMS & BOXES are

available without imprinting in small quantities

print directly on

archival-quality products. Choose from more than

(25); with custom imprinting in quantities of

the disk, it will pull

15 Japanese bookbinding fabrics to cover these

100, 500 and 1,000; and in sizes of 5x7, 8x10-

double duty as the

individually handcrafted boxes. The ribbon in the

, 8x12, 11x14 and 16x20 inches. Starter packs

center of the box allows you to lift out the

contain 25 each 5x7- and 8x10-inch cases, 10

mats easily, and an accent ribbon tie keeps the

11x14-inch cases and five 16x20 cases; $85

lid closed securely. Boxes come in four standard

plain, $125 with studio imprint and new die.

sizes: 8x8, 8x10, 10x10, and 11x14 inches; custom sizes are available; up to 3.5 inches deep (holds 34

RIBBON TIE WALLET PURSE

tin label. You could also feature a portrait from

mats). You can also order hand-cut Cypress mats.

The ribbon-tie wallet purse from Rice Studio

your client’s session and your logo on the

www.cypressalbums.com/boxtypes-

Supply is a stylish way to present wallet

label, which remains visible when the case is

presentation.php

prints or gift cards. They hold about 48

closed. These tins are sold in cases of 10 for

wallet prints, and come in four colors with a

$30. Imprinting is not available.

coordinating ribbon tie: gloss red, gloss white,

www.ricestudiosupply.com

46 • www.ppmag.com

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THE GOODS: PRO REVIEW

Aside from the video with stereo microphone support and the dual card slots, the improvements in the next generation of the Nikon D300 are small ones. BY ELLIS VENER

Not revolution, evolution

NIKON D300S

slot with an SD/SDHC slot. Currently, the only pro cameras with matched dual media slots are the D3 and the D3X.

The Nikon D300s is a fine camera, but despite

media have proven extremely reliable, but

There are benefits and drawbacks to both

the new second media slot and 720P HD

there’s always the possibility of something

approaches, but I’m happy to see it in

video, it’s something of a place-holder in

going wrong with a card. For that reason

the D300s.

Nikon’s professional lineup. At least it seems

alone, a camera targeted for professional

so following the giant forward leaps of the

and advanced amateur photographers

second slot as an instant insurance policy.

models that preceded it. The D1X through

should be able to capture and store two

It’s easy to designate either card as the

the D3X models all significantly raised our

originals at once in-camera. It’s like really

primary media, and make the second card

expectations of what a DSLR could be. The

cheap insurance. Before now, it was

back up the first, or record JPEGs while the

D300s is a small step forward in comparison.

available only in the big and heavy top-of-

primary card stores the raw NEF files, or

the-line Nikon D3/D3X and Canon EOS-

serve as a catcher for overflow. Unlike the

second media slot in this relatively small-

1D and 1Ds Mark II and Mark III bodies.

D300 and previous CF-media Nikons, the

bodied DSLR. CompactFlash and SDHC

Like the Canons, the D300s pairs a CF

D300s does not accept the thicker Type II

What does excite me is the addition of a

Of course, you don’t have to use that

CompactFlash media, such as IBM / Hitachi MicroDrives. You might wonder why Nikon brought out a new model with an APS-C size (15.8x23mm) sensor that sports only 12.3-megapixel resolution, but it has become increasingly obvious that the APS-C format will be the middle ground between the four-thirds and the 24x36mm formats. A file with 4,299x2,848-pixel resolution still yields an uninterpolated 300 dpi 14.293x9.49-inch print. As demonstrated by photographers Jeff Schewe, Mac Holbert

In this 1-second exposure at f/16, the Nikon D300s with a Nikkor 50mm f/1.8 AI-S lens renders exceptional detail and color gamut. A custom camera and lighting profile and white balance was created using the new X-Rite ColorChecker Passport. Mac Holbert's midtone contrast action was applied.

©Ellis Vener

48 • www.ppmag.com

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THE GOODS: PRO REVIEW

©Ellis Vener

photo site. Nikon does a fine job of dealing with high-ISO noise in the internal EXPEED image processors, but if you shoot primarily at ISO 1600, you’ll be happier with the inherently lower noise-tosignal ratio of a D3 or D700. The bright, sharp D300s LCD display makes an excellent Live View platform for

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fine-focusing and video capture. The info

The perfect tool combination for an external flash and reflectors, ideal for fashion and advertising photographers.

activates an overview of the camera setup,

button at the lower right of the screen including ISO, white balance, battery status, remaining frames, autofocus sensor selection, and a host of other settings. Hit it a second time to view a bank of custom functions grouped into types of control. The info display automatically reverses from dark text on a light background to light text on a dark background, depending on the ambient brightness. These may

SUN MOVER Extremely rigid oval reflection device used to direct studio or sunlight as needed. One size for all jobs: 33” open, collapses down to 11” for carrying case transport.

This portrait of Dr. Adam Shafran was taken inside a small Internet radio studio with the AF-S Nikkor 24-70mm f/2.8G lens and lit with a Profoto 7b in a Chimera Super PRO Plus small strip lightbank.

Adjustable strap with shock absorber fastens to the tripod socket on camera body or lens, and allows camera to hang comfortably over the back.

distributed by www.bronimaging.com

50 • www.ppmag.com

the time spent making adjustments. Beyond video and the extra card slot, the differences between the D300 and the D300s boil down to faster maximum frames per

and John Paul Caponigro, with Epson printers,

second in continuous mode (7 fps vs. 6 fps)

there’s only minor degradation of quality when

and preview thumbnail options (4, 9 or 72

printing at 180 dpi, even on high-quality

frames vs. 4 or 9 frames).

gloss paper, so the D300s can easily produce

SUN SNIPER CAMERA STRAP

sound like little things, but they cut down

Many features are unchanged, including

a good-looking 24x16 print. Printing on a

the autofocus engine. Nikon’s Multi-CAM

Canon iPF6100 and high-quality semi-gloss

3500DX uses 51 autofocus points (15 are

paper, I’ve been happy (not thrilled) with

cross-type sensors) in a pattern that vir-

20x30-inch prints of 150-ppi D300s files.

tually fills the frame, TTL phase detection,

The printer always has to do some interpolation

and it works over a brightness range of

in the translation of pixels to ink dots; the

-1 EV (15 seconds at f/2.8) to +19 EV

trick is to define the limits. The greater the

(1/8,000 second at f/8) at ISO 100. As

viewing distance of the print (based on its size),

with all recent pro Nikons, the autofocus

the lower the resolution can be. If you print

is very fast and extremely accurate when

on coarser media, the size can go even larger.

paired with a professional AF Nikkor lens.

At high ISO settings, small sensors still

In the rare case where the autofocus

don’t do as well as larger sensors with the same

function of an individual lens and the

capture resolution. The smaller the pixel

camera do not yield perfect results, there’s

pitch—the size of the individual photo sites

a fine-tune adjustment you can program

—the higher noise-to-signal ratio at each

for that particular lens-body combination.

Paired with Nikon’s better lenses, the

specs: Nikon D300s SENSOR: 23.6 x 15.8mm CMOS (Nikon DX format) RESOLUTION: 12.3 megapixels (4,288 x 2,848 pixels) VIEWFINDER COVERAGE: about 100 percent horizontal and vertical LENS COMPATIBILITY: All functions supported for DX Nikkor, Type G or D; AF Nikkor, IX-Nikkor lenses not supported; all functions except 3D Color Matrix Metering II SHUTTER: 1/8,000 second to 30 seconds; up to 7 fps METERING: TTL ,1,005-pixel RGB sensor, 3D Color Matrix Metering II, 3D Color Matrix Metering II METERING RANGE: Matrix and centerweighted metering 0-20 EV EXPOSURE COMPENSATION: +/- 5 stops in 1/3-, 1/2-, 2/3-, or 1-stop increments ISO RANGE: 200-3200 in 1/3-stop increments; expanded settings 0.3, 0.5, 0.7 or 1 EV below ISO 200 (ISO 100 equivalent), or 0.3, 0.5, 0.7 or 1 EV above ISO 3200 (ISO 6400 equivalent) DYNAMIC RANGE: Active D-Lighting (auto, extra high, high, normal, low or off), ADL bracketing 2 to 5 frames FLASH SYNC: 1/250 second; synchronized with shutter at 1/320 second or slower; 519 ISO sync terminal with locking thread LIVE VIEW: hand-held and tripod modes MOVIE: 1,280 x 720 pixels, 24 fps, AVI format, contrast-detect AF on desired point in tripod mode possible, optional external microphone AUTOFOCUS: Nikon Multi-CAM 3500DX autofocus sensor module with TTL phase detection, fine tuning, 51 focus points WHITE BALANCE: Auto, presets, preset manual, fine-tuning available for all options LCD MONITOR: 3-inch, 920,000-pixel, 170-degree viewing angle, TFT-LCD, approx. 100% frame coverage STREET PRICE: $1,799.95

Video set to 720P HD records at 24 fps with

D300s is a fine evolutionary step, and

1,280x720-pixel resolution, VGA mode at

APS-C format fans should be quite happy

24fps with 640x424-pixel resolution, both

with it. Even without revolutionary sensor

in AVI format. There’s a built-in microphone,

and processor advances, it redefines the

but for higher quality, Nikon recommends

upper limits of APS-C format performance.

using an external microphone; there’s a

Like most still photographers, so far I

3.5mm jack for stereo input. The D300s has

have little experience to call on in reviewing

USB2.0, NTSC, PAL, HDMI, and HDMI

video quality from the D300s. The video

Type C output, as well as the standard

capabilities are a breeze to use once you get

Nikon 10-pin electronic control external

used to the form factor and using the camera’s

control connection.

920,000-pixel VGA LCD display. The video

All told, the D300s is a fine camera and

function is tied to the Live View mode, in

could comfortably find a home in most

which continuous focus is not available.

Nikon shooters’ camera bags. Video is here

Contrast detection AF is engaged instead of

to stay in high-end DSLRs, and we can

the generally more accurate phase detection

expect further evolution in that direction.

mode used in shooting stills. My preference

A tool is only as good as the person using

is to switch to manual focus and use the

it, and becoming a decent filmmaker is

LCD in the way a large-format shooter uses

going to require learning a whole new set

a loupe on ground glass for precise focusing.

of storytelling skills. I

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November 2009 • Professional Photographer • 51

9/25/09 2:05:31 PM

THE GOODS: PRO REVIEW

LED technology opens up a bright new world for photographers. It’s a way to display images that draws a crowd. BY MARK LEVESQUE, CPP

Attention!

LUMA VUE DISPLAY PANELS

Eye-catching. That’s the concise description

saturated, and monochromes render

to your specifications. The panels come in

of prints displayed in LED-illuminated Crystal

beautifully. Crystal Panels have a beveled

multiple styles as well, so you can use them

Panels from Luma Vue Arts. People who would

edge that reflects light to create a luminous

with metal or wooden frames to complement

have taken but a quick glance at an image in

white edge around the image to heighten its

a traditional décor. The new version, at a

another format will halt mid-stride and

visual separation from the background.

moderately reduced price, has an aluminum

come closer to soak up the visual experience.

Crystal Panels come with hardware to

frame and a flexible vinyl front cover that

By day, an image displayed on the Crystal

mount them to a wall invisibly. A template

attaches magnetically. Aside from being a

Panel with the power switched off looks much

and simple instructions accompany all the

significantly lighter alternative, this version

as it would in any other medium, albeit one

necessary screws and anchors. There’s next

housed in sleek modern Plexiglass. But in

to no installation hassle.

dim light with the LED panel turned on, the image pops irresistibly. Colors are rich and All images ©Mark Levesque

52 • www.ppmag.com

Luma Vue stocks a number of standard display sizes, and is also happy to customize

At nighttime, Luma Vue back-lit displays enhance the Studio Mark Emile storefront.

makes swapping prints a matter of seconds.

raphers looking to separate their work from

range from $101 (11x14 inches) to $220

Just attach the supplied suction cup to the

the crowd, and for his or her commercial

(20x24), to $584 (30x 40). Additional stan-

vinyl cover and use it like a handle to remove

clients who want to showcase images of

dard and custom sizes are available. For more

it, replace the print, and reattach the cover.

their products or services. Perhaps you can

information, visit www.lumavuearts.com. I

Lume Vue does a good job in trimming the

even sell the idea to forward-thinking

prints to precisely fit the display.

portrait clients who’d be inclined to return

I tried a variety of full-color and monochrome images in the Luma Vue displays; they

for updated portraits. Prices for a Crystal Panel and one print

See the product and watch an interview with Steve Knudsen, the owner of Luma Vue Arts, from Imaging USA 2009 at www.ppmag.com/video/lumavue.mov.

all popped and looked great, especially those with copious midtones. Outdoor scenes render beautifully, with rich, saturated colors, and skin tones are quite realistic. The expression of fine detail is comparable to that of a luster print.

Hurricane, flooding, torrential rains...

Veins in leaves are sharp, and individual strands of grass or hair are distinguishable. If there’s a hitch, it’s that with images with extreme contrast, the blacks tend to block up while the whites tend to blow out. It would be nice if Luma Vue could provide an ICC profile for soft-proofing to avoid this issue, but apparently printing on this medium is as much art as science, and the profiles they use in their printing do not

DriveSavers to the rescue!

translate that well to the screen. You order prints through a log-in account on Luma Vue’s website. Uploading is easy, and the prints arrive in a week or so, all cut to size and ready to insert in your panels. Print prices are comparable to most professional labs. Print life expectancy is three to five years. Given that you’re likely to periodically replace the prints, that’s more than sufficient for most applications. The images are printed on a synthetic Duratrans-type material. It’s important to avoid touching the face of the print, especially in large, evenly dark areas, to avoid fingerprints and smudges. Reasonable care is required to avoid damage. It’s necessary to use transparent tape on the edge of the print to keep it in place. Because it’s difficult to remove the tape without scratching the print, use the smallest piece that will do the job. Luma Vue displays are ideal for photog-

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November 2009 • Professional Photographer • 53

THE GOODS: TUTORIAL

Studio management software makes life easier—if you do it right. Learn to seamlessly integrate StudioPlus and Intuit QuickBooks. BY BETSY FINN, CPP

Keep it reconciled

Figure 1

STUDIOPLUS AND QUICKBOOKS StudioPlus is a full-featured studio management application that builds on Intuit QuickBooks for all-round performance. StudioPlus tracks sales and transactions, QuickBooks tracks expenses. StudioPlus is designed to transfer sales and deposit information to QuickBooks, so you don’t have to spend time re-entering data to get to the bottom line. In order to work properly, the accounting link takes some time to set up. Begin the linking process by filling out the settings in the Accounting tab of Company Preferences. There are five sections in the tab: Accounting Method, Accounting Link, General Ledger Account Numbers, Accounting Link Options, and Fiscal Year (Figure 1). StudioPlus communicates with QuickBooks through the Accounting Link. Select your link method—either QuickBooks or QuickBooks Direct—then select the export path, usually the same folder as your QuickBooks company file. If you select the QuickBooks accounting link, StudioPlus creates an IIF data file that you must manually import into QuickBooks. If you select QuickBooks Direct, StudioPlus imports the data automatically. To use the QuickBooks Direct method, you’ll need to have QuickBooks 2003 or a later version installed on your computer. Next, link the StudioPlus accounts to the correlating QuickBooks accounts, so that StudioPlus can export customer deposits, sales tax payable, shipping and handling, general sales, discounts, and cash information to QuickBooks. This is set up in the General Ledger Account Numbers section. If StudioPlus does not detect an account with the exact same name, it will create a new account in QuickBooks, so be sure to use the same spacing and capitalization. Sub accounts should be named in this format: Main Account:Sub Account. Note that there is no space on either side of the colon.

56 • www.ppmag.com

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THE GOODS: TUTORIAL

Most photographers will want to track sales by session type. StudioPlus can be customized to export general ledger sub-accounts, so even though the preferences menu allows you to link only to your QuickBooks general sales account, you can still split up your sales by session type and even price category (e.g., Sales:Portrait). When editing an item or session, go to the field called G/L Sales Account to designate the sub-account of your general sales (e.g., Sales:Portrait). Each item on your price list has this field, so you can customize the StudioPlus export accounts to your heart’s desire. Remember to follow the naming protocol (Figure 2). Before exporting your data to QuickBooks, you’ll also want to set up the payment methods category and link each payment method to the GL Deposit Account (e.g., General Savings). If you want StudioPlus to export each transaction individually rather than in one lump sum transaction, make sure to select the Export Transactions option (Figure 3). After all items have been properly linked, it’s time to enter the data in QuickBooks. StudioPlus designed this process to be flexible enough to accommodate normal studio activities. There’s a two-step process for exporting data from StudioPlus to QuickBooks. Both

Figure 4

steps must be completed for your books to reconcile. First, to make a deposit: Browse to Tools > Accounting Link > Make a Deposit. You can pick and choose which deposits you want to post so that the ledger entries in QuickBooks will match your bank statements. You should complete this step every time you make a deposit at your bank. The deposited payments will be locked in so that you can’t accidentally cause StudioPlus and QuickBooks to fall out of balance. Any adjustments (such as a refund), should be entered in a new invoice for that transaction (Figure 4).

Figure 5

Step 2, post invoices to QuickBooks: go to Tools > Accounting Link > Post Invoices, and you’ll see a list of all un-posted invoices matching your accounting method. StudioPlus recommends you post invoices at least once a month at month’s end, as the sales tax report in QuickBooks is based on the StudioPlus invoice posting date rather than the date of the invoice itself. As with the previous task, you’ll be prompted to print a report upon posting. When you select the QuickBooks manual option, the data is exported to a file called QuickBooksExport.IIF that’s created in the designated export path location. In QuickBooks, browse to File > Utilities > Import > IIF Files, and select the file to import. Once import is complete, QuickBooks should display the data from StudioPlus (Figure 5). StudioPlus recommends you test the manual export method to confirm the IIF file is generated before you set up QuickBooks Direct (the automated link between StudioPlus and QuickBooks). If

58 • www.ppmag.com

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THE GOODS: TUTORIAL

you do choose to sync data via the manual IIF file method, you will

compliance with tax filing requirements. StudioPlus even includes a

have to rename or delete the file each time, as StudioPlus will add the

database backup utility, so you can back up your information and

updated data to the existing IIF file during the next export. If you

have a restore point.

import the updated IIF file, you’ll end up with duplicate data (and inaccurate figures) on the QuickBooks side of things. While the process of transferring data from StudioPlus to

If you’re looking to implement StudioPlus, I recommend taking advantage of the training and support available to you. StudioPlus Support includes an online help center with Web chat, video

QuickBooks is relatively straightforward, it can seem like there’s no

tutorials, user forum, and phone and e-mail support. The sooner you

way to undo deposit or invoice posting mistakes. This is because

understand the capabilities of StudioPlus, the sooner you’ll be able to

StudioPlus, understandably, has been designed with a series of checks

use it to its full potential—efficiently, and without error.

and balances to prevent you from accidentally editing an invoice or

Express, Standard and Professional versions of StudioPlus are

payment once it has been posted to QuickBooks. If you find you’ve

available. Payment plans (12 months, no interest) for a single user

errantly exported an invoice and want to adjust the invoice rather

license range from $33 per month for Express to $141 per month for

than creating a credit memo, first delete the ledger entry from

Professional. A fully functional 30-day trial is available. For more

QuickBooks. Next, in StudioPlus, find the invoice in question, and

information, visit studioplussoftware.com. I

open it. Go to File > Unlock Posted Invoice (Figure 6). Now, you can make your modification and re-export the data to QuickBooks. To do

Betsy Finn, CPP, is a photographic artist and a PPA Councilor (’09-’12). Her educational website for photographers is learnwithbetsy.com.

so, go to Tools > Accounting Link > Re-export Posting Report. QuickBooks should now be updated with the new information. Ultimately, StudioPlus works in conjunction with QuickBooks to save you or your CPA the added work of reentering financial data in

Read Betsy Finn’s review of StudioPlus software’s full set of features at www.ppmag.com/web-exclusives/2009/09/pre-review-studioplusoverview.html. Finn used a Windows XP system to evaluate this software.

“Special Risk” Protection

Special Features

Did you know? A homeowner’s policy may not cover business equipment, and will not cover you off-site.

• $10,000 extra coverage to pay for the additional expenses necessary when computer equipment is damaged or lost. • Low deductible of $100 per claim. • Claims based on actual replacement cost up to the scheduled amount. • Coverage for theft. • Coverage for equipment when it’s off premises or in transit. • The cost of this plan may be tax-deductible as a normal business expense. Administered by:

For a fre e quote , please v www.p pa-quote isit calcula tor.com.

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d/b/a in CA Seabury & Smith Insurance Program Management This product description is for informational purposes only and does not provide a complete description of coverage terms, conditions, exclusions or limitations. This is underwritten by New Hampshire Insurance Company.

The PPA “Special Risk” Photography Equipment Insurance Program is sponsored for the benefit of the members of the: 43887/42072/43891 I11025 (10/09) ©Seabury & Smith, Inc. 2009

60 • www.ppmag.com

Get up close and personal with the industry’s latest products, tools, and technology Discover how to make more money doing what you love Share the limelight with some of the biggest names in photography is brought to you by:

» IMPROVE YOUR IMAGES with a free consultation from PPA Jurors/ » » » »

Mentors who judge PPA photography competitions. NETWORK with thousands of photographers and industry vendors from around the world. START PARTNERSHIPS that could take your business further. FIND NEW MENTORS as you discuss issues that affect your business and art. LAUGH WITH FRIENDS old and new—the best medicine.

© Roberto Falck

images © Sara Frances, M.Photog.Cr., API

WWW.IMAGINGUSA.ORG

JOIN WHITE HOUSE CUSTOM COLOUR as we welcome photojournalists who have chronicled days in the lives of American presidents. It’s a different business—come get the inside scoop on recording history from these different perspectives (and bring your questions): PAUL MORSE – Bush administration’s official photos

ROBERT MCNEELY – Clinton administration’s official photos

J. SCOTT APPLEWHITE – Obama administration’s Associated Press photos

Don’t forget all the other evenings you can spend rockin’ with Imaging USA Free for all full convention registrants

PPA CHARITIES CELEBRATION

PPA AWARDS & DEGREE CEREMONY

SHARE YOUR IMAGING USA LOVE!

January 9, 8:00pm

January 12, 7:00pm – 8:00pm

ROCKIN ‘ NASHVILLE WELCOME PARTY

IMAGING…OLÉ! CLOSING NIGHT PARTY

Join the conversation on Facebook, Twitter and LinkedIn by visiting www. ImagingUSA.org.

January 10, 8:00pm - 10:00pm January 12, 8:00pm - 11:00pm Sponsored by Sponsored by

Sharpen your professional edge with some world-class education. Here is a spotlight on some can’t-miss classes—look at WWW.IMAGINGUSA.ORG for the full line-up! BE A BLACK SHEEP: UNIQUE HAS NEVER BEEN SO CHIC Jan. 10, 7:00am Sponsored by Miller’s Professional Imaging Kickoff the convention the right way—wake up with the Sallees and learn why you can’t be content just blending in with the flock. Join them to learn the secrets to portrait success. ©S Sallee ll Photography Ph t

JUST DO IT Jan. 11, 9:00am Sponsored by American Color Imaging Come see how this legendary mother-daughter team has taken one area of their business (seniors) and successfully turned it into a full-time focus.

top © Rose Coleman bottom © Nancy Emmerich, M.Photog.Cr., API

WWW.IMAGINGUSA.ORG left: © Kimberly Wylie

right: © Laura Novak

LIVING THE DREAM: MAKE MORE PROFITS DOING WHAT YOU LOVE Jan. 12, 5:00pm

© Doug Gordon, Cr.Photog., CPP

Sponsored by White House Custom Colour Learn how to sell your photography as art and DOUBLE your wall portrait sales from two high-energy women running two of the most successful studios in the country.

POSING IS BACK FOR HOT, HIGH-FASHION HIGH-GLAMOUR WEDDINGS Jan.12, 7:30am Sponsored by AsukaBook Doug shares his creative “magic,” teaching a distinctive wedding style that allows you (at times) to direct a client… yet capture the emotion and feel of photojournalism.

Take advantage of this first chance in the U.S. to get up close & personal with the industry’s latest products, tools, & technology: » Browse the LARGEST PHOTOGRAPHY EXPO in North America. » Grab special deals in 196 PRODUCT CATEGORIES – fantastic quality and diversity. » Watch experts give LIVE, IN-BOOTH DEMOS on the tradeshow floor.

images © Sa

ra Frances,

M .P ho tog.Cr ., AP I

© Candy Anderson, M.Photog., CPP

WWW.IMAGINGUSA.ORG

© Shaun Voegele, M.Photog.

WATCH YOUR INSPIRATION GROW the longer you walk the Imaging EXPO floor, thanks to special exhibits like these: INTERNATIONAL PRINT EXHIBIT

GRAPHISTUDIO THEATER

Free and open to the public

Get your daily dose of insight and ideas right on the Imaging EXPO floor, as these industry leaders share their expertise and demonstrate how you can use the latest GraphiStudio products: » Yervant » Joe Buissink » Jim Garner » Garrett Nudd

Visit one of the largest annual photography exhibits, filled with the exclusive PPA Loan and General Collections and other special exhibits. Walking through the almost 2,300 images—the best of the best—is a sure-fire way to gather new ideas to try in your own photography.

ALL-STAR CHARITABLE MARKETING January 9 Help PPA Charities as you help your business by learning to make charitable marketing work for you. Learn successful photographers’ best ideas for doing just that, including how they incorporate this marketing into their overall strategies. $129: Benefiting PPA Charities JUDGES WORKSHOP January 7-9 Want to learn more about competition judging (or want to take the next step towards becoming a PPA-Approved Affiliate Juror)? Come attend the required class at Imaging USA! This three-day workshop is an intense learning experience—you’ll work hard to acquire the protocol and understand the methods that have given PPA photographic competitions the finest judging process in PPA history. $595 PPA’S STUDIO MANAGEMENT SERVICES (SMS) 3-DAY BUSINESS WORKSHOP January 7-9 » Business & Financial Management: Part 1 » Sales & Customer Service: Part 2 » Marketing & Promotions: Part 3 Get the full workshop experience: attend all three days PLUS one-on-one consultations (exclusively for PPA members, $949). Spaces are limited. Contact SMS directly to register and learn more! 888-851-0405 | [email protected] (And remember: anyone can sign up for these individual classes without the consultations for $129 each—register online at www.ImagingUSA.org.)

DON’T FORGET ABOUT THESE OTHER OPENING ACTS:

» » » » »

3-Day Certification Preparation Class Association Survival: What Affiliate Leaders Should Know About Staying Afloat Photographic Essentials When Turning Pro Senior Success: Success through Marketing Senior Success: Success through Photography

» » » »

Senior Success: Success through Sales Speed Shooting with the Pros The Business of Photography: 2-Day Workshop (from PPA’s Studio Management Services) Tots 2 Teens

Visit www.ImagingUSA.org for complete details.

WWW.IMAGINGUSA.ORG

PORTRAIT

BUSINESS BEAT

ADOBE PHOTOGRAPHY SOLUTIONS

STANDING OUT FROM THE CROWD…GUARANTEED Dane Sanders To build a recession- and competition-proof photo business, don’t mimic—design your business around your most powerful resource: you.

BE A BLACK SHEEP: UNIQUE HAS NEVER BEEN SO CHIC JB Sallee, M.Photog.Cr. & DeEtte Sallee, M.Photog.Cr. Don’t be content with just blending in with the flock. Learn the secrets of their portrait photography success from the images to distinctive packaging, pricing, and much more. Sponsored by Miller’s Professional Imaging

DIAPERS TO DOLLARS: MARKETING FOR BABY PORTRAITS Frank Donnino, Cr.Photog. Photographing babies hasn’t changed, but the way Frank gets his clients has. Learn how he adapted to this high-tech world with high-tech moms. Sponsored by H&H Color Lab

DYNAMIC CAMERA RAW PROCESSING Katrin Eismann Learn how shooting and processing camera raw files will provide increased image quality, greater control, and creative flexibility while being completely nondestructive (Adobe Photoshop Lightroom 2 & Adobe Photoshop). Sponsored by Adobe

ACHIEVE AMAZING RESULTS AGAINST THE ODDS Jerry Ghionis, M.Photog. Make your clients shine brighter by bringing out their best…despite poor locations, plus-sized brides, odd-height couples, limited lighting, limited time, shy couples, etc. Sponsored by PickPic

TAKE YOUR STUDIO TO THE NEXT LEVEL Gregory Daniel, M.Photog.Cr. & Lesa Daniel, Cr.Photog. Learn the anatomy of their highly successful studio and gather ideas for your own as you learn how to create client desire, build relationships, give emotional presentations, etc.

FACEBOOK WAS MADE FOR PHOTOGRAPHERS Rod Evans, Cr.Photog. Learn how he used Facebook and under $200 to book seniors, couples, and children—grossing over six figures! You can do a lot with a small investment.

WHAT’S NEW IN LIGHTROOM Tom Hogarty Get the deluxe tour through the latest updates of Adobe Photoshop Lightroom, including new tools, powerful updated features, and product enhancements. Sponsored by Adobe

9:00am - 10:30am

7:00am - 8:30am

WEDDING

IMAGING EXPO

6:00pm - 7:30pm

4:00pm - 5:30pm

11:00am - 4:30pm

STANDING IN THE SHALLOW END OF THE POOL & LOOKING GOOD Parker J. Pfister From shooting style to unique products and sales techniques, you’ll learn many ways to separate yourself from the crowds. Sponsored by Canon

THE POWER OF LIGHT “LIVE” Tony Corbell, Cr.Photog., API Take a fresh approach to portrait lighting as Tony demos available lighting control options, helping you better understand light itself. Sponsored by NIK Software

WHAT IT TAKES TO MAKE THE SALARY YOU NEED: NEW FINANCIAL BENCHMARK SURVEY Ann Monteith, M.Photog.Cr. Hon.M.Photog., CPP, ABI, API, A-ASP & Scott Kurkian Go beyond the numbers and learn what it takes to satisfy your personal financial requirements, how you measure up, and where you can focus improvements. Sponsored by Fujifilm

STREAMLINED PORTRAIT & WEDDING POST-PROCESSING WITH LIGHTROOM Nathan Holritz Learn a workflow that will enable you to process a portrait shoot in under an hour, substantially accelerating large wedding processing (Adobe Photoshop Lightroom 2). Sponsored by Adobe

SUBSTANCE & STYLE Jeffrey Woods, M.Photog.Cr. & Julia Woods, M.Photog.Cr. Simplify your weddings and make more money at the same time, thanks to their style of shooting, selling, and marketing. Sponsored by Burrell Colour Imaging

WHERE HAVE ALL THE ARTISTS GONE? Joseph Simone, M.Photog. Cr., API, F-ASP & Louise Simone, M.Photog.Cr., API Discover how essential rules of art, the culture of the image, and the newest digital tools combine to restore the allure of professional imaging and improve your career. Sponsored by Kodak

THE POWER OF PROJECTION: TAKE SALES TO THE NEXT LEVEL Elizabeth Homan, M.Photog.Cr., CPP, API & Trey Homan, Cr.Photog., CPP Learn how they create emotional presentations for clients and take control of their sales with several proven steps. Sponsored by Miller’s Professional Imaging

LIGHTROOM TIPS & TRICKS Julieanne Kost Save time, increase creativity, and deliver superior images in Adobe Photoshop Lightroom 2 with tricks you had no idea existed (Adobe Photoshop & Lightroom). Sponsored by Adobe

ROCKIN’ NASHVILLE! Imaging USA Welcome Party | 8:00pm - 10:00pm

sponsored by

Canon

PORTRAIT

BUSINESS BEAT

SPOTLIGHT

CREATIVITY & TECHNOLOGY Stephen & Jennifer Bebb From finding inspiration and challenges to the use of technology, Stephen and Jennifer give you the tools to fall in love with wedding photography again and stand out in the market. Sponsored by PickPic

THE ULTIMATE PHOTOGRAPHER’S BALANCING ACT Michele Celentano, Cr.Photog. Join Michele as she shares her secrets for balancing art and business, from posing and lighting children to turning those images into big sales.

PRODUCT DESIGN: PLAIN SIMPLE & PROFITABLE Allison Rodgers & Jeff Rodgers Earn higher sales by helping clients decide what to do with their images. You’ll learn how to listen to clients and present them with product designs that work. Sponsored by White House Custom Colour

THE PORTRAIT AS AN ART FORM JuliAnne Jonker, M.Photog.Cr., CPP Even in this economy, you can be both true to your artistic spirit and profitable. See how she creates unique, artistic portraits for discriminating clientele. Sponsored by Burrell Colour Imaging

YERVANT SIGNATURES: POSED...NATURALLY! FINISHED...PERFECTLY! Yervant, M.Photog., IV, F-AIPP Learn easy and fun posing methods for glamorous—yet fun and REAL—wedding expressions, along with the finishing techniques that turn images into art. Sponsored by GraphiStudio

JUST DO IT Rose Coleman & Nancy Emmerich, M.Photog.Cr., API Come see how this legendary team is shaping the way they do business with high school seniors and focusing on client experience. Sponsored by American Color Imaging (ACI)

TOOLS OF THE TRADE FOR TOMORROW Jeff Hawkins, M.Photog.Cr., CPP & Kathleen Hawkins, Cr.Photog. Create a niche market and connect with clients via these tools, from social media and viral promotions to the software and technologies that help optimize productivity. Sponsored by Buckeye Color Lab

BOUDOIR IS THE NEW BLACK: GLAMOROUS, LUCRATIVE, & RIDICULOUSLY FUN Kimberlee West & Marissa Boucher Learn from the Boudoir Divas as they demo a boudoir shoot, show favorite poses (perfect for all body types) and discuss “divalicious” marketing techniques. Sponsored by Showit

9:00am - 10:30am

7:00am - 8:30am

WEDDING

IMAGING EXPO

6:00pm - 7:30pm

4:00pm - 5:30pm

11:00am - 4:30pm

WHO YOU ARE IS THE MOST IMPORTANT THING ABOUT PHOTOGRAPHY Joe Buissink Learn to see and feel everything differently at a wedding and run a more profitable business, from increasing client purchases to booking more high-end weddings. Sponsored by Canon

FAMILY PORTRAITURE, ETCETERA Drake Busath, M.Photog.Cr. Find posing, “un-posing,” lighting, and other tips to help you build a cool, seven-figure business.

STOP WASTING YOUR TIME: MANAGE YOUR WORKFLOW Robert Lloyd, Cr.Photog. Hon.M.Photog., CPP, API Learn an efficient workflow that equals no lost images, speedy processing, consistency, and images focused on the subject, not distractions from the camera.

PHOTOGRAPHING THE WEST David Stoecklein Share in his images and anecdotal knowledge gained from documenting the West and shooting commercial advertising work for over 40 years. Sponsored by Canon

WITNESS TO A WEDDING Denis Reggie Gather up ready-to-use ideas as you see and hear the stories behind Denis Reggie’s iconic images and new images never shown before. Sponsored by Canon & Microsoft Icons of Imaging

BEAUTY, JOY & SPIRIT: PHOTOGRAPHING CHILDREN Tamara Lackey Learn how Tamara brings her images to life, including interaction with children, organic directive posing techniques, creative composition, and post-processing tips. Sponsored by Simply Canvas & Buckeye Color Labs

MAKING IT HAPPEN: THE DIFFERENCE BETWEEN KNOWING & DOING Jed Taufer, Cr.Photog. & Vicki Taufer, M.Photog.Cr., CPP Find out how they have implemented various ideas and innovations over the years (and what did or didn’t work), from marketing strategies to workflow. Sponsored by Kodak

A CUT ABOVE Julie Klaasmeyer, M.Photog. From designing to photographing and pricing, learn to take your ordinary product and create one-of-a-kind portrait art pieces for upscale clients. Sponsored by White House Custom Colour

PHOTOGRAPHERS IN THE WHITE HOUSE 9:30pm-11:00pm » PAUL MORSE – Bush administration’s official photos » ROBERT MCNEELY – Clinton administration’s official photos » J. SCOTT APPLEWHITE – Obama administration’s Associated Press photos

sponsored by

White House Custom Colour

WWW.IMAGINGUSA.ORG

7:30am - 9:00am

WEDDING POSING IS BACK FOR HOT, HIGH-FASHION HIGHGLAMOUR WEDDINGS Doug Gordon, Cr.Photog., CPP Learn how to shoot like two photographers for a distinctive wedding style that allows you (at times) to direct a client… yet capture the emotion and feel of photojournalism. Sponsored by AsukaBook

PORTRAIT TIME FLIES WHEN YOU’RE PHOTOGRAPHING FUN Gayletta Tompkins, M.Photog.Cr., CPP From newsletter and e-mail marketing ideas that really work to her use of theme specials, set designs, and lighting, learn tips and ideas to help in your own studio. Sponsored by H&H Color Lab

SPOTLIGHT SOCIAL MEDIA WILL EXPAND YOUR BUSINESS Scott Bourne Learn how Scott markets his work in today’s fast-paced, Internetdriven marketplace with Twitter, podcasts, blogs, etc. You, too, can increase the demand for your work.

ADOBE PHOTOGRAPHY SOLUTIONS THE ART OF FACIAL RETOUCHING Jane Conner-Ziser, Cr.Photog., API No more “plastic” skin! Learn how lighting affects the way people look in portraits, faster and better-looking retouching for each facial feature, and so much more (Adobe Photoshop CS4). Sponsored by Adobe

IMAGING EXPO

5:00pm - 6:30pm

3:00pm - 4:30pm

1:00pm - 2:30pm

9:30am - 1:30pm

CREATING THE RED-HOT WEDDING STUDIO Mark Garber, M.Photog.Cr. & Jennifer Gilman, M.Photog.Cr., CPP Learn how their studio continually increases sales, client retention, and market share (the biggest bang for the smallest buck) despite today’s challenges. Sponsored by Fujifilm

GROWING A GREAT SENIOR BUSINESS Kent Smith, M.Photog.MEI.Cr. & Sarah Smith, M.Photog.Cr. Learn how they keep a flourishing, healthy business with positioning, creative marketing, photographing with a purpose, client incentives, and more. Sponsored by ProSelect

REVOLUTIONIZE & ENERGIZE YOUR STUDIO: THE ART OF STORY SHOOTING Jim Garner See how to shoot for the story (not single images) and use motion posing to create a gorgeous album and maximize profitability. Sponsored by GraphiStudio

DELIVERING OUTSTANDING FAMILY PORTRAITS Jack Reznicki, Cr.Photog. Hon.M.Photog., API See how to make wiggling kids, surly teens, and family members spanning generations all look their best, with shortcuts from tablet usage to head swapping (Adobe Photoshop CS4). Sponsored by Adobe

FINE ART WEDDINGS Jose Villa Listen and learn as he shares his successes with photographing in film, getting published, and shooting around the world. Sponsored by Fujifilm

BELLA BABY Alycia Alvarez See the details of this successful program, including ways to light and pose the babies, tricks for interacting with them, and her proven marketing/networking tips. Sponsored by White House Custom Colour

THE ONE-TWO PUNCH: ROCKIN’ IMAGES + SOCIAL NETWORKING = BUSINESS EXPLOSION Scott & Adina Hayne See how they used online media and amazing images to explode their business in their first full year. Sponsored by H&H Color Lab

SHAPING MASTER PRINTS IN DOCUMENTARY WEDDING PHOTOGRAPHY Greg Gibson Two-time Pulitzer Prize winner Gibson shares his simple techniques to bring documentary wedding images to life with Adobe Photoshop CS4 and Adobe Photoshop Lightroom 2. Sponsored by Adobe

THE POWER OF FREE Garrett Nudd Sponsored by GraphiStudio

LIVING THE DREAM: MAKE MORE PROFITS DOING WHAT YOU LOVE Laura Novak & Kimberly Wylie Learn their top 10 tips for selling wall portraits (and lots of them), from solutions for common objections in a sale to the ideal product offering and many more ways to increase profits. Sponsored by White House Custom Colour

MAKING THE MOST OF YOUR TALENTS Michael Timmons, M.Photog.Cr. & Tina Timmons, M.Photog.Cr. With their shared, easy-touse techniques, learn how to photograph, manipulate, market, and sell customizable portraits as Fine Art Interior Décor. Sponsored by Miller’s Professional Imaging

PHOTOSHOP CS4 TIPS & TRICKS Julieanne Kost Think you have a reasonable mastery of Adobe Photoshop CS4? Think again. Learn shortcuts and timesavers that you’d never find on your own, moving your Photoshop skills to a new level. Sponsored by Adobe

PPA AWARDS & DEGREE CEREMONY 7:00pm - 8:00pm

IMAGING OLe

Imaging USA Closing Night Party | 8:00pm - 11:00pm

sponsored by

Kodak

TARGETING CLIENTS THROUGH CREATIVE MARKETING Pete Wright, Cr.Photog. Learn how Pete targets customers with a combination of branding and creative marketing…without spending lots of money.

QUALITY & SPEED: YOU CAN DO BOTH! Dave Stock Learn how to quickly produce studio-quality volume sports portraits and group photos on location, indoors or out. Sponsored by Richmond Professional Lab

IMAGING EXPO 4:00pm - 5:30pm

HOW TO SHOOT THE BIG FOUR SPORTS Ben Chen Get the information you need to shoot the “Big Four” sports in the U.S. Walk away with the fundamentals for shooting each sport (basketball, football, baseball, and soccer), including equipment and the “where,” “what,” “when,” and “how.”

6:00pm - 7:30pm

9:00am - 5:00pm

11:00am - 4:30pm

PPA CHARITIES CELEBRATION 8:00PM

SPORTS MARKETING: SALES IS EVERYTHING Jeff Gump Discover important sales details, from how Jeff books 85% of all leagues he bids to how he pays his salesperson and what is required of that person. Sponsored by Desktop Digital Lab

FROM HOBBY TO SUCCESSFUL PHOTOGRAPHY BUSINESS Stephen Walker Learn the basic to advanced business skills needed to turn your dream into a profitable team sports T&I and event photography business.

ROCKIN’ NASHVILLE

IMAGING USA WELCOME PARTY | 8:00pm - 10:00pm

USING PHOTOSHOP FOR TEAM & INDIVIDUAL SPORTS Frank Harrison Learn how to correct the 10 most common problems in team and individual photos with Adobe Photoshop tools and techniques. Sponsored by Desktop Digital Lab

PHOTOGRAPHERS IN THE

WHITE HOUSE 9:30pm-11:00pm

» PAUL MORSE – Bush administration’s official photos » ROBERT MCNEELY – Clinton administration’s official photos » J. SCOTT APPLEWHITE – Obama administration’s Associated Press photos

7:30am - 9:00am

FOCUS ON VALUE: TEAM & INDIVIDUAL SHOOTING Dave Stock Be the go-to photographer by producing better images, hiring better people, running organized photo shoots, and offering superior customer service. Sponsored by Richmond Professional Lab

MANAGING A DIVERSE PORTFOLIO OF BUSINESS Terrell Lloyd, Cr.Photog. Get ideas for expanding profits by going after new business, keeping that business with management skills, and creating new client bases. Sponsored by Canon

IMAGING EXPO 9:30am - 1:30pm

1:00pm - 2:30pm

BEATING OUT THE COMPETITION Patrick Cahill, Cr.Photog. Thousands of dollars could walk out of your town with the larger chain school/sports photographers. See how Pat Cahill plugged the drain in his community and reaps the benefits. Sponsored by American Color Imaging (ACI)

3:00pm - 4:30pm

7:00am - 8:30am 9:00am - 10:30am

9:00am - 5:00pm

ROMATHERAPY: REJUVENATE SPORTS, SCHOOLS, SENIORS & YOUR WALLET Roch Eshleman & Ryan Romaguera, Cr.Photog. Join Roch and Ryan to learn everything from finding the perfect school to selling to them, from shooting the images to processing. You’ll learn posing and lighting tips for variable outdoor conditions and how to easily handle multiple large groups at one time.

ACTION SHOTS AND EVENT PHOTOGRAPHY: FINALLY MAKING MONEY! Kyle & Rita Harvey Learn a different approach to events that lowers your labor costs, increases your profits, and puts the fun back into it.

MOJO YOUR WAY INTO THE SPORTS BUSINESS Jim & April Alsup Discover effective, time-tested ways of providing the best service, getting clients to see the value in you, and knowing what to say to make a sale.

PPA AWARDS & DEGREE CEREMONY 7:00pm - 8:00pm

IMAGING OLe Imaging USA Closing Night Party 8:00pm - 11:00pm

sponsored by

sponsored by

sponsored by

Canon

White House Custom Colour

Kodak

WWW.IMAGINGUSA.ORG

Find true rockstar treatment all under one roof, from your sleeping room to all your classes, the Imaging EXPO, parties, restaurants, bars, shopping, and more—there’s even an indoor river and Delta flatboat! Want a broader taste of Nashville? Plan a night out or spend an extra day… » DANCE THE NIGHT AWAY at the famous Wild Horse Saloon. » Experience the next-door OPRY MILLS (over 200 retailers). » PHOTOGRAPH NASHVILLE EYE CANDY, including a full-scale replica of the Parthenon. » Ask FELLOW PHOTOGRAPHERS about their favorite city spots on the OURPPA FORUMS.

READY TO ROCK THIS WAY? Register and book your rooms now—get the details at www.ImagingUSA.org

BOOK YOUR NOOK! Hotel cut-off date: December 7

WWW.IMAGINGUSA.ORG

We’ve made it even easier for members to get the best deal on the best education and networking around: $219 – TWO-PERSON BUDDY PASS (2 full convention registrations) $318 – THREE-PERSON BUDDY PASS (3 full convention registrations) $149 – ONE-DAY SINGLE PASS (A great new way to get the education you need in the time you have) $35 – EXPO ONLY (Experience the Imaging EXPO… but without access to any classes or parties) SAVE WITH EARLY REGISTRATION: Ends December 1, 2009

NOT A PPA MEMBER? Registration prices at www.ImagingUSA.org.

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Scott Bourne, a pioneer of Internet information for photographers, uses his generous nature and knack for communicating to turn his online ventures into a profitable business with a massive following. MARKETING

By Jeff Kent

Internet famous

even part of the lexicon. His subsequent

How Scott Bourne harnessed the power of the World Wide Web

successful shows on iTunes. Bourne also

H

(“TWIP”), became one of the most pioneered online image sales, beginning with the launch of a Web gallery in 1995.

ow does a wildlife photog-

more than one million page views on his

rapher from Gig Harbor,

blog every month?

Wash., population 6,500,

podcast series, “This Week in Photography”

Scott Bourne, photographer, educator

Today, his blog and website, www.photofocus.com, is one of the most popular photography sites around. Using

develop an online following

and all-around Internet marketing wiz,

what he calls “bounce-back marketing,”

in the tens of thousands?

does it by monitoring the pulse of the

Bourne uses Twitter streams, podcasts and

How does he get more

Internet and applying his communication

blog posts as multiple points of contact with

than 100,000 photographers to download

skills. He started an Internet-only radio

his audience. The strategy has helped him

his podcasts every 10 days? How does he get

network, Netradio, before “podcast” was

sell photography, books and his presenta©Scott Bourne

©Scott Bourne

GETTING STARTED Scott Bourne’s tips for establishing a robust online presence 1. Figure out who you are, and what your brand is. 2. Figure out who your audience is. Who do you want to attract? 3. Determine what value you bring to the table. What can you do for your audience? What parts of your knowledge, situation and experience have value? 4. Be transparent and generous. Credibility is earned, not bestowed.

tions to people all over the world. Admittedly, Bourne has the gift of gab. He speaks and writes well, capturing the audience’s attention with entertaining stories, and engendering loyalty through generous information sharing. But he insists that any dedicated photographer can achieve excellent results. Professional

Photographer spoke with Bourne between tweets and blogs to find out exactly how.

Professional Photographer: How can the average photographer take full advantage of the online marketplace? Scott Bourne: First, figure out your brand and figure out your audience. Then look at that audience and consider what content can I

produce that will interest them? Think in terms of pure generosity without any commercial tags. Give information away and you will create loyalty. As you get more and more traction, you work less and less to get a response. If you have 1,000 people in your audience, you don’t need all 1,000 to respond to every offer you make. If you can get four or five percent to respond, you’re doing great. You don’t have to hit a home run every time, just get wood on the ball. I have 40,000 followers on Twitter. I wanted

©Scott Bourne

MARKETING

“CRANES IN THE FIRE MIST” A 5-point case study of bounce-back marketing Scott Bourne’s primary source of income is sales of stock photography. His main subject is wildlife. This past year, Bourne leveraged his online network to bring in nearly $40,000 from one image. Here’s how he did it: 1. He got the shot, a very difficult image that combined multiple photographic and environmental factors. 2. He shared the story of the image—almost 13 years in the making—on his blog. 3. He created a podcast that talked about all the different photographic and environmental factors that went into the image. 4. He offered 100 limited-edition prints at $400 apiece. In a soft push, Bourne sent out an occasional tweet to his Twitter followers, alerting them that there were only 10 prints left, five prints left … 5. He collected the money. Within the first six weeks, Bourne sold 50 prints. At press time, Bourne had sold 98 of the 100 prints, for gross sales of $39,200. “One thing seeds the other,” explains Bourne. “Just one of these online marketing components would not have been sufficient. It’s what I call bounce-back marketing; the blog pushes the podcast that pushes Twitter posts. Multiple points of contact push the prospect and create a growing buying urge.” ©Scott Bourne

to sell 600 books that I bought back from my publisher. All I needed was a 1.5 percent response rate. I sent out a tweet about it and sold them all within a few hours. I made more off that that one little promo than I got from the original royalties from the publisher. What obstacles are preventing photographers from achieving this kind of success with online marketing? It takes time. Everybody wants to be a rock star, but nobody wants to learn the chords. People get frustrated because they aren’t an overnight online sensation. I started with just one Twitter follower. It took me a year to get 4,000. In my experience, it takes about nine months of serious devotion before you can decide if this is effective for you.

MARKETING

People complain that they can’t come up

intersperse commercials in our podcasts.

guess that it’s not the one supporting the

with enough to say to their audience.

That’s a yawn. Now we plug our sponsors

wall. The same principle applies here.

Developing your audience is a question of

with things like, “The Lensbaby Shooting

You can’t just use Twitter. You can’t just

the kind of information you put out. Focus

Tip.” There’s a way to bring the content

blog. You can’t just be on Facebook. To

on the interests of your target audience.

together with the marketing so that nobody

be successful long term, you need a cogent

There’s an old saying: All you need to be a

notices, or at least so they don’t turn off

plan that has three, maybe four, prongs

teacher is to know one more thing than your

because they think you’re trying to sell them

in the online world, and each should

students. Keep that in mind. One thing

something. The key is to establish a genuine

bounce back to the other. Don’t get hung

that really resonates is generosity. If you’re

connection with your audience. Provide

up on particular tools. Instead, focus on

willing to be genuinely generous and provide

something that’s valuable. Do that and you

the concepts. I

true, valuable information, you will be suc-

will earn the right to occasionally say, “Oh,

cessful, and people will start following you.

by the way, I have some books for sale, or

It doesn’t hurt to mix in a few giveaways either!

my latest print is available.”

So how exactly do you make money from all

How do photographers put it all together?

this? How does the marketing mix in with

This is a fast-moving target. Rules change

the free content?

daily. Just remember that it takes a com-

The marketing is the content. And the

bination of forces to make it all work.

content is the marketing. We used to

You can’t take a brick out of a wall and

80 • www.ppmag.com

To see more from Scott Bourne, visit www.photofocus.com.

Scott Bourne presents “Social Media Will Expand Your Business” at Imaging USA 2010 in Nashville, Tenn., Jan. 10-12.

marketing

Is yours getting noticed?

we can help

In a crowded and competitive marketplace, the only way to set yourself apart is through consistent and compelling marketing. From business concept analysis and graphic design services to Internet marketing and coordinated printed materials and packaging, Marathon is your marketing partner.

Marathon. Start here. Contact an account representative at 800/228.0629 to learn more.

800/228.0629 www.MarathonPress.com

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JuliAnne Jonker was a girl when she heard her artistic calling, but it would be years before she found true mentors in photography. Now successful with her blend of photography and painting, Jonker finds joy in mentoring others. PORTRAITS All images ©JuliAnne Jonker

By Stephanie Boozer

F

or JuliAnne Jonker, M.Photog.Cr., CPP, there’s absolutely no question

about her about her calling. She simply has to make art—with oil paints or charcoal, airbrush or camera, for paying clients or to satisfy herself. Jonker has been a prolific sketch artist and

painter since childhood, selling her paintings as early as junior high. While still in high school, where she took up sculpture, Jonker enrolled in courses at the Minneapolis College of Art and Design and added airbrushing to her repertoire. That led to a job at a nearby lab retouching and restoring photographs. Then she got sidetracked. “I moved away, got married, had children, and moved back in 1986,” she says. And back into negative and print retouching, this time for a number of photographers and labs in and beyond Minneapolis. H&H Color Lab, for instance, sent her a box of prints to retouch daily. “I had the advantage of seeing [work from] all of these photography businesses, so I knew what I did and didn’t want to do,” she says. It was during this crucial time that Jonker heard Lizbeth Guerrina and Joyce Wilson speak about the art of photography. “Lizbeth is the reason that I learned how to use a camera,” says Jonker. “She inspired me. Then I studied with Joyce Wilson and Darton Drake, who became my primary influences, along with the work of Edward Steichen.” Steichen particularly resonated with Jonker, as his creative life had begun with painting as well. Part of the Pictorialist

For art’s sake Nurture the art, seek the inspiration

84 • www.ppmag.com

photographic movement of the early 20th century, Steichen, who would later become the director of Photography at MoMA, painted

onto his negatives to lend a haunting, ethereal look to his prints. Jonker, too, designs photographs with the eye of a painter, creating large works in multiple media. Some of her portraits are covered in layers of oil paint, making it difficult to discern that they’d begun as photographs. “Every portrait is all about the light, whether made outdoors or in the studio,” she says. “That’s a direct influence from being an artist. When you’re painting freehand, light is what gives you dimension. Painters tend to use higher contrast to make an image look more three dimensional, while many photographers tone down the lighting with soft boxes. My passion is to keep the art in photography. The camera is just another medium to use.” Expressing creativity through art is something she feels strongly about. She often speaks to photographers who are feeling overworked and “artistically undernourished” about how to rekindle their artistic passion, and how she applies it her own successful studio, from maternity to senior portraiture. “Why did you get into photography in the first place? What was your first love?” she asks. “The business side of things often takes away from that; we get tired and we forget it.” Jonker encourages photographers to take time to play, to shoot just for the love of it. “The truth is, that if you awaken the artist within you, it makes your work stand out,” she says. “Be inspired by those around you and those from the past. Find out who you are by exposing yourself to art.” She also advocates photographers banding together in collaborative groups and shooting together. Camaraderie, support and friendly criticism inevitably foster creativity. Think Picasso and the ever-evolving Cubists, Monet and his Impressionist cronies traipsing the countryside, setting up easels as the mood struck them. The group should be small, she says, just four or five people

November 2009 • Professional Photographer • 85

P O RT R A I T S

you trust, with whom you can be creative

stepped into a well-appointed gallery rather

“I can continue to truly make art for each

without feeling insecure.

than a business. One of the studio’s treats is

client,” she says. “The reason I got into this was

a sumptuous wardrobe of costumes, full of

to make art—I never wanted to just make

women handpicked by her mentors Wilson

the rich fabrics and vintage pieces that

snapshots. I view my business as an extension

and Guerrina. “Joyce and Lizbeth are part of

feature in her portraits.

of my fine art, with the camera as the tool.” I

Jonker is part of such a group herself,

the ‘Divas,’ a group that travels and has shared their lives together for 30 years. Now they want to pass it on,” says Jonker. “None

“Surprisingly, I get a lot of senior girls who go for the fairy wings,” she laughs. With a low-volume, high-end sales business

of us knew each other when Joyce put us

model, Jonker schedules just one session per

together, but we’ve become best friends.”

day, even in the busiest seasons. Outdoor

Paintings and photographs from Jonker’s

sessions are booked in the evenings, in what

travels are prominently displayed in her

she calls the “sweet light” just before sunset.

studio, a two-story space she added onto her

Limiting bookings reduces stress. She can

home in the Minneapolis suburb Apple

give each client as much time as needed.

Valley in 1999. Oils, giclees, photographs

Jonker admits that she runs her studio quite

and sculpture are balanced by a shining

differently from other studios, but that’s how

grand piano. Visitors feel like they’ve

she keeps her work inspired and fresh.

86 • www.ppmag.com

To see more of Jonker’s paintings, photographs and sculpture, visit www.jonkerportraitgallery.com.

JuliAnne Jonker presents “The Portrait as an Art Form: How to Be True to Your Artistic Spirit and Profitable,” at Imaging USA 2010 in Nashville, Tenn., Jan. 10-12.

Serendipity played a part in the launch of Lissa Hatcher's career, as did talent, teachers and the U.S. military. Undaunted, Hatcher has learned how to go with the flow and find success wherever life takes her. PORTRAITS All images ©Lissa Hatcher

By Stephanie Boozer

T

here’s an old saying that the Earth was made round so we couldn’t see too far down the road. Lissa Hatcher knew where her future lay, but it took a lot of twists and turns to get there. Since she can remember, Hatcher was sur-

rounded with artistic people. She would have liked to excel in drawing and painting, like her mother and brother, but the skill wasn’t there. In high school, she turned to music, trying everything from band to chorus. She fervently believed her future lay in music. Her plans changed after high school when she got married, had a daughter, and decided to put off college. “When I finally reassessed where I was, I didn’t want to be a music teacher, which is probably the direction I would have gone in. My heart wasn’t in it,” says Hatcher. Then there came a defining moment for Hatcher. Her uncle, a photographer, passed away, leaving his equipment to Hatcher’s mother. On a whim, Hatcher agreed to accompany a friend on a short trip to New Orleans, and she asked to borrow one of the cameras to take along. “It was a simple Minolta. I thought I’d take a few pictures, but I wound up taking 20 rolls of film,” says Hatcher. “It was the most fun I’d ever had. I just loved it.” When she went to pick up her prints, the lab techs were excitedly looking through her photos. They assumed she was a professional photographer and urged her to enter an

The art of flexibility Artistic fulfillment may be hard-won, but the rewards are sweet

88 • www.ppmag.com

upcoming competition. Hatcher declined, but went home elated over her newly discovered potential.

Hatcher’s husband, a career military man, returned from an eight-month deployment to find that he’d been ordered to move to Maryland. Hatcher had two children now, but once she got both settled in their new schools she finally had a little time to focus on photography. It wasn’t easy to find a photography course in an area with a heavily Amish population, but she found one course, already full, at a community college. With the help of her school counselor, she got in. The instructor, a Kodak retiree, quickly took an interest in Hatcher’s progress. After one semester, she found out the family would be moving within a year, this time to Oklahoma. Her saving grace was the instructor, who offered to guide her in independent study, and she was able to complete another three semesters. Settled in Oklahoma City, Hatcher turned her lens on friends and acquaintances. She took any position she could find that would teach her more about photography, from working at labs to assisting other photographers.

‘‘

Word of mouth is my favorite marketing tactic. Once I get about 10 clients, word spreads pretty quickly. I’ve never been big on advertising. Even just putting images on Facebook and tagging people is effective, because they all receive notifications. Then, boom, there you are.

’’

November 2009 • Professional Photographer • 89

P O RT R A I T S

“I surrounded myself with photographers,

take with her to Virginia, but after clearing

never been big on advertising. Even just

asked a ton of questions, and begged anyone

through it, she had to face the daunting task

putting images on Facebook and tagging

to teach me anything,” says Hatcher, who

of starting all over. Hatcher called some

people is effective, because they all receive

also spent two hours every day teaching

photographers in the area whose work she

notifications. Then, boom, there you are.”

herself Adobe Photoshop. She joined PPA

liked and invited them to lunch.

and found her way to three mentors who

“I basically told them,‘I’m the new girl in

Though she’s been in Virginia for just a year, Hatcher is building another following.

provided the real-life guidance she needed.

town.’ I felt so lucky—they were all nice and

She travels to Oklahoma a couple weeks of

She developed a thriving home-based

welcomed me to the area,” she says.

the year to do sessions for devoted clients

business, specializing in location shoots. “I had planned on living in Oklahoma for

Next, she looked up wedding coordinators

there. Her young business does a healthy

and vendors whose clients tastes’ would be

mix of portrait, wedding, senior and

a long time,” she says. “We bought a home, I

in line with her style, and did the lunch

musician photography.

had a full staff, and I planned on building a

circuit with them. She visited the galleries

studio. But the military had other plans for

around town and had her work shown,

accolades and awards. Not too bad for a

us.” The family was off to Virginia Beach, Va.

another way to generate buzz.

woman who got sidetracked on the way to

“As soon as I told my Oklahoma clients that

“Word of mouth is my favorite marketing

I was leaving, I was swarmed,” she says. The

tactic,” says Hatcher. “Once I get about 10

flood of work gave her plenty of editing to

clients, word spreads pretty quickly. I’ve

Hatcher’s work has earned numerous

music school. I See more of Lissa Hatcher’s work and read her blog at www.lissahatcher.com.

© 2009 Vincent Versace

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©Mama Shan

THE 2009

COVER CONTEST From thousands of entries, a handful of superlative images emerge BY JEFF KENT

nce again, the Professional Photographer

was harder still. The 100 semifinal images

helped pare down the selection, choosing

Cover Contest drew exceptional images

were all strong entries, and getting to a short

five top finishers and citing 16 honorable

from around the world. From almost 4,600

list of finalists was quite a task for the maga-

mentions.

entries, our editors narrowed the selection

zine staff. The experience of our guest judge,

to 100 semifinalists. All of them met the

Helen Yancy, M.Photog.M.Artist.MEI.Cr.

amazing. It was tough to come up with the

technical requirements for our cover,

Hon.M.Photog., CPP, API, F-ASP, proved

finalists,” says Yancy. “There was a real

including a vertical orientation, a compo-

invaluable. A longtime juror in the PPA

awareness of lighting in this year’s

sition that lends itself to the addition of the

International Print Competition, Yancy is

submissions, both for indoor and outdoor

masthead, and a subject relevant to readers

adept at finding the certain something that

shots. I did not see nearly as many post-

of Professional Photographer.

makes an image singular. Working with the

processing issues this go-round. Color

Professional Photographer team, Yancy

renditions were good. A problem common

That was no easy task, and the next stage

“The quality of the entries this year was

1ST PLACE: MAMA SHAN

HELEN YANCY’S TAKE:

Mama Shan of Nashville, Tenn., created this image of her daughter and business partner, Nora Canfield. Canfield was on her way to a costume party, and Shan thought it would be fun to make a dreamy image with both nostalgic appeal and hypnotic glamour. Using a Nikon D200 camera with a Tamron 28-75mm f/2.8 lens, Shan used a single AlienBees Zeus RingMaster light, modified by an AlienBees Moon Unit. For reflectors, she placed a sheet of white foam board on either side of the subject. She exposed the frame for 1/200 second at f/8 with a focal length of 58mm, 100 ISO. Using a variety of Photoshop actions she developed for her company, Mama Shan’s Digital Imaging Goodies, Shan played up Canfield’s naturally pale complexion (and eliminated her freckles) until her skin glowed like porcelain. She selectively brushed peripheral areas out of focus and gave a digital boost to Canfield’s red hair. Then she brought back pore detail and enhanced the eyes as if there had been a reflector sheet on the floor below the subject. “Throughout the years and many photos I’ve taken of Nora, I have always told her she would make a fabulous cover on a magazine,” says Shan. “This year I’ve realized that dream through this contest. Thank you for the opportunity!” (www.photoshopmama.net)

“This image impressed us with its combination of classic appeal and newcentury look. I was overwhelmed by the creativity behind this image. The skin is a porcelain, yet you can see the definition of the facial features. We were afraid it wouldn’t scan well because the fingers are so light, but we can see definition in every finger. “I applaud the courage of the maker to enter something like this, coming from past but recognizing the future. The post-processing techniques have been applied at the highest level. Notice how the lips and eyes are sharp as a tacks, but everything else is soft. That is deliberate. That effect, combined with the enhanced color in the blue eyes and red lips, draws your eyes to where the maker wants you to look. The subject’s expression and the placement of her hands direct your gaze to her eyes. “It’s an amazing image born of creative thinking on the part of someone who knows both her camera and her computer exceedingly well.”

November 2009 • Professional Photographer • 93

‘‘

2ND PLACE: MINDY RIECKEN

The quality of the entries this year was amazing. It was tough to come up with the finalists. There was a real awareness of lighting in this year’s submissions, both for indoor and outdoor shots.

’’

to the last year’s entries—over-sharpening in

nearly perfect. The orientation of the image

Photoshop—was much rarer in this batch.”

is critical as well—it has to be vertical; it has

Yancy acknowledges that selecting a

to have room at the top for the name of the

cover image, and even the images for inside,

magazine title; it needs to have built-in

is a different matter from choosing a PPA

space for cover blurbs. Borders or strong

Loan Collection print. Technical and

lines at the top of the image can be dis-

aesthetic criteria are equally vital, but a

tracting. Then you have to consider the

cover image needs to make an immediate

subject matter. We want images that repre-

impact on the viewer, while reflecting the

sent the core work done by members of

theme of the particular issue’s contents.

PPA. As you can see, there’s a lot to consider

“On the cover, printed at 300 dpi at

Mindy Riecken of Newburgh, Ind., took this image during a wedding in 2007. A fan of natural light and free-flowing action, Riecken encourages her subjects to enjoy themselves, and her images have an unaffected look. Riecken made this photograph in the natural light of the church windows directly in front of the subject, with added fill light from a Canon Speedlite 550EX angled 90 degrees. Working with her Canon EOS 20D camera and Canon 85mm f/1.8 lens, she exposed for 1/250 second at f/2, ISO 200. “We ended up with so many incredible images from this wedding that when we started putting together our display books at the end of the season, we could have filled three or four books solely from this event,” says Riecken. “Working with great clients makes all the difference.” (www.clarioncreative.com)

HELEN YANCY’S TAKE: “The groom makes me smile. It’s as if he’s not sure he wants to be where he is. This wonderful, bemused expression makes this a fantastic candid image. The composition is great, and the shadows held up well at high-resolution reproduction. We were hoping the white in his shirt wouldn’t blow out. It did.”

THE PRIZES

in choosing any cover image, much less

In addition to being featured in PP, this year’s

9.5x11 inches, every little thing in the image

selecting from thousands of excellent entries

cover contest winners take home these prod-

shows up,” explains Yancy. “They need to be

for this very special edition.”

ucts from the contest’s generous sponsors: • Elinchrom Ranger RX Speed AS A Set Lighting Kit from Bogen (retail value $2,900) • Gitzo GT2531 Tripod and Gitzo GH2750QR Head from Bogen (retail value $944)

WHAT GOES INTO A COVER

• Canon EOS 5D Mark II (retail value $2,699)

COMPOSITION: An effective cover image is composed differently from a typical portrait.

• Canon EOS 50D (retail value $1,399)

It has to accommodate the magazine logo and cover text, so most horizontal images and

• $2,000 Studio Display Makeover from White House Custom Colour

ones where the subject fills the entire frame will not work. CLARITY: The image has to be perfectly focused and clear to reproduce well on the cover stock, which has different qualities than photographic papers.

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too apparent. COLOR: Strong color is critical. If the image is black-and-white, the tones must be neutral throughout so as to not take on any unwanted color cast. CONTENT: Cover images should reflect the focus of the magazine, the audience, the specific issue.

94 • www.ppmag.com

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©Mindy Riecken

©Heather Kessler

3RD PLACE HEATHER KESSLER

HELEN YANCY’S TAKE:

(LEFT)

Here’s a photograph of opportunity. Heather Kessler of Buckhannon, W.Va., had just completed a senior portrait session. As the client walked out, Kessler was awestruck by the beauty and stillness of the falling snow. She grabbed a vintage trench coat, asked her client to put it on, and took the shot with her Nikon D300 and Nikkor 80-200mm f/2.8, exposing for 1/320 second at f/2.8, ISO 200. The soft winter light reflecting off the snow served as fill light. Kessler processed the image in Adobe Camera Raw and modified it in Photoshop CS3 using custom actions and her own techniques. (www.wvimagery.com)

“Simply put, wow! I wish I had shot this image. The execution is superb. You can see the expression, the fur and the snowflakes, and everything is sharp. The image also has a coolness about it, an even color rendition, that gives you a feeling of winter. I get a little chilly just looking at it! Probably the only reason it didn’t win—and this is getting very, very picky—is that we could see too much of the back of one hand without any fingers.”

4TH PLACE GINGER MOSELEY

HELEN YANCY’S TAKE:

(BELOW, LEFT)

“After seeing this sweet dog, Pahlua, on the street with her owner, I wanted to capture her inquisitive nature,” says Ginger Moseley of Highlands, N.C. “Whenever she wondered about something, her ear would pop up.” Working in the A Moment In Time Photography studio, Moseley lit the scene with a Photogenic monolight modified by a 5-foot Photoflex Octodome. Bounced light from a studio wall at camera left provided fill light. Moseley photographed with a Nikon D200 and Nikkor 28-70mm f/3.5 lens, exposing for 1/125 second at f/5.6, ISO 200. (www.amitphotography.com)

“The dog is adorable. More important, the focus on the dog is sharp from every bit of fur on her nose to the tip of her ear. Her expression is priceless. She is looking at me, asking me a question. It’s an excellent image. I can’t find anything wrong with it as a photograph. However, the magazine title would go right through the dog’s ear, which would change the look of the image. Even so, it was hard to keep this off the cover. That’s why it’s one of our top winners. It was certainly one of our favorites.”

5TH PLACE JOSEPH HILLIARD

HELEN YANCY’S TAKE:

(BELOW, RIGHT)

Joseph Hilliard of Elkhart, Ind., spent two days photographing this Georgia home for a feature story in Custom Wood Homes magazine. “I tried to capture the beauty of the home and the tranquility of the setting,” he says. Hilliard set up and waited until the waning daylight balanced with the home’s interior lights, the landscape lighting and the supplemental lights he added to the scene (Mole-Richardson and Lowell quartz lights plus small incandescent fixtures). Shooting with a Canon EOS1Ds Mark III camera with a Canon 24mm f/3.5 tilt-shift lens, Hilliard exposed for one second at f/11 with ISO set to 250. (www.hilliardphoto.com)

©Ginger Moseley

“An incredible architectural shot. It’s twilight, yet the maker captured everything. He deserves a lot of credit for the exposure and execution of this image. It’s inviting. I want to be there. I feel like I can touch and feel everything in the image.

©Joseph Hilliard

HONORABLE MENTION

C O M M E N TA R Y B Y H E L E N YA N C Y

©Greg Blomberg

©Bruce Nelson

BRUCE NELSON, Eden Prairie, Minn. “This is an excellent image, but for the cover, the border would slice right through the title of the magazine. You can do a lot of things with an image, but you can’t work around that kind of border. That said, I have nothing bad to say about the image.”

GREG BLOMBERG, Dallas “We loved the look and feel of this image. Unfortunately, it went fairly yellow when we blew it up to the cover size and resolution. Orientation was an issue. The subject’s head is a little high in the image.” ©Deborah Ouellette

©Ron Klein

RON KLEIN, Kirkwood, Mo. “This is a completely charming shot. We all loved it. It’s what we do every day.”

98 • www.ppmag.com

DEBORAH OUELLETTE, Otter Lake, Mich. “In the big, high-res reproduction, this image lost some sharpness. At that size and resolution there was a slight softness in the eyes, and skin around the edge of nose went soft. We’d lose too much of the subject’s face because of the straight-on light shining on her.”

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C O M M E N TA R Y B Y H E L E N YA N C Y

©Will Bloodworth

©Pam Wood

PAM WOOD, Watsonville, Calif. “One of my favorites. It would be great for a theme cover on an issue about animals. The tiger comes right out of the water, straight for you. We all loved this image, but we decided that it wasn’t representative of the core focus of Professional Photographer.”

WILL BLOODWORTH, Monument, Colo. “A great shot, but the image fell apart a little bit in the high-res reproduction. Blown up, there was a noticeable line around the subjects that made it look like the couple doesn’t come together with the scene.” ©Susi Lawson

©Adam Donohue

ADAM DONOHUE, Manassas, Va. “This one’s a heartbreaker. It's an excellent family portrait. We loved it, but the faces lost their sharpness in the high-res reproduction. Post-processing and a little overexposure hurt this image.”

100 • www.ppmag.com

SUSI LAWSON, Wytheville, Va. “Adorable. It’s a striking portrayal of a child with her kitten. However, the orientation of the head and the expression of the child, with her half-closed eyes, made her face look somewhat distorted. The two fingers holding the cat also seem awkard.”

HONORABLE MENTION

C O M M E N TA R Y B Y H E L E N YA N C Y

©Missy Gharst

©Ken Myers

KEN MYERS, Garland, Texas “This was another one of my favorites. The diagonals are great, the grace is great, the sweep of the material is great. However, the magazine title would have run through the subject’s legs, changing the entire look of the image.”

MISSY GHARST, Paola, Kan. “This is a simply wonderful image. It wasn’t a top finisher because we felt that the traditional ruffled blouse was inconsistent with the more cutting-edge look of the subject’s face. But what a stunning shot overall!” ©Zach Gray

©Michael Rathsam

MICHAEL RATHSAM, Sound Beach, N.Y. “So cute! This is an excellent shot. I love the way the dog is looking at the bubbles. I love the way the tub feet look like dog feet. The soap bubbles are sharp as a tack—fantastic.”

102 • www.ppmag.com

ZACH GRAY, Franklin, Tenn. “Another image we loved. The expression of the bride is wonderful. Her shoes are fun. The groom is completely off the ground, which gives the image energy. But in the high-res, his dark suit blends together too much and his back leg disappears. Those two elements kept it from going farther.”

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©John Pendleton

©Randall Licht

RANDALL LICHT, Roseville, Calif. “This was an example of a great image that was ruled out by one small element. The definition in the subject’s nose got lost in the high-res cover reproduction. That’s it. The eyes are wonderful. The image is wonderful, but the nose ruled it out of a top finish.”

JOHN PENDLETON, Oak Harbor, Wash. “The angle of the image is interesting, but a bit too much, and the tree line is too close to top of the male subject’s head. However, the lighting, the exposure and everything else in this image is wonderful.” ©Glen Holbrook

©Anna Crane

ANNA CRANE, Franklin, Tenn. “We loved this image. The high-res reproduction was slightly soft, and it probably wouldn’t have translated well to cover size. The child has a beautiful look on her face, but we feared that we would have lost dimension in her face when the image was fully separated for printing.” 104 • www.ppmag.com

GLEN HOLBROOK, El Paso, Texas “Everybody loved this image. The title would look good on it. The colors are great. It just wasn’t what we were looking for on the cover. Sometimes it’s just little intangibles that keep an image off the cover.”

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

Today’s educational opportunities are abundant and diverse. Just about every day another invitation arrives via e-mail or Facebook, or is posted on another forum. I’m sure your inbox has the same kind of traffic. With all these offerings, how do you ever decide where to invest your money? Professional education, much like life, is always a balancing act. With technology, it’s pretty easy to sit at your computer as live voices stream and slides spin. Webinars and online training are great because of the immediacy and the fact that you never have to leave home. Webinars can quickly bring you up to date on a specific subject at a very quick pace. In fact, PPA offers many such webinars each month, some free and some for a fee. But webinars are just one piece of the educational puzzle. Over the last several months, you’ve read about my experiences and the people with whom I’ve shared my professional career, mentored, or been mentored by. In about two more months, I’ll join with several thousand of my closest friends at Imaging USA—the culminating piece in that puzzle. Let’s face it…things are pretty tough right now. Hopefully, you’re busy with lots of holiday orders and pecking away at the credit card bills. But in the midst of all the holiday pressure, you have one more decision to make: To go, or not to go. Nashville, Imaging USA’s location this year, is a fabulous city; however, you’ll find yourself caught up in a community of our own: the PPA community. A community of people who share similar goals, the same problems and issues, and the love of image making. With about 60 classes to choose from (not to mention preconvention classes), you can set the path. Whether you want to know more about weddings, portraits, sports, or stock photography, the knowledge is there. Want to learn more about Adobe Photoshop tools and techniques? You’ll learn from the best. And that goes for every subject because Imaging USA brings together the world’s greatest photographic talent all under one roof. This is no training ground for

speakers—the instructors have proven themselves in the industry and are ready to share vital information. Still, Imaging USA is more than talent and speakers. It’s networking, idea-sharing, partying, and finding deals. You’ll meet people who will become lifelong friends and trade ideas with your colleagues. You’ll relax at the parties and browse the Imaging EXPO, a tradeshow with over 600 booths of experts ready to show you the latest products and money-saving show specials that might more than pay for your trip. (An added benefit is the Opryland facility itself, which is an enormous, climatecontrolled indoor city, so weather won’t be an issue.) Without doubt, money is tight—I’m sure you’re being cautious about what shows you’ll spend your money on this next year. But if you are serious about professional photography, Imaging USA is the show. Luckily, the buddy pass gives you three days of seminars, the tradeshow, print exhibits, and parties…for less than you pay for most one-day classes or webinars. Those are just a few of my own reasons for investing in Imaging USA. Are you ready to relax and reinvigorate yourself for 2010? Reserve your spot now (www.ImagingUSA.org)!

Don’t forget to follow Ron’s travels this year… just visit http://blog.ronnichols.com.

Ron Nichols, M.Photog.Cr., API 2009-2010 PPA President

January 10-12, 2010 | Gaylord Opryland Resort & Convention Center | Nashville, TN news from Professional Photographers of America — the world’s largest non-profit association for professional photographers | www.ppa.com

PPAtoday | November 2009 | news from Professional Photographers of America © Matt Houska

AND THE WINNERS ARE… The 2009 AN-NE Marketing Awards results are in and congratulations are due! Take a look at which photographers rose to the top in an extraordinarily tough competition this year: www.ppa.com/competitions/ANNE/results.php. One of the greatest things about the AN-NE Marketing Awards is the chance to learn what is working for your peers. Soon, images of the winning and finalist entries will be added online so you can start gathering ideas. More ideas will come as the 2009 award-winning marketers share the hows and whys of their campaigns, websites, and miscellaneous marketing pieces…along with their marketing philosophies and tips on what works (or doesn’t work) for them. (These articles will be available in the 2010 magazine issues.) In the meantime, consider the following ground rules that a marketing piece should follow, according to an AN-NE Marketing Awards judge:

»

Make sure there is a consistent look and feel across all campaign pieces—it’s essential. Your campaigns should be “pulled together” and speak effectively to your target audience. Every audience is different and a message or campaign that works for one may not fit another at all; however, consistency of graphical look and feel across all marketing materials will leverage your investment and give your marketing a very professional look.

»

Be creative and target specific audiences with messages and campaigns that get their attention. It’s not necessarily about how much money you spend, it’s about getting above the noise and making yourself stand out in a highly competitive environment.

»

Track and measure return on investment. If you’re spending hard-won dollars on marketing without measuring results, then one of the most productive steps you can take is putting mechanisms in place to understand performance. If you find your marketing isn’t earning its keep, then it’s time to look for ways to better target markets, find new customers or discover more innovative (and less expensive) ways to reach your audiences.

For more information and advice about marketing, look to Professional Photographer magazine, PPA member newsletters and PPA.com online forums where members share ideas.

CONGRATULATIONS TO ALL THE AN-NE MARKETING AWARDS WINNERS AND FINALISTS!

Are You Open to Business? Board Member Spotlight :: Don Dickson :: M.Photog.Cr., CPP :: PPA Member since 1981 :: Location: Plainview, TX

It’s a good idea to keep yourself open to new business ventures, especially if you’re seeing a decline in sales or sessions. Don Dickson, PPA board member, has been in business for 32 years…and he’s experiencing such drops in highpaying family sessions. So how has he been thriving? It’s that willingness to look for the new. “You constantly need to reinvent yourself because the

market and the world change,” Dickson explains. Since one part of his business isn’t doing as well, he ups his efforts in another area like school sports. He’s shot nine teams at a school, making $2,000 in one hour. According to him, you can net $1,500 per hour with undergraduate and sport photography (even after the lab bill). It’s a way to make ends meet…rather well! “Our sports and activity

volume is thriving,” Dickson adds. “It’s steady and there’s a sense of urgency.” One thing that makes this side of the business work so well is his creativity. Try new things… you might find a “phenomenon” like he created in his little city. He started making buttons (like trading cards) for cheerleading, football, volleyball, and so on. Using them as add-on sales to packages, Dickson soon found

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

BEST FAMILY & CHILDREN CAMPAIGN

BEST INDIVIDUAL MARKETING PIECE

Winner: Reiley Photography – North Attleboro, MA

Winner: Allison Rodgers Photography – Olive Branch, MS

Finalists: Sandy Puc’ Portrait Design – Littleton, CO WalkerStudio – Evansville, IN

Finalists: Sarah Petty Photography – Springfield, IL TIE – Adrian Hitt Dogography – Nashville, TN TIE – Farrah Braniff Photographs – Houston, TX

BEST HIGH SCHOOL SENIOR CAMPAIGN Winner: Romaguera Photography – Metairie, LA Finalists: Salvatore Cincotta Photography – O’Fallon, IL Wendy Newman Designer Portraits – Chandler, AZ

BEST IMAGE MARKETING CAMPAIGN Winner: Farrah Braniff Photographs – Houston, TX Finalists: Adrian Hitt Dogography – Nashville, TN TIE – Sarah Petty Photography – Springfield, IL TIE –Heather Donlan Photography – Naples, FL

the buttons in high demand. Cheerleaders and football players traded their buttons, wearing several on their jackets. A league bought buttons for all the parents. In fact, he did over 4,000 buttons in just two months! If you want to get your foot in the door like Dickson, you can usually start small–maybe a portfolio with the team your child is in, showing the parents and leagues what can be done. “You can blow the competition out of the water with a little effort,” says Dickson.

BEST ONLINE MARKETING CAMPAIGN Winner: Portraits by Wendy – Buford, GA Finalists: Regeti’s Photography – Warrenton, VA Allison Rodgers Photography – Olive Branch, MS

BEST USE OF MULTIMEDIA Winner: Portraits by Wendy – Buford, GA

BEST WEBSITE

BEST WEDDING CAMPAIGN

Winners: TIE – Isabel Lawrence Photographers – Sherman Oak, CA TIE –Farrah Braniff Photographs – Houston, TX

Winner: Johnstone Studios – Reno/ Lake Tahoe, NV Finalists: Ashley Brockinton Photography – Bonita Springs, FL Mark Garber Photography – Springboro, OH

Finalists: Sarah Petty Photography – Springfield, IL Owenemma Photography – Terrace Park, OH

EMERGING PRO Judges looked at all the entries from members in business 5 years or less (and who marked this category on their entry forms)…and debated their way to the top 3. Winner: Adrian Hitt Dogography – Nashville, TN

Finalist: London Wolfe Photography – Altoona, PA

Finalist: Cappella Photography – Miami, FL

Embodies one who excelled overall in quality, effectiveness, and unique presentation.

Embodies one who hit the bulls-eye of her target markets with a unified look.

Embodies one who broke the mold (with a “paparazzi” self-promotion).

Finalists: TIE – Ashley Brockinton Photography – Bonita Springs, FL TIE – Salvatore Cincotta Photography – O’Fallon, IL

You just have to start asking. Despite these new opportunities, Dickson still keeps customers coming in for family or child portraits. But how? “An invitation is the easiest way to generate business on an immediate basis,” he says. Take his Tea Party limited-edition sessions, which started out as a single portrait session. The mother of the child invited friends and other mothers to bring their daughters. Each year (and they’ve been doing it for 20 years), the list grows via

direct mail to past clients and referrals from those parents! Now, they have an entire week a year dedicated to these sessions. Invitations can be used any time you create a relationship with someone. And that’s why it’s so important to get involved. A self-declared “volunteer junkie,” Dickson has served on almost every board he can think of. “I love it,” he adds. “The business rolling in is a side effect, but I’ve never been on a volunteer board that doesn’t pay dividends in business.”

If you’re involved with the PTA, church, Rotary Club, etc., you’ll come across an opportunity for more business. Make the invitation to photograph an event or a child. Just give a reason for asking to lend urgency, such as mentioning that you’d like to photograph the family for a competition print or marketing piece. “It’s a seed-building process,” comments Dickson. Will you be willing to plant new seeds in new ground?

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

PPAtoday | November 2009 | news from Professional Photographers of America

HOW PRINT COMPETITION HELPS YOUR PHOTOGRAPHY By Gabriel I. Alonso, M.Photog.Cr. Don’t you just love the physical well-being you experience after working out? Granted, you may also experience some soreness and aches, but it can’t be denied that the benefits far outweigh the pain and inconvenience. Going to the gym and even brushing your teeth regularly are required maintenance for which your body rewards you with good health and an enhanced immune system. It’s analogous to how participating in print competition works. You select what you think are your best images, prepare them with great care, craft the perfect titles for them, and carefully prepare your entry form and labels. The results may not be what you expected or think you deserved, but the process you went through definitely made you a better image maker. Entering images indubitably induces a great deal of anxiety and fear of rejection, but the experience is rewarding regardless of how well your images perform. Attending print judging is also beneficial as it exposes you to the “cream of the crop” of our profession. Another way to reap the benefits of print competition is to volunteer as a print handler at a judging event.

© Ella Carlson

© Bonnie Slagle

This gives you a more intense and focused opportunity to expose yourself to the images and the process, as you’re actually holding them in your hands. Plus, you get to serve your association and, in some instances, earn PPA merits to boot. Add to all that the benefit in an increased awareness of new imaging trends from this awesome source of inspiration. PPA’s International Print Competition is the ultimate experience to witness or volunteer in, as it includes entries from multiple foreign countries as well as the Loan Collection judging. Attendance at the judging is open for all PPA members, free of charge. I encourage you to enter and participate in print competition as a sure path to the enhancement of your skills as a photographic artist, assisting in your professional development and pursuit of excellence. Get ready for the 2010 International Competition – deadline May 3, 2010 (more information will be available soon at PPA.com’s Competitions page). Check with your affiliate association for upcoming print competition entry deadlines and rules, and send questions about regional or international competitions to Jim Dingwell ([email protected]).

© Peter Lik

FOLLOW THE MISSION! Surgeons, dentists, anesthesiologists, nurses, speech therapists…and a photographer? Yes, Bert Behnke, professional photographer and executive director of PPA Charities, is on an Operation Smile Medical Mission trip this month (November 3-15)—documenting the saving of smiles. Over 50 volunteers from five countries (United States, Paraguay, Colombia, Honduras, and the Philippines) have trekked into Asuncion, Paraguay, to help the people there overcome facial deformities. Operation Smile expects to complete 200-300 medical evaluations on Thursday and Friday after their arrival. Those patients and their families hope to be among the 100-150 selected for surgeries the following week, and they should find that out on November 7.

Behnke will follow patients from their initial evaluations to the pre- and post-surgery stages. His goal is to depict the before and after results, as well as documenting the families (and their love) as much as possible. It will be an amazing time—seeing those volunteers band together to save smile after smile. So stay tuned to Behnke’s online updates! He plans on daily Facebook and Twitter posts (hopefully including video), so you can follow the mission. “I am hoping PPA members will step forward and pledge money that will assist Operation Smile in this (and future) missions,” adds Behnke. “With hard costs of only $240 per surgery, if every PPA member got involved, we truly could help them make a difference.”

images courtesy of Operation Smile

Learn more at www.PPAcharities.com ities. and www.Ope www.OperationSmile.org. p rationSmile.o

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

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab

November 2009 • Professional Photographer • 111

LabTab

112 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

November 2009 • Professional Photographer • 113

LabTab

114 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

November 2009 • Professional Photographer • 115

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

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November 2009 • Professional Photographer • 117

w! Save Time & Money No With EZ Mount Or Your

Money Back Adhesive Is Already On The Board EZ MOUN T FREE is thick art board with SAMPLE adhesive Details already applied Below to one side. The other side is an attractive flat white color. EZ MOUNT saves you money because we’ve eliminated the middleman. Itís made right in our plant, so you buy directly from the manufacturer. EZ Mount gives you flawless results every time. Thick mounted photographs mean more sales appeal for your customers & higher profits for you. And there is no risk with our unconditional guarantee. Get four 5 x 7 samples free , along with prices, ordering info & complete instructions just call, write or visit our website today. We will send your free samples and info immediately upon hearing from you.

Leonard Products Co., (800)3622459, 2725 Old Wrightsboro Rd., Ste 9-D, Wilmington NC 28405, Http://leonardproducts.com

118 • www.ppmag.com

November 2009 • Professional Photographer • 119

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

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

ARTISTIC ENHANCEMENT A WORK OF ART - DIGITAL PORTRAIT PAINTING. Offer your clients the look of hand-painted oils on canvas and watch your print sales soar. Fast turnaround, work guaranteed. We have 5 years’ experience in Corel Painter, working exclusively with professional studios. Featured in PPA Magazine, August 2007. Starting at $125. 724-5189069; www.bobnolin.com

BACKGROUNDS THE DENNY MFG. CO., INC. is the World’s Largest Manufacture of Hand Painted Backgrounds, Computer Painted Backgrounds, Muslin Backgrounds, Studio Sets, Props, Lift Systems, and related Studio Accessories. Contact us today to receive our FREE 180 page color catalog filled with exquisite products and ideas to help you succeed in Photography. Write P.O. Box 7200 Mobile, AL 36670; Call 1-800-8445616 or visit our Web site at www.dennymfg.com. STUDIO DYNAMICS’ muslin and canvas backdrops offer quality and value at outlet prices! Call 1-800-595-4273 for a catalog or visit www.studiodynamics.com CHICAGO CANVAS & SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track & Hardware for Moveable Curtains and Backdrops—Easily installed. Quick turn around time. Our prices can’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.com; [email protected] BACKDROP OUTLET, We are the Largest supplier of Backgrounds, Props and Studio Accessories. We have it all…. Canvas from $99.00 Muslin Backgrounds from $69.00 Scenics, Flex outs, Faux tex. Your options are endless. We also offer roller systems and Light Rail systems. Lights, Soft boxes, Stands and equipment. We have a huge selection of props and set systems. REQUEST OUR FREE 164 PAGE CATALOG 1-800-466-1755 or you can order online at WWW.BACKDROPOUTLET.COM 3540 Seagate Way, Oceanside, CA 92056.

BUSINESS OPPORTUNITY DIMENSIONAL BACKGROUNDS—A unique system of five interchangeable revolving sets. The carousel measures 11’ in diameter, operated with hand held transmitter. These 3D sets are child favorites; create your own sets as needed. $5500.+ truck from thousand oaks CA. Finished work can be seen at www.carouselportraiture.com/setso

CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 33 years experience servicing the Hasselblad system exclusively. Previously with Hasselblad USA. Free estimates, prompt service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main Street, #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.

120 • www.ppmag.com

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

COMPUTER/SOFTWARE SUCCESSWARE®—Studio Management Software available for both Windows® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare® Tour 800-593-3767 or visit our Web site www.SuccessWare.net.

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

DIGITAL TEMPLATES PHOTOSHOP TEMPLATES. Portrait Pizzaz creates unique templates with the latest trends to wow your Seniors, Children and Family clients. Affordable and DOWNLOADABLE! Enter code 10906489 at checkout for 10% PPA discount. www.portraitpizzaz.com

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

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

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at [email protected]. INDEPENDENT SALES REP WANTED who is currently calling on photographers to sell our Personal Art. Using the photographer’s images, we provide a hand painted oil, done on canvas that looks amazing like the photo. Visit www.genesisfinearts.com, call 901-380-2997, fax 901380-3619 Lou or Joan O’Reilly. WE ARE NOW HIRING Sales Rep, Accountants, Book Keepers and Clerks, Experience with PC required, Great Salary and Benefits, Interested candidates should contact: [email protected] TRAVELING PHOTOGRAPHER COMPANY: Club Services of America. Description: Family portrait photographer. Fulltime travel. Great earning potential for excellent family photographer with quality portrait and sales experience. Photograph and sell to Country Club members throughout the United States. OK to travel with spouse. PPA Certified or Masters of Photography are preferred. See our website at: www.clubservicesofamerica.com. Email resume and sample portraits to [email protected]. Requirements: Must have tools of the trade and a dependable automobile.

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

INSURANCE Instant Online Photography Insurance. Quotes. Tom C. Pickard Insurance. www.tcpinsurance.com 800-7263701, ext. 117. Lic. 0555411

LAB SERVICES “MYCLIPPINGPATH.COM—Get low cost, high speed help from our lab. Cut outs for catalog or background changes. Try us for FREE!” ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd., Beverly Hills, CA 90211 310-274-3445 • www.goldencolor.com

ONLINE PROOFING/SELLING NeatPictures.com. Are you short on time? How about your customers? Proof and Sell Your Images Online. Simple.

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

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

PRESENTATION BOXES BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVE., NORFOLK, VIRGINIA 23508; 757-4401147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com PRESENTATION BOXES available for immediate shipment; 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800861-4528. BUY DIRECT AND SAVE. NPD Box Company, 3000 Quigley Road, Cleveland, OH 44113. www.NPDBox.com

H-B Photo E-Store Box Manufacturer, buy direct and save. Complete Line of presentation boxes, better quality at lower prices. Bags, Totes, Tissue, Ribbons, customize with your logo. WWW.H-BPHOTO.COM H-B PACKAGING GROUP CENTRAL FALLS, RI. Call 866-570-8915 for free samples.

ProductMall

SOMETHING HERE YOU NEED.

RETOUCHING WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fast service, a retouch that looks like the photo was never altered and the lowest prices in the industry. If you demand the best log onto www.retouchup.com and your first 10 retouches are free just to prove our claims— the best—the fastest and the least expensive or call 888-700-3686. PORTRAIT PHOTOGRPAHERS You can retouch quickly with superior results. Guaranteed. WWW.3DLIGHTMASTER.COM

SALES AIDS BOXES—FROM THE ORIGINAL BLACK BOX MANUFACTURE—FREE SAMPLE—Fast delivery, Finest quality 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”. AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com 5000 POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com • $10 off /with ad HIGH QUALITY PHOTO WATER BOTTLES. Great for inhouse production by labs or small photographers. $2.50 each, any quantity. Discounts on bulk orders. Contact Rob 440-823-2802.

Gaylord Resort & Convention Center January 10-12, 2010 • Nashville, TN Register and book your rooms now www.IMAGINGUSA.org

PRO FE S S I O NA L

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

STUDIOS WANTED COLUMBUS CAMERA GROUP, INC. buys whole studios or any part including cameras, film, darkroom, long roll, lighting, and misc. No quantities too small. Call 800-3257664. Ask for Eric.

Adorama (www.adorama.com) . . . . . .75, 99, 101, 103 Advanced Photographic Solutions (www.advancedphoto.com) . . . . . . . . . . . . . . . . . .112 Albums Unlimited (www.albumsunlimited.com) . .116 Alien Skin Software (www.alienskin.com) . . . . . . . .3 American Color Imaging (www.acilab.com) . . .87, 114 American Photo Resources (www.aprprops.com) . . .121 Animoto (www.animoto.com/go/kevin) . . . . . . . . .17 ARK-LA-TEX Color Lab (www.altcolorlab.com) . . .115 B & H Photo-Video (www.bhphotovideo.com)82-83 Backgrounds by Mahue (www.backgroundsbymaheu.com) . . . . . . . . .116 Bay Photo Lab (www.bayphoto.com) . . . . . . . .29, 111 Bogen Imaging Inc. (www.bogenimaging.com) . . . .19 Boulder Pro Photo (www.lifetimeinfocus.com) (www.boulderprophoto.com) . . . . . . . . . . . . . .115 Bron Imaging (www.bronimaging.com) . . . . . . . . .50 Buckeye Color (www.buckeyecolor.com) . . . . . . . .112 Paul Buff Inc. (www.white-lightning.com) . . . . . . . .6 Burrell Colour Imaging (www.burrellcolourimaging.com) . . . . . . . . . . .39 BWC (www.bwc.net) . . . . . . . . . . . . . . . . . . . . . .120 CPQ (www.cpq.net) . . . . . . . . . . . . . . . . .33, 113, 114 Candid Color Systems Inc. (www.candid.com) . . . . . .114 Collages.net (www.collages.net) . . . . . . . . . . . .5, 49 Color Incorporated (www.colorincprolab.com) . . . .112 Corporate Color/Prolab Express (www.prolabexpress.com) . . . . . . . . . . . . . . . .115 Contemporary Photography/J. Hartman (www.jhartman.com) . . . . . . . . . . . . . . . . . . . .118 Ceative Light (www.creativelight.com) . . . . .Cover IV almatian Lab (www.dalmatianlab.com) . . . . . . . . .115 Denny Manufacturing (www.dennymfg.com) . . . . .117 Digital WakeUp Call Tour 2009 (www.digitalwakeupcall.com) . . . . . . . . . . . . .105 Diversified Lab (www.diversifiedlab.com) . . . . . . .113 DriverSavers (www.srivesavers.com) . . . . . . . . . . .53 ESS Data Recovery (www.datarecovery.com) . . . . .118 Epson (www.proimaging.epson.com) . . . . . . . . .14-15 Express Digital (www.darkroomsoftware.com) . . .12 GP Albums (www.gpalbums.com) . . . . . . . . . . . . .118 GTI Graphic Technology, Inc. (www.gtilite.com) . . .111 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . . . .111 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . .113 Hollywood Fotofix Digital Studios (www.retouchup.com) . . . . . . . . . . . . . . . . . . . . .13

Interfit Photographic Ltd. (www.interfitphotographic.com) . . . . . . . . . . .116 JD Photo Imaging (www.jdphotoimaging.com) . . .114 Kelby Training (www.kelbytraining.com) . . . . . . . . . . . . .35 Leonard Products Co. (www.leonardporducts.com) . . .118 Lustre Color (www.lustrecolor.com) . . . . . . . . . . . .112 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . .25 Marathon Press (www.marathonpress.com) . . . . . .91 Marsh Affinity Group Services (www.ppainsurance.com) . . . . . . . . . . . . . . . .60 McKenna Pro (www.mckennapro.com) . . . . . . . . . .111 Meridian Professional Imaging (www.meridianpro.com) . . . . . . . . . . . . . .Cover II Midwest Sports (www.midwestsportslab.com) . . .114 Miller Professional Imaging (www.millerslab.com) . . .20-21 Morris Group (www.themorriscompany.com) . . . . .117 Nik Software (www.niksoftware.com/prophoto) . . .91 North American Photo (www.naphoto.com) . . . . .113 OmegaSatter (www.omegasatter.com) . . . . . . . . .118 Onlinephotofix.com (www.onlinephotofix.com/magpp) . . . . . . . . . .121 OnOne Software (www.ononesoftware.com/pp) . . .27 PPA Loan & Showcase Collections (www.marathonpress.com/prepublication) . . .44 Pacific Mount (www.pacificmount.com) . . . . . . . .116 Photogenic (www.photogenic.com) . . . . . . . . . . . .80 PickPic (www.pickpic.com) . . . . . . . . . . . . . . . . . .43 Pictobooks (www.pictobooks.com) . . . . . . . . .116, 117 Portrait City Lab (www.customcolor.com) . . . . . . .113 Portrait Professional Studio (www.portraitprofessionalstudio.com) . . . . . . . . . .57 Posh Prints & Design (www.poshprintsonline.com) . . .117 Pro Photo (www.prophotoimaging.com) . . . . . . . .111 Profoto (www.profoto-usa.com) . . . . . . . . . .Cover IV Reedy Photo (www.reedyphoto.com) . . . . . . . . . .115 Renaissance Albums (www.renaissancealbums.com) . . .119 RightHook Media (www.bigblackbag.com) . . . . . . . . . .41 Schneider Optics (www.schneideroptics.com) . . . . . . . .51 Sekonic (www.sekonic.com) . . . . . . . . . . . . . . . . . . . . . . .9 Simply Canvas (www.simplycanvas.com/TheBest) . . . .59 Stofen Products (www.stofen.com) . . . . . . . . . . . .121 Studio Logic (www.studiologic.com) . . . . . . . . . . .79 Successware (www.successware.net) . . . . . .Cover IIII Tyndell (www.tyndellphotographic.com) . . . . . . . .118 United Promotions Inc. (www.upilab.com) . . . . . . .111 Used Camera (www.usedcameras.com) . . . . . . . . . . . . .93 Veach Company (www.veachco.com) . . . . . . . . . . . . . . . . .117 Wacom Company Ltd. (www.wacom.com/i4) . . . . . . . . . .47 White House Custom Color (www.whcc.com) . .10-11, 36-37 White Glove (www.wgbooks.com) . . . . . . . . . . . . .117

Publisher not responsible for errors & omissions

November 2009 • Professional Photographer • 121

good works |

Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work.

level participants want. Ultimately, the project is more about a movement to demonstrate the generosity of photographers and the power of imagery, and less about a centralized, organized platform. For those interested in putting together a Help Portrait event in their community, Cowart suggests contacting local nonprofits. These organizations are often in touch with populations in need and can help facilitate a portrait day. To further guide participating photographers, Cowart is building a robust online resource guide to answer questions and point them in the right direction. He’s also launched an online social network where people can collaborate with other photograPhoto by David Bean

phers in their area. “I’ve already been impressed by the support for Help Portrait,

Help portrait

H

A NEW MOVEMENT IN CHARITABLE PHOTOGRAPHY

not just here in the United States but in other countries as well,” says Cowart. He encourages participating photographers to document their day with video and still images so Help Portrait can put togeth-

elp Portrait has a simple

says Cowart. “The idea goes against the way

er promotional materials that demonstrate

premise—just connect. On

many photographers think. We don’t want

the global reach of the project. He plans to

December 12, photogra-

to see your photos. … We do want to see the

continue the project next year and beyond,

phers will grab their cam-

relationships you establish. Ultimately, that’s

hoping that the movement will take hold

eras, photograph people

what this is all about.”

and spread.

who cannot afford a portrait session, print the

Cowart hopes that connections made

Cowart is also looking for “an army of

through Help Portrait will encourage pho-

creatives” to volunteer their services—Web

images, and deliver the prints to the subjects

tographers to become regular contributors to

designers, makeup artists, retouchers, pro-

free of charge. That’s it. Pick a population.

local causes. “One of the rules is you have to

duction experts, video and sound pros, as

Take pictures. Give away the images.

print and deliver your photos,” he says. “The

well as production experts—to help put

Initiated by Nashville-based photogra-

hope is that photographers will go back and

together the various events. I

pher Jeremy Cowart, Help Portrait attempts

reconnect with their subjects. Those connec-

to shift the way we think about photogra-

tions may prompt people to contribute in

phy. “This is about giving pictures, not tak-

other ways throughout the year, far beyond

ing them. It’s about sharing photography

this one day of photography.”

with people who otherwise wouldn’t get the opportunity to have their portrait made,”

122 • www.ppmag.com

The beauty of the project is it’s open to everyone, and can be scaled to whatever

If you’re interested in participating, visit www.helpportrait.com. You can also follow the project on Twitter at help_portrait.

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

“We use every aspect of SuccessWare in our business, but the best way to get started is to set small goals and celebrate each victory. That way, before you know it, you will master the whole application and recognize that every time you add a new piece, it will change your business for the better.” Sam Puc | Expressions | Littleton, CO

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

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

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